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"I try very hard never to distort or dissemble," says Mr. Neville (Anthony Higgins), a draughtsman of considerable talent contracted by a certain Mrs. Herbert (Janet Suzman) to make 12 drawings for her absent husband of their English estate. Part of that contract involvesMr. Neville taking his pleasure, and that pleasure is Mrs. Herbert.While Mr. Neville aims for fidelity in his drawings, infidelity in privateis quite another matter. Then the film becomes a cerebral puzzle when objects start appearing mysteriously in the subjects of Mr. Neville's various drawings: a ladder that wasn't there before, a pair of boots standing in a field. Mr. Neville's penchant for realism is stymied by these clues, which may or may not suggest the murder of Mr. Herbert. Peter Greenaway seems to have directed this, his first art-house success, with the aim of exploring the failings of perspective in art and casting his doubtful eye on the possibility of "faithful" drawings such as those by which Mr. Neville makes his living. Greenaway was, after all, an art student, and must have known that drawing machines like the one Mr. Neville uses in the film (whichis set in 1694) led not only to the invention of photography, and therefore of film itself, but also to the renouncing of perspective that informs so much of 20th-century painting.

In the film, Greenaway overlays the story's mysterious elements withhighly mannered tableaux, making each scene like a realistic, though sumptuous, painting, while having his actors spout witty and complicated sentences. While this is very entertaining, it has a dual purpose, which is to depict the falseness of surfaces. Mr. Neville's faith in the same is his downfall, and Greenaway's triumph is in his distortions and dissemblings, the narrative lie that gets closer to the truth than any architectural drawing could. --Jim Gay ... Read more

Reviews (22)

Lovely & Amazing
I first saw "the Draughtsman's Contract" in the movies when it first came out. I was rivited by the wholeness of every detail in the film. For example, the filmmakers eye for accurate detail, even down to the orange ribbions the men & women wore on their clothes!
The story is a real mind bender as well. Everything seems so matter-of-fact, but it's not that way at all. I also love how the tables turn for the obnoxious, know it all draughtsman, and how the clothes colors were reversed when that happened(black/white).
The scenes filmed by candelight were wonderful, not as pretty as those in Barry Lyndon, but with a starker authenticity, making them appear more real.
Another great thing about this movie is how it was scored. Greenaway uses Purcell, but with a twist, it's so clever & very appropriate to this film. Also, Janette Suzmann is terrific as Mrs. Herbert.
Like all of Peter Greenaway's films, this does not have mass appeal, but it's truly a masterpiece & worth a watch especially for those who enjoy period peices, mysteries & stories about the human condition.

Utterly British
This film could have come only from England, and only from director Peter Greenaway. I wasn't sure what this film would be like, but I'd enjoyed all the other Greenaway films I'd seen: THE COOK..., BELLY OF AN ARCHITECT, DROWNING BY NUMBERS, THE PILLOW BOOK, and 81/2 WOMEN. Still, this one seemed different from all of those. I was sure it'd be at the very least interesting, but like I said I had no idea what to expect when I put the brand new DVD into the player. Right away, I liked the film, as I saw a group of powder-faced aristocrats relate some "Tales of Ribaldry". Immediately, I was reminded of Ken Russell. But as this most unusual film unfolded, I realized that this was the first time I could actually call a film a "moving painting" and not feel totally pretentious; THE DRAUGHTSMAN'S CONTRACT is nothing if not an animated landscape painting of the 17th century. Mr. Neville (Anthony Higgins) is our "hero"; he isn't a very likeable sort, supercilious and overeducated, and unabashedly lustful. But even as he causes trouble among the men and women of the Herbert household, beginning an affair with Mrs. Herbert as part of his payment for the 12 drawings of the estate he has been commissioned to produce, he is a fascinating character, played to the T by Higgins. But something strange is going on: as she peruses his drawings, Mrs. Herbert's daughter, Mrs. Talmann (whose husband dislikes Mr. Neville very strongly) believes she sees evidence of "misadventure" (in 20th-century parlance, "murder") in the pictures. So she now blackmails him for favors similar to those which Mr. Neville gets from her mother. Complicated? It gets worse... but if you're really into it that won't matter. Plot isn't important here. Greenaway is making a statement about art which, in spite of the epoch in which it is set, is timeless. No matter how hard an artist (presumably in any medium) tries, it is impossible not to "distort or dissemble". There's more to it than that, but if you're interested you'll have to work to get to it like I did. Don't worry, it's probably more interesting and entertaining than the way I've described it; Greenaway's dialogue is DELICIOUS and the photography (this was before Sacha Vierny became his cinematographer) is excellent, making brilliant use of light and shadow, evoking some of the nuances of painting at that time. Each frame of Greenaway's film is literally a painting in and of itself, and instead of an easy, comprehensive story with likeable characters that anyone could identify with, Greenaway gives us a narrative that resembles that of a painting (witness the scene in which Mr. Neville and a haggard Mrs. Herbert examine a painting, trying to ascertain the story it tells). For those tired of films with characters and situations that supposedly "anyone could relate to", Greenaway's crisp, challenging, funny, and fascinating THE DRAUGHTSMAN'S CONTRACT may be just what you're looking for. See it!

The Draughtsman's Contract
"The Draughtsman's Contract" is a precise, almost mathematical dissection of human motivation, desire, envy and retribution. The wonder is that it is delivered by a painterly director at the height of his powers. A rare mix.

Cunning and subtle, yet in love with the subject...usually doesn't work - but while you're being beguiled by the visuals, the story sneaks up on you from behind, and leaves you with a puzzle which rewards the solving.

Michael Nyman's memorable score perfectly complements the gorgeous cinematography, while providing a constant reminder of the enormous underlying tension of the story.

If all of this sounds a little earnest, let me put it another way - it's all about..., and it looks and sounds beautiful - what's not to like?

Simply perfect
Minimal style could perfectly fit this work. Notwithstanding, it is not a minimal music understood as a boring, monotonous or interminable series of notes, but a magisterial example of mixture 20th and 16th century music. Watching the film is not a neccesary condition to understand this surprising music, supposed to be dated on Purcell's times.

Nyman wonderfully metamorphoses his music, according to the film. You must also listen to Gattaca, a very realistic view of our future world. In this film, the images of the scenes and the music "inhabit" in a perfect simbiosis. The same as this score.

The first song "Chasing Sheep Is Best Left to Shepherds" is the main theme, from which all the music is developed. This is why it could sound minimal but the lovely use of different baroque instruments (and not so baroque, such us harspichord, horns, electric bass...)smears up any idea of monotony.
Quite right.

Detached & Aloof.
This tale of a 17th Century draughtsman who takes a commission to do drawings of a wealthy Englishman's estate only if he can "do" the Lady of the estate at the same time, is an intriguing piece for those unhurried and with a taste for something different.

Meticulously recreating the era, with the best candlelit scenes since Barry Lyndon, we realize that a stately sort of mystery is unfolding as we watch the arrogant artist have his way with first the mistress of the house and then her daughter, all the while insulting and denigrating everyone around him.

The Draughtsman is arrogant, self-confident, and sure that he is superior to the aristocratic twits he serves with his art. That he believes he is smarter than everyone around him will come around to be his undoing. Being used while he thinks he is doing the using, the Draughtsman finds out too late that he has been nothing more than a pawn in a game he never understood.

Not for everyone, I found the film fascinating but as detached and aloof as its protagonist. This cold detachment becomes the wry amusement in the story, but also separates us from any emotional connection to the characters. There are also the typical Greenaway non sequiturs, in this case a naked fool, painted, posing as statues etc. At any rate, worth a look for those wanting something different. ... Read more

Reviews (34)

ONE OF THE BEST MOVIES I HAVE EVER SEEN...
The first time I saw this movie was when it was in theatrical release, (which lasted about a week). I was in a movie theater in Times Square with a friend, and there were only two other people in the audience. Al Frankin has referred to this movie as a "disaster" because it was pulled from theaters after not even reaching one million dollars. Note to Al: THIS MOVIE IS NOT A FALIURE!

