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Painted in mile-wide strokes of black satirical comedy, The LastSupper turns intolerance into a parlor trick, then repeats it ad nauseam incase we missed the joke. Still, redundancy can be fun when applied to thepremeditated murder of right-wing extremists by self-righteous left-wingzealots; director Stacy Title is an equal-opportunity offender, never takingsides. The grisly high jinks commence when a truck-driving, child-molesting,Hitler-loving ex-Marine (Bill Paxton, acing the role) is accidentally killedwhile dining with a clutch of snobby liberal grad students, played with uniformexcellence by Cameron Diaz (showing early promise), Ron Eldard, Courtney B.Vance, Annabeth Gish, and coproducer Jonathan Penner. Having acquired a tastefor blood, the wine-poisoning liberals stage "last suppers" with hand-pickedtargets (Charles Durning, Mark Harmon, Jason Alexander, and ultimately RonPerlman), eventually attracting a suspicious sheriff (fine work by SNLalumnus Nora Dunn). It's got all the subtlety of a pile-driver, but The LastSupper craftily defends free speech by exposing its most vicious violations.--Jeff Shannon ... Read more

Reviews (27)

Eat... drink... and be buried...
I loved this movie! It was original, surprising, funny, shocking...BRILLIANT - and the ending...its rare that a movie has such a neat ending! The story centers around 5 Liberal left winged grad students who enjoy getting together and having a meal, while discussing current events & political opinions w/ guests. But it turns into a dangerous game when they accidentally kill a racist dinner guest. (Played by Bill Paxton - what a switch from the roles he usually plays!!) After that, they began to invite over people, and if they don't agree w/ their beliefs, they poison them. Its sounds a little kooky but the way screenwriter Dan Rosen puts the story together is amazing.

I don't recommend this movie for younger viewers; just because I don't think they would understand it - you have to be familiar w/ Liberals vs. Conservatives, right wing vs. left wing, etc. to understand the movie. I loved each and every one of the characters esp. Courtney B. Vance and Cameron Diaz! (this was one of Miss Diaz's first movies) It has some awesome cameos too! (Jason Alexander from "Seinfeld" plays one of the victims) On top of all that the soundtrack is GREAT too (a lot KC & The Sunshine Band, and dance music) I recommend you pick this movie up...it's a wickedly amusing dark comedy that will have you laughing all night!

Want to see everyone "get their due?"
An entertaining weekend movie, though it has moments that make you feel like you are putting yourself through it!

Five liberal grad students' favorite activity is dinner with a stranger-they enjoy the copmany of a guest they disagree with, over one of Cori's homecooked meals. We begin the movie with the night that dinner went wrong. After a guest too conservative for the conservatives (it was later revealed that he was more evil that they imagined)is killed, they decide to save the world by eliminating hosts of ultra-conservative, prejudiced and/or ignorant people.

Naturally, everything unravels...after one ignorant guest finds their liberal opinions convincing, they get nervous and quickly convince him not to change his mind, hence another body in the back yard. The meals get simpler (the fancy meals shrivel up into unembellished white bread sandwiches), the garden becomes a jungle (each grave is covered with tomato plants, a cover-up), and the blood (and tomatoes!) is everywhere!

Yes, I am biased to recommend this. I love all the point-of-view shots and humor that makes fun of everyone from every view point. Yes it's funny-if not QUITE sick!

Liberal Vengence
This is an excellent movie that never really recieved much publicity when it came out. What this movie basically tries to depict what it would be like if a group of liberals decided to go to extreme measures to rid the world of outspoken right-wingers who's death (to coin a phrase) would make the world a better place in their eyes. It does not sound like something worth observing but a few years ago I just happened to catch it playing on a cable movie channel and I just couldn't stop watching it!