Every detail of this film, from the opening montage to the marvelous acting, (these are TOP NOTCH actors in this film), to the hilarious comedy to the story to the music...everything is hysterical. I only wish they had chosen a different title. Stuart does not save his family, he can only try. The movie should have been called "Stuart Smalley."

I was so astounded by how wonderful this movie was, yet practically no one saw it and Al Frankin calls it a disaster. I honestly, truely, unexagerratedly believe that this movie should have been up for several Oscars, including Best Director and for the supporting cast. The actor who plays the father was especially wonderful. I only hope that more people discover this movie.

When the movie was over in the theater, (I have since seen it again on video several times), the two other people in the audience came up the aisle and also expressed how good the movie was. I wish I could have direct addresses for director Harold Ramis and Al Frankin so that I could write to them and tell them how proud they should be of this movie.

He doesn't really save his family, but...
Sadly, a lot of folks have never heard of this little gem. It had a very short theatrical release but has been gaining a wider audience, largely among members of 12-step programs, through its various video releases.

To describe the story line of this very funny movie would be to sell it short, because the premise doesn't sound like it would lend itself to such a delightful comedy. But the film grabs one's attention from the very beginning with its montage of 50s and 60s family photographs during the opening credits. Are these possibly family photos of the lead actors at an earlier stage of life? When Vincent d'Onofrio's name is on the screen, the guy in the photo looks an awful lot like him. And then we're off and running, with Stuart telling us on his television show that he has just received a sweater that one Melissa D. knitted for him. Melissa is a recovering sex addict and knitting the sweater "gave her something to do with her hands."

From that point on, the pace only rarely slackens, as we are introduced to Stuart's various friends and nemeses, beginning with Roz Weinstock, very possibly the meanest and most sadistic boss since Captain Bligh, and deliciously played by Camille Saviola. Roz has fired Stuart for maligning her on the air, and she is only the first of a series of people Stuart manages to annoy as he lives out his affirmation of "I'm good enough, I'm smart enough and, doggone it, people like me." Perhaps not everyone likes him, certainly not the customer in the restaurant (an unbilled role, possibly director Harold Ramis?) who has to wait while Stuart explains his latest predicament to his best friend and Al-Anon sponsor Julia, wonderfully played by Laura San Giacomo.

From there, it is a constant back-and-forth for Stuart between Chicago, where he lives, and Minneapolis, ironically one of the chief centers of recovery programs, and the home of his very dysfunctional family. Stuart's beloved Aunt Paula has died, setting in motion an ever-muddier chain of events that eventually teach Stuart in a big way that the only one he really has the power to change is himself. Nevertheless, the ever-optimistic Stuart continues to offer his gifts to others, some of which are eventually picked up and appreciated.

Just as the setting goes back and forth from Chicago to Minneapolis, so the time frame goes back and forth from the present to the past through black-and-white flashbacks, some happy, some less so. These give us some idea of how Stuart has come to be the way he is today, and of the ghosts that he has to grapple with while living out his affirmation.

The film does take a rather serious turn near the end, but Al Franken as Stuart Smalley helps to keep the tone somewhat light during this section. And, as in real life, not all the loose ends ever get neatly tied up, but Stuart has nevertheless made his impact, as we see in a very heartwarming ending.

While most of the actors in the film are not household names, a number of them are quite experienced and turn in some memorable performances. Harris Yulin, Shirley Knight, Lesley Boone and Vincent d'Onofrio are all good as Stuart's family members, the men in particular. There are also a number of memorable cameos, particularly Julia Sweeney as the constantly apologizing Mea C., and Walter Olkewicz and Jeremy Roberts as the Skoag brothers who try to force the teetotaling Stuart to drink beer at a bar.

The music is fun also, beginning with the codependent song that is played during the opening credits. And it was great to hear Ethel Merman blasting her way through "Everything's Coming Up Roses," during one of the scenes where Stuart is trying to pull himself up by his bootstraps.

This picture has some of the funniest lines I have ever heard in any film. My particular favorite is Stuart's brother Donnie's attempt to define for him what an "easement" is, despite the fact that he obviously doesn't have the slightest notion. But many will like even better Stuart's comment to his sister about the pound cake. While there is plenty here for audiences in general to laugh at, there are also a number of jokes that are targeted toward members of 12-step programs, and especially those programs geared toward helping friends and family members of those addicted to alcohol and drugs. It's obvious from the writing that these are topics near and dear to screenwriter Franken's heart.

So, I recommend this movie with just the caveat that you will find it funnier and closer to home if you have some familiarity with the programs that the film gently pokes fun at. And even if you don't, after seeing the film you may still wind up with a new approach to life.

Great Great Movie
I absolutely love this movie! I watch it everytime I am frustrated with my family and always end up feeling a little bit better. Other than making us laugh, this movie teaches us that at some point it's ok to separate ourselves from our family's problems and that we have to accept that we can't fix everything for everyone that we care about. I was happily surprised that this movie contained more than obvious humor, it actually has heart!!

If you've ever been a member of a 12-Step Program...
If you're ever been or are now a member of a 12-Step Program you'll find this movie wildly entertaining. Sadly, the humor so evident in this film is so common amongst many familes struggling with relatives of addictions. Key words here are : affirmations, 12-Step, intervention, codependency, and many others to mention here.

A Jewel of a Movie
It's sad when I mention scenes in this movie at work and I get a "huh?" Very few people has bothered to see this movie and I think they're missing something. I found it poignant, funny and subtle. It it has some of the best one-liners and a rather sad but well written ending. Any grown-up out there (belonging to a dysfunctional family) still trying to stay with the concept of "family holiday gathering" should do what Stuart ultimately did in the end. ... Read more

Reviews (47)

Billy Zane Rocks!
Funny, scary, and entertaining, "Tales From the Crypt: Demon Knight" is the first of a series of films that are derived from the popular HBO series. Unlike the "Creep show" and "Tales From the Darkside" films of the past, "Tales From the Crypt" focuses on one tale of horror and suspense each time, allowing the story to develop into a more entertaining experience.

Directed by Ernest Dickerson ("Juice") "Demon Knight" features the immense talents of William Sadler, Jada Pinkett Smith, and the ever versatile, amazing Billy Zane in a horror movie laced with plenty of comedic moments. The story revolves around a key that Sadler is carrying in order to pass on to the next guardian. There are a total of 7 keys, representing a galaxy each. According to Sadler's story, the key contains the blood of Jesus Christ. While dying on the cross at Golgotha, a follower of Christ pour his blood into the key to prevent the conquest of earth and the rest of the universe by Satan and his legion of demons. Until all keys are together can this happen, and with 6 of the keys in the hand of demons, the fate of the universe lies on Pinkett Smith's character, who is the chosen one to carry the key after Sadler.

I must praise Billy Zane. He is amazing. He plays the perfect villain, and in this role he is dynamite. His performance is more comedic, and he would make similar villains of the past such as Freddy Krueger very proud. I can understand why Hollywood has typecasted him as a villain in almost all of his films after seeing this film. Zane's intense sex appeal will captivate many viewers, and his range of emotions is incredible.

Pinkett Smith who was coming into films fresh from the cancellation of the long-running NBC series "A Different World," is great. As the heroine of the movie she really can kick butt, and her on-screen chemistry with Zane is perfect.

In conclusion, this a great film to view if you are in the mood for horror mixed in with a bit of dark humor. The film can be strong at times with the sight of gore and violence, but if it weren't for Billy Zane's performance, I wouldn't have cared to watch this film at all. He is one of the film world's most gifted actors and this film was a showcase of his talent before he became a bigger name when he starred in "James Cameron's Titanic." "Demon Knight" is an excellent example of how to create an entertaining horror film. Skip "Blair Witch" and try this film instead.

horror movie or comedy?
It seems to be a great combination of the two!

I don't think I ever saw this show on TV but since reading some of the reviews on this particular edition and the impressive cast list, I was curious to see what the fuss was about. That and the fact that I am a fan of Billy Zane and now William Sadler. I never realized that the latter actor was in so many things, such as "The Green Mile" and the "Roswell" series. I also don't think that I've ever seen Jada Pinkett Smith in anything before. I'm glad that she had a good strong character to sink her teeth into.

What WAS interesting was the way the story developed by way of verbal explanations and flashbacks. At the beginning you weren't quite sure who was the good guy or who was the bad guy but Billy Zane played his role extremely well as the wickedly, funny Collector!

Since watching this movie I was interested to see how many other "Tales from the Crypt" were available to buy on DVD. Especially with the !number of famous people which you can always find in the querky stories. Unfortunately there are only 2 that I could find. Hopefully, there will be more of them in the near future.

A great way to spend 1½ hours!

Demon Knight!!!
Wow! What a good Movie! This is byfar the best Demon Possesion movie since the Evil Dead. The demons look a lot like pumkinhead, but with long rock band hair. William Saddler and Jada Pinkett lead the fight against the sly and funny collector (Billy Zane). The fun begins right away with a cool beginning action sequence. As The film goes on, introducing the charcters, the demons arrive and the war begins. I'd say the best parts of the movie is where you see the demons takeover people.

It's really gross! They mutate and deform in different ways! But, if you like funny, actiony horror films that are explosive, This is It!!!

Cheap, B-Movie Fun!
Demon Knight is a blast which is a lot to say for a film that seems to be made on a sixty dollar budget. The special effects are nothing spectacular ( but I appreciated that more than outrageous tricks relied on by films like The Matrix ). This film is the best Tales From the Crypt episode you'll ever see. It may not be filled with the greatest acting or dialogue but it is one of the most entertaining films you'll see in a long time. I saw this in 95' and enjoyed it since then. I've just purchased the DVD and cannot wait to sample the film on high quality stock. Billy Zane shines although a lackluster Jada Pinkett should have been replaced by a more vibrant black actress such as Nia Long. Zane and Pinkett have no chemistry and it surprises that the filmmakers decided to have Pinkett be the " chosen mistress " to Billy's underlord persona. Anyway, this film has a few minor faults but nothing to make this film less than a five-star gem. A hidden jewel if I say so myself.

Tales
Very interesting movie. Some scenes are a bit disgusting. Nevertheless the connection of the story line with the crucifixion of Jesu-Christ is quite interesting. And maybe not so crazy after all.
A film worth seeing and thinking of. Not for children! ... Read more

Reviews (97)

ONE OF THE FUNNIEST FILMS OF THE YEAR
There really hasn't been too many successful comedies this year. "Joe Dirt" pretty much got some of the worst reviews from critics all around, and "Nutty Professor 2" also wasn't a favorite as well. Well, there was one funny film that critics hated, but I thought was outrageous and hysterical. That movie would be "Saving Silverman".

Meet Darren Silverman; a lonely, and desperate romantic who never catches a break when it comes to women. His one and only true love Sandy had moved away a long time ago, and since then he has feared that he will be alone forever. The only thing he has are his two best buddies, Wayne and J.D., who are more than hopeless geeks. Everything changes when Darren meets Judith; a cold-hearted woman who wants to prey on a man she can control. Soon, the two start to go out, and Judith demands that Darren shall no longer be associated with J.D. and Wayne.

Well, the two friends are not going to surrender and see their pal, Darren, throw his life away so he can be controlled by a psychotic woman who J.D. refers to her as "Hannibal Lecture". They decide to kidnap Judith so they can have their buddy back. And that's when all of the laughs and chaos starts to come at you like an out of control train.

"Saving Silverman" is an outrageous comedy that delivers non-stop laughs. Though there are some moments where the movie seems to go to desperate lengths, it is still a great comedy. Don't pay attention to the critics, just see the movie for yourself and make up your own mind.

Disappointing
The general idea of this dumb teen comedy is that a group of three friends have been broken up by one of the friends' girlfriend. I watched this movie because I'm a fan of Jack Black, but this movie doesn't work on so many levels. First of all, you never really get the feeling that the friendship between these three friends is really very strong. So when they start kidnapping and planning murder, you don't really understand why they're going to all the trouble. Another thing is the obsession with Neil Diamond. It's never really funny and it just falls flat. Third, the chemistry between the supposed romantic interests is terrible. The characters are all supposed to be in such deep love, but you never see it in this movie. If you're interested in comedy, you can find lots of better movies than this. For Jack Black fans, head for High Fidelity, or School of Rock instead.

Don't Be Fooled!!
I am so angry at the people who put this out. It was a mean trick to play on the unsuspecting movie-going public! I thought with a title like "Saving Silverman" it would be a war movie like "Saving Private Ryan" but this is a dumb teen comedy. Not a single shot is fired in anger or for any other reason for that matter. Don't be taken in.

More aggrivating than funny (around 2.5 stars)
More often than not, I found myself wanting to jump through the TV and strangle Jason Biggs or Amanda Peet (usually both), and I must tell you, aggrivation is not something I enjoy feeling in a comedy. I felt a little aggrivated watching American Pie 1 and 2 also b/c of Biggs, but hey, when you've got Sean William Scott (as well as a bunch of other talented actors), you're guarenteed a damn good time, and anyone who doesn't like the American Pie movies has horrible tastes in movies. Anyway, onto this decent (but not great) movie.

First, the good parts about it (and I will not waste much time on plot so as not to ruin the movie). Anytime Jack Black (and sometimes when Steven Zahn) is on screen, you will laugh. Period! I've always believed in Black, and this is no exception (infact, this may be one of his best works, where he is just as dumb and clueless as can be!). Zahn is ok in this film, but he's been better. He's a little too serious for my taste here, but he provides a few genuine laughs. Also, R. Lee Ermey is hilarious as the football coach; sugesting that the best way to separate Biggs from his hell of a girlfriend is to kill her. Now, I will discuss what disgusts me about this movie.

First of all, the parts created for Biggs and Peet are way overdone. Biggs plays such a big loser (wow, what a shocker!) in this film that whenever I see him on screen, I want to beat him senseless and say "Quit being a G.D. pushover!!! Use that brain that God gave you!!" Throughout the movie, he constantly gives into Judith's (Peet) every demands, including butt implants, burning his beloved Neil Diamond albums (why young guys in their late 20's would worship Neil Diamond of all people is a mystery to me), and, get this, not hanging out with his lifelong friends. GET A G.D. CLUE AND QUIT BEING A MORON!!! ......Ok, I'm cooled down now. Equally as annoying is Peet, as she takes her character way over the top. She is such a horrible bitch that not even the hounds of hell would want to date her. I really was hoping that Black and Zahn would kill her, because the characters that Biggs and Peet play are losers you really wouldn't wish on anyone. (by the way, having Zahn marry Peet at the end is a lame way to end the movie; he should have beat the crap outta her!) Finally, Jason Biggs cannot act; period! Someone should just give him the pink slip and end his career; American Pie would have been funnier (by epic proportions) if he was not in it, and unless he completely changes his acting style, I will await his demise.

Hilarious
This movie is excellent. It's true that the writing is not possibly the best, but there are so many slapstick stunts, and people doing stupid things, that this movie is hilarious. It is funny from beginning to end, and it is fast paced. Excellent acting, excellent directing, funny characters. A must see!! ... Read more

Description

Based on the life and work of underground comic book writer Harvey Pekar- a prickly poet of the mundane who knows that all the strategizing in the world can't save a guy from picking the wrong supermarket checkout line. ... Read more

Description

Struggling David (Luke Wilson) has big plans for his life - except he can't exactly remember what they are. When slinky, sassy Serena (Alicia Witt) waltzes into his life, things take a definite turn for the better - until his house burns down and she bolts to New York with a wannabe rock star (Jamie Kennedy). While Serena frolics back East, David gets by with a little help from his friends - like a singing farmer (Jack Black) and an oversexed rich girl (Brittany Murphy). If Serena ever returns, someone's gonna get a rude awakening, as this raucous comedy hurtles toward an outrageous and unexpected finish! ... Read more

Reviews (24)

misguided at best
i have had this review on here for some time now, and i feel compelled to change it due to a change in heart. when i first reviewed it, i praised its realism and originality, and gave it a 5.

this is 6 months later. i purchased the dvd and watched it several more times. upon later reviews of it, ive come to an all new conclusion:
it sucks.

i love Luke Wilson. i love Andy Dick and Jack Black. too bad this movie features very little of the two latter, and a bit much of the former.
the concept: a fire causes a misdirected pot dealer to reconstruct his life with two different girls.
now i look at it as this. everything on the technical side of this movie is high school level. i expect any second for a stagehand of some type to be seen in a corner of any shot. however, the script should help us out right? eh, it has its moments, you can tell that filtered through all this amateur hogwash, the original book is a good read.
the acting? well, luke wilson's david is somewhat likeable if a bit laughable. hes a moron who unwittingly stumbles on gems of creativity, but that is his appeal.
then amanda witt comes in. she is stunningly beautiful in this film, something redheads are rarely portrayed as. david falls in love with her and tragedy ensues. however, with all this love, one major aspect is overlooked. she is completely horrible. she is annoying, self centered to the point of destructive, and contradicting. at first i cared, but in the scene where she is orally raped, you just dont really care and a sinister voice in your head says "you had that coming" and it can then be followed by various vulgarities.
and at the end, when david and she finally get together, you are filled with dread instead of happiness.
and then the topic of drug use. every drug used in this movie i have tried or do regularly. every single one. and i can say that the writer must have never even seen a cheech and chong film much less actually smoke a joint. scenes where david will fill a bong with smoke, and then set it down without clearing the precious pot smoke.
the tripping scene in which he has a clear vision of his mother and hangs out with her is just silly. if you havent tried acid and would like to see what its like, watch the first few scenes of fear and loathing in las vegas. the part with the golf shoes.
now the infamous coke scene in this film. she takes on line and loses her memory. my first time i did an entire 8ball in one night. i remember everything and i wasnt raped either. its easy to portray any sort of horrible attribute to hardcore drugs, but if youre making a drug themed film, youd better watch where you step.

this film is uncertain in its scope, and falls flat of even the most reserved of goals.
it has little to do with drugs and even less to do with people.

Most people just don't get it.
Most people just dont get this movie and they dont really understand the dark comedic genius. I think it has a lot to do with the fact that to fully appreciate this move you need to have smoked pot a few times and understand the lifestyle. Luke wilson does an incredible job portraying stoner who is oblivious to life and just wants to maintain his bong filled status quo. Andy Dick plays a great homosexual role as it came right after his binge days where he was trying to transition to his new anti-pop dark style comedy. And JACK BLACK??? Even though Jack plays a small role, he is a friggin genius....GENIUS i tell you!

Overall, this movie is a bit odd and really a dark comedy, but it is incredibly funny if you are in touch with the new forms of drug cultured comedy that this cast and director are trying to tap into. This movie is artistic, dark and funny. (Watch it and ignore what frat-boy-freddy and i-dont-get-it-betty are saying!!!!!

fabu
i love this movie. i think it's fabulous. and i'm not a stoner...

Not a stoner move, but a good movie
I bought this movie because my brother told me that it was a good stoner movie that also has Jack black and Britany Murphy. It turns out this movie has little to to with buds and alot to do with a bud dealer(Luke Wilson) and a girl trying to control his life(Alicia Witt).

i see some reviews saying that this was one of the worst stoner movie they have seen, and it would be if that was what the movie was about. Think of this movie as stoner style love story instead of a movie about nothing but smoking natures finest and getting into trouble. I recomend renting it before you buy it.

(...)

WAY TO GO ,BRO!
hELLO EVERYBODY!
I LOVE THIS MOVIE! IT IS MY BROTHER ,RICHARD, WHO DIRECTED. HE'S AMAZING! I'VE MADE THIS O.C.'S CULT CLASSIC MOVIE. ALMOST ALL MY FRIENDS,COWORKERS, AND FAMILY, HAVE ENJOYED THIS MOVIE!
iT HAS EVERYONE FAMOUS IN IT,TOO. ESPECIALLY, JACK BLACK'S PERFORMANCE WITH A LITTLE TENACIOUS D INFLUENCE.
MY BROTHER DOES'NT LIKE ALL THE ATTENTION THAT HE RECIEVES FROM THIS FILM. IF YOU LIKED THIS ONE THEN LOG ON TO ATOMFILMS.COM AND FIND "TACO BENDER" IT'S HIS NEW SHORT FILM. FUNNY AS HELL!
CHECK YA LATER! ENJOY! ... Read more

Reviews (19)

The Hospital plus 33 years
Its amazing to look back and view this film again to see how " we made out"!

Well we didnt! "The Hospital" underscores the malaise that was beginning in the early 70,s in hospitals. That malaise has now spread into a full blown epidemic. Today, 2004, the hospital,mostly any hospital is one of the most dangerous places to reside in.

They are unhealthy,replete with staff shortages, racked with mal practice suits, hammered by HMO's subverted by medicare rules and regulations and emeregency rooms that are packed with aliens getting their initial health care!

This film shows how organized mayhem effects health care and converts that to disorginized health care. George C. Scott is totally defeated physician who is rejuvenated by the allure of Diana Rigg( who wouldnt be) Its too late for Scott and many of the patients that fall to DR. Wellbeck's unsteady hands or Bernard Hughes' philosophy.

In the end Scott stays on in his quagmire sort of like a Capt who chooses to go down with his ship.

Unrelenting and terrific film hits all the marks so get ready!

CP

The star is successful, but the script dies
Only a volcanic performance by George C. Scott keeps `The Hospital' alive once Paddy Chayefsy's script flatlines.
The blackly comic set-up of the movie's first half _ a large urban hospital whose crass staff is dying off along with its hapless patients _ yields to smug moralizing in the second half and a ludicrous denouement.
As it unravels, `The Hospital' plays like a half-baked sketch for Chayefsky's far superior `Network,' and viewers looking for satire are better directed to that movie.
Still, in misanthropic medical director Dr. Herbert Bock, Scott has a character that allows him to give full vent to his talents as well as to Chayefsky's middle-class, white male rants.
Estranged from his family, curt with associates, overwhelmed by his job, Bock begins the movie one jolt short of suicide. That comes as other inhabitants of his institution beging dying off, in what seem to be hilarious if horrifying accidents.
But in the first of Chayefsky's major blunders, the good doctor's salavation arrives in the form of a free-spirited Southwestern hippie chick, played by Diana Rigg in an odd bit of casting.
After seeing this movie, Rigg talked about the difficulty of watching oneself on-screen. That's true figuratively and literally here. Her character is written not as a person but as middle-aged male wish fulfillment.
`The girl,' Barbara Drummond, mouths psycho-babble. Supposedly caring for her comatose father, she wanders around the hospital braless, her shirt unbuttoned to the waist. Rather than sexy, it seems witless and looks sexless on the utterly undeveloped Diana Rigg.
Wardrobe failures aside, at least Rigg has a semblance of a role. That's more than can be said of an estimable supporting cast that includes Barnard Hughes and Nancy Marchand.
There's only room for one person in Chayefsky's script, and that's his mouthpiece, Bock. It's to Scott's great credit that he makes his every moment on screen riveting. Fans will want to rent this movie. Others will want treatment afterward.

Schizoid
Schizophrenic film that can't decide whether it's Playhouse 90 or Airplane!. In one corner are Scott and Chayevsky making with the intense psychological realism and some really powerful moments; in the other is chaotic urban hospital laboring at zany gallows humor with a few scattered laughs. In between is director Hiller hoping for single workable whole. Result is awkward pastiche that doesn't live up to super-rich potential. Film is object lesson in how miscasting of even top-notch talent can produce disappointment. I keep wishing gifted amateurs like Zucker Bros. & Jim Abrams had gotten hold of idea first. Sure, Scott is great actor, but he's so authentic he overwhelms ambient efforts at satire; yes, Chayevsky gets off some good lines, but keeps piling on the prose long after it's peaked out. What the movie really needs are more sight gags and a lot less talky angst. In short, let the visuals carry the message -- something word fiend Chayevsky could never allow. My advice: once hippie chick Rigg starts bragging about Scott's restored virility, switch off, because it's a downhill ride from there.

The Hospital as microcosm of world's problems circa 1971
Paddy Chayefsky, the screenwriter of "The Hospital," introduces many of the themes here that he will perfect and revisit in 1976's essential film "Network" and his spiritual/psychedelic experiment "Altered States" (1980). "The Hospital," more or less, is about spiritual malaise -- when work can no longer replace sex as a primal drive (to loosely paraphrase one of Freud's maxims) ; when technology and scientific knowledge work to conspire against those it is supposed to help ; when generation gaps form as a result of all these changes. George C. Scott plays Bock, a middle-aged, "male menopausal" suicidal doctor who is trying to figure out where his lust for life is as well as who is killing off his doctors in a Manhattan hospital one by one. Like another classic George C. Scott film, Kubrick's "Dr. Strangelove," this is unusually dark terrain even for dark comedy. The cure for Bock's lack of passion comes in the person of Diana Rigg, a mid-twenties spiritual eclectic and acid-head. Ironically, she is presented as a complete space-case, but is the only object that can bring Bock to his central realization -- that he is "middle class" and that for him, love does not conquer all, but, rather, responsibility. Chayefsky shows himself off here to be a master technician, deploying language that would later sound at home in the TV show "ER," as he weaves a skewed realism with his particular brand of post-Marxist social commentary. An odd film, for sure, but definitely worth checking out.

unrealistic
The main draw of this movie is the rare appearance of Dianna Rigg outside Shakespearian theatre after her Avengers run. She is much more sexual in appearance and speech than her role in The Avengers including a low cut outfit and what seems a heavily padded bra.

For the plot to work the hospital is organized in a totally different, suboptimal, way than real hospitals. For instance, in real emergency rooms people are treated first and then at checkout asked for their insurance.

Also for the plot to work totally illogical things have to happen. Not to spoil the movie for you I cannot tell details, but ask yourself on the second viewing how a certain person could gain the knowledge that motivated his conduct. ... Read more

Reviews (74)

Appropriate adaptation
When asked what he thought of Kubrick's film of Lolita, Vladimir Nabokov said it was a "first-rate" film by an "artist." Even though only about twenty percent of his script made it into the final movie product, Nabokov was obviously impressed. The theatrical trailers ask the question, "How did they ever make a film of Lolita?" The only way, in 1962, a movie could be made about such a controversial subject was if it was presented as a comedy. James Mason as Humbert Humbert is excellent--speaks volumes with his eyes. Perhaps Sue Lyon as Lolita is a bit too old--she certainly doesn't fit the strict definition of a nymphet (aged 9-14, as the book mentions), although she was, I believe, 13 when the filming started. Maybe Peter Sellers as Quilty isn't as serious as his character may warrant, and may steal some scenes with his impersonations. But so what? We're talking about a movie made in the early sixties--the theatre audience has certain expectations.

Girls Mature Faster than James Mason
From the moment Humbert Humbert (James Mason) sees Lolita (Sue Lyons) lounging on the grass in her backyard in bikini and sunglasses, he's befuddled. Ain't no way he's gonna pass up renting a room from Lolita's mom, Mrs. Charlotte Haze (Shelley Winters) now. So the emigre spends the summer mooning after the 13-year-old nymphette while holding off the advances of the amorous landlady, as author Clare Quilty (Peter Sellers) and his beatnik girlfriend make a big splash at the local dance.

I enjoyed "Lolita" immensely, much more than I thought I would, although I didn't expect the movie to take the plot twists it did, some of which are quite jarring.

Still, the actors are all first-rate. James Mason does a great job as Humbert, appropriately out of it for some scenes, conveying a certain nonconversance with the English language without feigning any sort of accent different from his own famous one. Sue Lyons does the bored teenager quite well, very naturalistic. The real startler, though, is Peter Sellers, whose American accent is right on the money, and who manages to contrive several subcharacters within Clare Quilty. It's a pity, really, that he got so bogged down with Inspector Clousseau and didn't display the full range he might have more often.

Make a date soon to find out "How did they ever make a movie out of Lolita?" and see if you are as helpless as poor James Mason.

Nice movie, but it's not Nabokov's "Lolita"
If ever the statement that the movie is not as good as the book is true, it applies to Kubrick's "Lolita". I really like the movie on its own, but it bears little resemblance to the novel (my favorite) other than young girl/old man, the names, and the broadest structure of the story.

Problem areas:

1. Age - by Humbert's definition, a nymphet is between 9 and 14 years old. Sue Lyons was too old, and looked even older. Mason was about 10 years too old as well, and not really the "glamor man" Lo would be attracted to (as in the book).
2. Disregard for the content of the novel - by ignoring the screenplay written by the original author and making up other scenes that were not part of the book, it makes one wonder what story was being told.
3. Location - in the novel, Humbert and Lolita travel 27,000 miles in the course of a couple years, and geography plays a substantial part in the book. Filming in England provides little geography and motel-hopping lifestyle that was so prevalent in the novel.
4. The same three things in both versions of the movie bother me, as I feel it robs Humbert of some nuance to his character:
A. No mention of his pre-Lolita first wife, Valeria. He was not always just into nymphets.
B. No mention of his post-Lolita second wife, Rita, (and taping a goodbye note to her navel so she would find it as he goes off to track down Lo).
C. The last page-and-a-half from the book was left out. This is possibly the most moving passage of the novel - when Humbert offers his apology for all his nastiness, and his admonition to Lolita, and the revelation that neither Lolita nor Humbert are alive as we read the book, and his pathetic summation..."I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my Lolita." It ties everything together and completes the circle.

Strengths:

1. Acting - this was good by the 4 prime characters - Lolita (Sue Lyons), Humbert (James Mason), Charlotte (Shelley Winters) and Quilty (Peter Sellers).
2. Cinematography - nicely filmed, in black-and-white.

This is a good movie - but it certainly is not Nabokov's "Lolita".

The Remake is a Better Film
I was surprised, after seeing both versions of Lolita back to back, that again and again people were calling the original a classic, even a masterpiece, while never having seen the 1997 version.

The original is drab, lacking in sensuality, atmosphere and character depth. Yes, the first hour is devoted to the household of Lo with her mother and more time is devoted to Quilty, who is distractingly entertaining in a number of unnecessary scenes.

Yes, Kubrick is regarded as one of the best filmmakers of all time. But this film is proof that even artists have their limitations when it comes to theme and mood. Kubrick has never been sexy or warm, not even perverse, as Humbert must be explored in all of these contexts as an adult in love with a child.

The story is about the exchange of power and affection between two individuals who should not be indulging in such an unhealthy intimacy. It is not about Charlotte getting drunk at a party, or how many accents Sellers can provide, it is about a human connection and the audiences' judgement of that connection.

It is interesting that Nabakov wrote the screenplay- when he had created such a lusty, colorful novel as Lolita. All color, literally, is lost in the 2 act film adaptation. Lyne made a film with vision, beauty and disturbing performances that do the novel justice. It gives a lot for an artist to think about when the best choices for a film is other than one of the world's most renowned directors and the novel's own author . . .

Pretty great
Do yourself a favor-and see this version of Lolita before you, or if you ever do get around to watching the 1997 film.This movie captures the novel's essence a whole lot more; not to mention, it's superbly acted and written, and feautures an array of great scenes.

James Mason is wonderful as Humbert Humbert. Stiff and charming and doomed all at the same time, he conveys his characters' feelings perfectly.Shelly Winters is an absolute riot and adds all the spunk and humor to the first part of the film.Peter Sellers works in some great lines as the pathetic Quilty, and Sue Lyons; well, she's not much of an actress, and she's a tad too old for the part.But the age gap is hardly noticeable, and one doesn't need to be much of an actress in order to convey the part of Lolita-she's more like a backdrop to the movie than an actual character. Yes, things get a bit drab in the end-the movie is certainly a whole lot more fun and irresistable in the beginning,due partly to the presence of Shelly Winters. And this film lacks the emotional impact, although I'm pretty sure it was intended as more of a dark comedy than a drama.

I don't think this movie is worthy of classic status or anything, but it's quite a great film.It's got great performances, and the script is absolute perfection,a marvel, I can't tell you how good it is(written by Nabokov himself).It's definately worth a watch, whatever your tastes.Don't expect to be blown away, but do expect to be fairly pleased, as all in all, this is a fine film.And if you're really,really curious, well then read the novel, which is more dense and difficult than one would imagine. ... Read more

Amazon.com

Before making Batman, director Tim Burton and star Michael Keaton teamed up for this popular black comedy about a young couple (Geena Davis and Alec Baldwin) whose premature death leads them to a series of wildly bizarre afterlife exploits. As ghosts in their own New England home, they're faced with the challenge of scaring off the pretentious new owners (Catherine O'Hara and Jeffrey Jones), whose daughter (Winona Ryder) has an affinity for all things morbid. Keaton plays the mischievous Beetlejuice, a freelance "bio-exorcist" who's got an evil agenda behind his plot to help the young undead newlyweds. The film is a perfect vehicle for Burton's visual style and twisted imagination, with clever ideas and gags packed into every scene. Beetlejuice is also a showcase for Keaton, who tackles his title role with maniacal relish and a dark edge of menace. --Jeff Shannon ... Read more

Reviews (107)

Say it once, say it twice, third time's the charm!
When this movie first came out about fifteen years ago, my father owned a video store and every Wednesday night was "Beetlejuice" night. I'm older now, obviously, but I still cannot get enough of this movie.

Alec Baldwin and Geena Davis play Adam and Barbara Maitland, two Connecticut yuppies who die prematurely in a car wreck. Within a couple weeks, their home is overrun by an ultra-trendy New York City family, Charles and Delia Deetz, and their Goth daughter, Lydia (played respectively by Jeffrey Jones, Catherine O'Hara, and Winona Ryder). Adam and Barbara want their house back, and attempt to scare the Deetz's out of the house by wearing sheets and even by possessing them over dinner, making them sing and dance to Harry Belafonte's "Day O." Those attempts fail and enter Michael Keaton as Betelguese, "the afterlife's leading freelance bio-exorcist." The movie is dark without being scary and funny without being ridiculous.

In my opinion, one of the real gems in this film is the late Sylvia Sidney as Juno, Your Case Worker. Sidney was pushing eighty when this film was made, but turns in a great performance as the embittered equivalent of an afterlife social worker. Love how the smoke from her ever-present cigarette comes out of the slit in her throat.

If you've never seen this movie, see it. If you have seen it but don't own it on DVD, get it. The picture quality is better than ever.

tim burton=a classic movie
a couple dies.they live in a house as spirits and then some people move in.the dad is a dork.the mom is a control freak,crazy women who sculpts.she is a similar character in home alone but in that one shes a unbelivably terrible and neglectful psycho mom.the daughter is a dark depressed girl played by wyona ryder.she looks very sexy in thisone.a cool line is:my whole life is a dark room.one big dark room.they get constant visits from other weirdos also.the 2 dead people-some dork and a belive it or not somewhat sexy geena davis play them.they spirits try to scare the living out but are too good natured to suceed.so they hire michael keaton-beetlejuice-to get rid of them.he is more forceful.it is a tim burton movie which of course means its awesome.most everyone could like this.wyona ryder looks awesome in a red wedding dress late in the film.that stupid child hater of a mom lady is this movies only flaw.shes such a bitch.this movie is full of well written mastery and great special effects.it is great!

beetlejuice
this movie was really good, it was so creative, like edward scissorhands. i loved the story and the underworld scenes were great. i think that winona ryder did an excellent job as Lydia, the troubled daughter. betelguese was hilarious! this is not your mainstream kid movie, be aware of that if if you plan on showing it to your kids.

Remains one of my favorites
Re-watching Beetlejuice more than a decade after it thrilled, frightened and enthralled me as a child makes me sad about Mr. Tim Burton's transformation into a Hollywood favorite semi-quirky remake-director (Planet Of The Apes, Sleepy Hollow) in recent years (Big Fish indeed signals a hopeful recovery - if only Charlie And The Chocolate Factory doesn't spoil it...!) At the young age of thirty, and in only his second full length feature, Burton created a cult favorite that is one for the ages. In this bizarre, off-beat script by Michael McDowell (who collaborated with him before on an episode of the 'Alfred Hitchcock Presents' television series) he found the ideal vehicle for his unique and strange imagination - and indeed, Burton's unique vision is more apparent here than in any of his movies, The Nightmare Before Christmas being the happy exception. Though it's true that it's not as personal a creation as 'Nightmare' or Edward Scissorhands, this is the movie that would place Burton on the map as a major director, and would earn him his breakthrough job - directing the first Batman feature film. It is on Beetlejuice that he would also start several long-time collaborations with actors who would work with him again in the future - Michael Keaton (Batman & Batman Returns), Winona Ryder (Edward Scissorhands), Jeffrey Jones (Ed Wood, Sleepy Hollow), Glenn Shadix and Catherine O'Hara (both of whom did voiceovers for Nightmare Before Christmas).

So, again, while Beetlejuice isn't as deep and personal film as we would see in Nightmare Before Christmas, Edward Scissorhands, Ed Wood or Big Fish, Beetlejuice is an incredibly imaginative and captivating film and is a perfect black comedy. Geena Davis and Alec Baldwin are both more than adequate, but Michael Keaton in the title part is of course the real star of the show - although in reality his part is much smaller than those of Davis and Baldwin. Keaton is electric and mesmerizing as the bio-exorcist or 'the Ghost with the Most', Beetlejuice (spelled BETELGEUSE!), probably the greatest and most memorable performance of his career (with the possible exception of the part of Batman). Keaton really let loose in Beetlejuice, and he and Burton were seemingly having a blast - they created one of the most memorable horror and comedy characters on the big screen. Seventeen year old Winona is also terrific as Goth-girl Lydia, fascinated and repulsed by Betelgeuse's extreme personality. Similarities between her character here and the one in Edward Scissorhands are easy to find, but for my money her performance as Lydia is the better one.

And in conclusion, if there's any movie that I'd recommend to own on VCR or DVD, it's Beetlejuice; because Burton at his best made films that are well rewarding in repeated viewing, and Beetlejuice is Burton at his very, very best, even if it's not his best film. So even if it's not an essential masterpiece like Edward Scissorhands, Beetlejuice is one of the classic cult films of all time, and I can't imagine going through life without it - that is, if you have the tiniest bit of a sense of fun and humor.

This is the dumbest movie I ever saw...
I can't see why so many people liked this movie. I think it stinks. It has no script, Burton's story telling is lost in bad effects and cheesy dialoge and Keaton gets to act like a goofball. These two were no way the right ones to make Batman. ... Read more

Amazon.com essential video

If anyone ever doubts whether Nicole Kidman is a good actress, they should immediately be required to watch this outrageously wicked comedy from 1995, for which Kidman deservedly won a Golden Globe for Best Actress in a Leading Role. While director Gus Van Sant handles the fact-based satire with razor-sharp precision, Kidman delivers a deliciously devious performance as Suzanne Stone, a small-town New Hampshire housewife who fancies herself the next Barbara Walters, Jane Pauley, Diane Sawyer, and Maria Shriver all rolled up into one meticulously coiffed package. So determined is she to have a successful career on TV that she'll stop at nothing--even the calculated murder of her husband (Matt Dillon)--to get the attention she feels entitled to. To carry out her scheme she recruits some unwitting local teenagers including one boy (Joaquin Phoenix, matching Kidman's excellence) whose infatuation with Suzanne leads to sexual escapades and predictably troublesome consequences. It's a satirical comedy in Van Sant's capable hands, but it's so close to tabloid reality that the film never seems implausible--which only gives it a funnier, more blood-chilling quality of humor. Featuring Illeanna Douglas, George Segal, and Seinfeld alumnus Wayne Knight in memorable supporting roles, this is one of the best comedies of the '90s--especially if you prefer comedies with a decidedly darker edge. --Jeff Shannon ... Read more

Reviews (44)

Sublime and Vastly Underrated
The fact that To Do For is not more highly regarded is a mystery to me. It only garners a 6.7 on IMDB.com. All of the ingredients were there, an incredible and gifted director in Gus Van Sant, what I consider to be Nicole Kidman's finest performance, a wicked and not just satirical script and an excellent supporting cast.

Of particular note is Joaquin Phoenix's portrayal of Jimmy Emmet, the typical high school metal head loser who becomes obsessed with Kidman's evil character, Suzanne Stone-Maretto. Phoenix is a gifted actor with a wide pallet to choose from. Contrast this performance with the job he does of playing The Abbe in Quills. It makes his role in To Die For all the stronger. Allison Folland is also a standout in her debut performance as Jimmy's pathetic friend Lydia Mertz. Together with Casey Affleck as Russel, the three unwittingly become assassins for the callous Mrs. Stone. The story is built up very effectively, and as a viewer there is never any doubt that these three "dorky" kids will pull the murder off.

Also magnificent and lending strong supporting roles are Dan Hedaya and Illeana Douglas who play Larry Maretto's father and sister, respectively. The part of Larry is played with near perfect un-bravado by Matt Dillon, who does so without his usual pomp and bluster. Basically, Larry is the perfect everyman trying to do right by his new wife and family [....]Hedaya is perfectly cast and uses his natural menacing qualities quite well. My favorite though, is Janice Moretto, Larry's sister played by Douglas, who is the only character who sees Suzanne for what she really is. The dancing on the grave ice-skating bit at the end is also really well done. Douglas doesn't fall once.

Hats off to Van Sant for a creating a satirical masterpiece that contains enough side elements to hold the viewers attention through more than one viewing. For instance, what exactly is Suzanne's relationship with her father? Also, the fact that Janice is most likely gay and this might be why she understands Suzanne so well. Cudos as well to the director for the style he employed, blurring the line between film and documentary. Some people have argued to me that To Die For contains too many cuts and flashbacks and consequently the viewer has a difficult time following the action. I do not find that to be true. Quite the opposite, I find the film to be compelling. Even after at least five viewings, To Die For firmly holds my attention throughout.

The Perfect Film for a Celebrity-Obsessed Culture
"To Die For" is a great little gem of a movie that, in my opinion, ranks as one of the best dark comedies of the last decade. Nicole Kidman, in what is probably her finest performance to date, is stunning as Suzanne "Stone" - her real name is Maretto - a completely self-absorbed, amoral, and utterly ruthless young woman who will let nothing stand in the way of her obtaining her goal of being a "television star". The film is shot in the style of a slightly wacky TV documentary, which only adds to the fun, as we see the "post-tragedy" interviews with those who were involved with the late Miss Stone. Stone is an attractive but cold-blooded blonde in a small New England town who is desperate to become a national celebrity on a national TV News Network. As proof of her warped psyche, she tells the audience "You're a nobody if you're not on TV" - which unfortunately does seem to accurately describe the feelings of many people these days. She's also determined to move up the social ladder in her little town, and so as the film begins she seduces and marries the handsome quarterback of the high school football team (Matt Dillon), the most popular boy in town. Dillon's sister despises Suzanne and sees right through her facade, but Dillon is so entranced he doesn't listen. Dillon goes on to work in his father's pizzeria, but Suzanne obtains a job as the weather forecaster for the local rinky-dink TV station, and begins to have dreams of glory. One of the darkly funny aspects of this film is that for all of Suzanne's scheming and ruthlessness she's not very bright, and her attempts to sound and act "sophisticated" are often hilariously inept. When her faithful but old-fashioned hubby tells her to quit her job and help him with the family business, she decides he's "impeding" her career and that she'll have to kill him. So she seduces an underage teenage geek (hilariously played by a very young Joaquin Phoenix), has a torrid sexual affair with him, and then convinces him to murder her hubby. At first she uses the shock of the murder to obtain further publicity - "you've got to think of your career first" - from the local and state media. Unfortunately, her underage love affair is discovered and she is ruined. Ever undaunted, she begins plotting her comeback, but Dillon's family (they are Italian), has a little surprise planned for their murderous in-law. Kidman's performance is dead-on - she plays Stone as a parody of the type of person who will do ANYTHING - even murder - to get on TV and become "somebody". The supporting cast is also excellent. The most troubling part of this film is that it was loosely based on a real story - an attractive New Hampshire schoolteacher who by most appearances had everything seduced a fifteen-year-old student and convinced him to kill her husband - apparently so she could leave her hometown and try to become "famous" in the big city. "To Die For" may seem like a delicious but improbable story - but it's really not all that far from today's news headlines. Ouch!

Not bad because of Joaquin
This movie is not bad but it's not that great either. I always like Nicole Kidman, with or without Tom Cruise. But what I really like about this movie is Joaquin Phoenix' acting. Call me at 156-38-3461.

not the worse film or acting...
but definately not the best or even above average. why does kidman have to inhale rapidly like that after she finishes a sentence (referring her private video segments)? isn't she a trained actress that has learned breath control? i understand she wanted to protray a psycho-ditz, but... anyway, i watched it to the end, i guess mostly because it was based on a true story.

A Train Wreck
This film really misses its mark. Billed as a black comedy, it fails to deliver any satirical bite whatsoever. Suzanne Stone's frequent video segments where she speaks directly to the camera and the flashforwards to some sort of Jerry Springer-like show are painful to watch. Yeah, Nicole Kidman is extremely sexy (duh), but it's not nearly enough to overcome her marginal acting, the clumsy dialog and the amateurish direction.

See this movie for all the humor of "Dying Young" coupled with the social commentary of a SpongeBob episode. ... Read more

Description

London. The 60s. Two unemployed actors-acerbic, elegantly wasted Withnail (Richard E. Grant) and the anxiety-ridden "I" (Paul McGann)-drown their frustrations in booze, pills, and lighter fluid. When Withnail's Uncle Monty (Richard Griffiths) offers his cottage, they escape the squalor of their flat for a week in the country. They soon realize they've gone on holiday by mistake when their wits-and friendship-are sorely tested by violent downpours, less-than-hospitable locals, and empty cupboards. An intelligent, superbly acted, and hilarious film, The Criterion Collection is proud to present Bruce Robinson's semi-autobiographical cult favorite in its complete and uncut version. ... Read more

Reviews (82)

Cult Masterpiece!
Withnail and I is one of those movies that you'd either love or hate. Fortunately, there's a better chance of you falling in love with the film---and no wonder why, thanks to the characters and the great dialogue.
While it will resemble Fear and Loathing in Las Vegas (including Marwood's living quarters, messy enough to rival Hunter S. Thompson's hotel suites!), the film itself is more about two drug addicts (and not to mention jobless actors) who gets away from the pessismistic atmosphere of London---and drugs---by moving into a cottage in that wonderful English countryside, where it's as cold as Greenland and as sunny as England can get (read: RAINY) in order to "rejuvenate". And as one can guess, what they really do is far from rejuvenation.
The cast themselves are excellent, from our anxiety-ridden narrator, Marwood, who frequently gets paranoid about things, to the main star of the film, Withnail, an alcholic with a tendency to say insulting things... as well as to recite a few lines of Hamlet, along with a bottle of booze, of course. Also of notable mention is Richard Griffiths, who plays the delightful role of Withnail's old-fashioned, homosexual uncle who lends to our to characters; and Ralph Brown, who plays drug dealer Danny---picture your stereotypical American "Dude", and then add in a British accent, holding the infamous "Camberwell Carrot", a collection of cigarettes rolled into one giant one!
A fascinating, exceptionally funny (in a British sense, of course!), and ultimately engaging, if unconventional, film, filled with outstanding perfomances, and great (if at times insulting, which makes it even greater) dialogue. A definite cult masterpiece, and thoroughly British, too.

One of my favourite films of all time
Criterion has done a wonderful job with this DVD release of WITHNAIL & I. The picture looks sharp, the sound is clear, and the extras are a lot of fun. The biggest difference for me was that the only video version of this film I owned was the full-screen version that contains numerous edits. Watching this film uncut for the first time in years really pointed out how much I had been missing with the video version. Getting this DVD is definitely worth the money.

The film itself is a joy to experience. While the plot cannot be accused of being overcomplicated, this simplicity is more than made up for in the wonderful characters and brilliant dialogue (virtually none of which can be quoted in an all-ages forum such as this). Loosely narrated by Paul McGann's "I" character, this film depicts a brief period in the life of two struggling actors as they attempt to find booze, drugs and jobs in the dying days of the 1960s. The movie covers a wide spectrum from some scenes featuring the funniest lines that you'll ever hear to small touching moments that are surprisingly moving. This is highly recommended to anyone who enjoys good moviemaking.

Every character in the picture is superbly acted and written for. It's a testament to Bruce Robinson's directing skills that the characters compliment each other so well instead of clashing and overbearing the others as could so easily have happened. The secondary characters work as well as the leads and each one adds their unique flavour to the mixture. Robinson doesn't make the mistake of giving the smaller parts too much on-screen time and having them overstay their welcome. Each character says and does no more than they need to and leaves everyone wanting more.

Richard E. Grant and Paul McGann are perfectly cast in their roles. Each bile-covered insult roles off of Grant's tongue as if he'd been swearing at McGann all his life. It's amazing that Grant is a teetotaler in real life and was relying on pure skill for most of his inspiration. Excellent acting.

The documentary that is included on the DVD is 30 minutes long and quite excellent. There are interviews with Richard E. Grant (Withnail), Paul McGann (...& I), Bruce Robinson (writer/director), Ralph Brown (Danny) and a host of other people related to the production. It's a funny and enthralling look at the people and ideas behind the film. Just fast-forward through the trainspotters.

Enjoyably eccentric black comedy
Written and Directed by Bruce Robinson (who would later go on to make the Uma Thurman movie JENNIFER 8) WITHNAIL & I is a semi-autobiographical black comedy about two struggling actors in Camdenton London during the last months of the 60s. The future is looking rather bleak for Withnail (Richard E. Grant) and I (Paul McGann). Both are out of work and in the midst of drug and alcohol problems. After hitting rock bottom the pair decide to take a peaceful vacation in the country and plan on how to re-establish some direction in their lives before the new decade begins.
However their stay in the country turns out to be anything but tranquil when the boorish, self absorbed Withnail manages to bring out the hostilities of the locals. Both reduced to the status of village pariahs, the unwelcome duo find themselves confined to the tiny cottage where they are forced to burn their own furniture to stay warm, and literally shooting fish in order to survive.
Though the movie is a bit plodding and self-important at times; WITHNAIL & I is nonetheless an absorbing and well-acted low key cult item that is worth a look for curiosity's sake. (Not something I'll have to point out to those people have seen the movie more than a dozen times! I've only seen it once.) The highlight of the movie for me is the scene in which Withnail concocts a novel way to get let off a drink driving charge.
The movie was Produced by the late George Harrison, and Ringo Starr also appears in the credits as "Richard Starkey M.B.E". Sadly, the DVD I watched didn't have any bonus features.

GETINTHEBACKOFTHEVAN!!!
I dunno, folks - you just gotta love England, eh? LOL...

Great Drinking movie for Monty Python Fans
If you like dry English humor, as I do, you will LOVE this flick. Great movie to drink to you ponce. If you draw a Queen at Uncle Monty's you're doomed. See it, it's great. Also, it's produced by the Dark Horse himself! ... Read more

Reviews (16)

More like 3.5 stars; a fine, funky 70's curio
Alternately ahead of its time and an unmistakable product of its era, the 1976 paramedic comedy-drama "Mother, Jugs and Speed" has finally made its way to DVD.

This uneven but underappreciated little B-movie drew obvious influence from the blood-and-pranks mixture of Robert Altman's "MASH," but you can also see its darkly comic influence on contemporary fare such as "Six Feet Under" and "Bringing out the Dead," and it poked fun at zip-ups gone wrong 20 years before "There's Something About Mary."

Bill Cosby and Harvey Keitel play Southern California ambulance drivers forced to contend with all manner of accidents and injuries, both amusing and tragic. The all-over-the-map cast also includes Raquel Welch, Allen Garfield, Dick Butkus, Bruce Davison, L.Q. Jones, Larry Hagman (as a creepy lech whose antics haven't aged well) and even Allan Warnick, the kid from the records room in "Chinatown."

With its gritty, widescreen look and those awesome blue lens flares so common to the period, "Mother" is a fine, funky 70's curio. Welch and Keitel (who had just been replaced by Martin Sheen in "Apocalypse Now") are stiff but the rest of the pre-Carter administration cast seems to be having fun, particularly Cosby, as the glib, laconic Mother. It's a bit strange to see the sitcom star playing an anti-hero, but his cool, sneaky performance breezily anchors the movie.

Good drive-in fare
Pretty much what you would expect, given the plot--two competing ambulance services chase around the city for patients and profits; the wacky stuff, like occupied gurneys rolling free down city streets and scaring nuns at crosswalks alternates with the mercifully brief meditative stuff--shortly after giving his "There's more to life than this" speech to fellow EMT Bill Cosby, Bruce Davison gets blown away by a junkie who wants drugs from their rig. Raquel Welch moves her way up from harassed office secretary (everyone at the station calls her "Jugs", nice, huh?) to EMT, but loses her first patient--bummer! Harvey Keitel is Raquel's love interest (rare that the man gets subordinated in that way), and Cosby underplays nicely as the most professional of the group. Allen Garfield does his usual sleazebag routine as the put-upon head of the operation. Funny in spots--evocative of the time period. Really stretches the "PG" rating--the board must've been in a giving mood--lots of rough language, drug and alcohol use, and yes, Larry Hagman's character at least TRIES to have sex with an OD patient in the back of his vehicle. Raquel, though, "comes through" under a sheet (a lot happens in the back of those vans!) Can't give an "expert" review--I'm a librarian!

A 70's Classic finally on DVD!!!!!
After all these years the Peter Yates classic staring Bill Cosby, Raquel Welch, Harvey Keitel finally arrives on DVD. Take Cosby's humor, Raquel's sex appeal, Keitel's smouldering late 70's cool and one sweet ride of an ambulance, and you've got Mother, Jugs and Speed. Peter Yates' classic take on the ambulance industry in metropolitan Los Angeles gives us a little bit of everything in a quick, well paced film. Cosby's charm shines in one of his best roles i think as the cynical, no nonsense ambulance driver Mother Tucker. Just by looking at Mother's custom Rig, and patch covered jacket you get the impression that Cosby's character was not always an ambulance driver, but perhaps was once something quite differnt. Follow the F+B ambulance company and their staff of irregulars (Including Larry Hagman of Dallas Fame, and football player Dick Butkus) as they do their best to save the lives of their patients and hammer away at one another with a barrage of jokes, and one liners. They don't make comedys like this anymore where the car was just as big of a star as the trio named in the title. While normally found in the comedy section, the film does have an equal number of "dark" moments that let the viewer know that Yates wasn't just doing this for laffs and help to balance out the humor. The DVD transfer is crystal clear, and the slamming 70's soundtrack will be nostalgic for some, and new, and inventive to others. Another reviewer mentioned hearing Peter Frampton's "Show me The Way" playing in an early scene, and I always think of this film when i hear that song. Treat yourself to a 70's classic, and enjoy the ride, and pray that if you ever need the guys in white that he shows up wearing yellow sneakers with red socks, and goes by the name of Mother Tucker.

How do I love Jugs, let me count the ways
I could spend countless words proclaiming the greatness of this film as one of the great urban street comedies of the 70's but just watch the film and it will speak for itself.
I do want to mention that the director of this cinematic gem also directed a little number called "Krull" which is to high fantasy what "Mother, Jugs, and Speed" is to the world of high-brow comedy.
Plus it gave us Lysette Anthony.

A very enjoyable movie about EMT work!
I think this movie is one of Bill Cosby's funniest and best. He plays an fun loving Emergency Medical Tech (EMT) worker who works by his own rules. He drinks his beer, jams his Brother Johnsons tape loudly and scares nuns. The movie does have some very funny moments (like the runaway gurney with the lady strapped to it). Rachael Welch, Harvey Keitel, and Larry Hagman all play fine supporting roles in this movie. Hagman is espically hilirious as an hot to trot driver. I agree with another reviewer who said that this movie shows EMT work in its earliest beginnings. Basically, they were running from call to call dealing with all kinds of different patients and situations. I also like this movie because it was filmed on location in Venice, Culver City, and Los Angeles California. This movie is one gems from the early 1970's. I recommend it highly to anyone. ... Read more