The movie starts with you introduction to the primary characters consisting of a group of liberal graduate students at Iowa State University. This group is played by Ron Eldard, Annabeth Gish, Jonathan Penner, a still relatively unknown Cameron Diaz, and the great character actor Courtney B. Vance. The story starts out on a stormy night while all but one of the students is watching T.V. and discussing the nonsense gloating of well known conservative Norman Arbuthnot (Ron Perlman). Then there is a knock on the door and upon answering it they find out that their other roommate's car had broken down and he had been brought home by a truckdriver named Zack (Bill Paxton). They decide to be polite and invite Zack in for dinner. Through the course of events they find out that Zack is an extreme right-winger and desert storm veteran (and argument waiting to happen). To make a long story short they get into a scuff wherein Zack breaks Pete's (Ron Eldard) arm and Marc (Jonathan Penner) in the heat of the moment stabs Zack in the back with a kitchen knife.

In the aftermath of this incident, they (as calmly as they could) decide that it is best to not mention this to anyone as the courts would probably side with Zack. So they bury Zack in the backyard and dump his pickup in the river. Well in the days after the incident, after much deep conversation about what happened (which we liberals tend to do), they start to think about whether what happened was actually a bad thing or not. (What if someone with enought motivation were to get rid of some of these dangerous right wing a** ho*es and in the process make the world a "better place")

So they basically form a plan to invite a different person for dinner and discussion every weekend that has extreme conservative views and try to change their minds about things through debate. And if the person cannot be persuaded, they kill them by giving them wine poisoned with arsenic. Thereby getting rid of a potentially dangerous person (A potential Hitler they call it) and making the world a better place.

So this is how the story gets started and how the suspense is wound up through the course of their plan. The people that they invite over are played by many well-known actors including Charles Durning, Mark Harmon, Jason Alexander(Seinfeld), and finally Ron Perlman's character himself. The story is suspensefull and gripping and also includes a lot of insitefull symbolizm. A definite must see for anyone liberal or conservative. It holds a special significance for me because I am an Iowa State grad student myself (note: I am not really sure that it was actually filmed in Ames, Iowa I really don't recognize any of the scenery shown in the movie). Let it be known that the extremedy of the political and social viewpoints presented by the characters in this film are not my viewpoints or beliefs. It is just a wonderful movie for all adults. See it, absorb it, love it!

Dark Humor at its best / original script
This is black comedy at its best. Stacy Title wrote an incredibly original script. The acting is amazing with a very young Cameron Diaz which Im not a huge fan of but this may be her best performance. Courtney Vance is great as usual & 1 of my favorite female actresses Annabeth Gish. Also Jason Alexander (Seinfeld) gives an hilarious performance as an extreme conservative right winger. The story 5 left wing liberal grad students in Iowa share a house together & every Sunday they have supper together discussing left wing politics /socialism & ways they can change the world. In short they come across a drifter truck driver (Bill Paxton) who comes to their door. They invite him in for the ritual supper & he turns out to be a fascist,mysoginistic hitler loving ex marine. In an argument with one of the hosts he breaks their arm. They stab him in the back killing him then they hide the body in their garden. Deciding this is the only way to make a difference they come up with an idea to start inviting known conservative right wingers for last suppers allowing them to plead their choice of political & social views. Like judge & jury if not up to agreement with the hosts a little poison goes in the right wingers wine. A very dark original indie film & script. One of my favorite dark satirical comedies.

A good movie I never remember hearing about

I rented this movie and was pleasantly surprised how much I enjoyed it. The story was demented and there were a few laughs, mostly as the groups victims argued their opposing positions, not knowing they were literaly debating for their lives. "A toast..." *thud* The cast was excellent - Courtney B. Vance and Nora Dunn both get big thumbs up, while Ron Eldard's whining got on my nerves towards the (surprise) end. All in all, a pretty good movie. ... Read more

Reviews (6)

There's more 'truth' to be found in an After-School Special
Sorry, this film is best left forgotten. Cornball to the extreme, but without the irony. Ray Liotta and Kathy Baker as romantic interests. It's enough to make you puke in your popcorn. One of the truly worst movie-going experiences of my life. Avoid!

Too true story of Veterans socalled health care
For those who have had close experience with VA Hospitals, this is more nearly a true story than most would imagine. Not every VA hospital is the same, some worse, some better but this movie was brought to my attention by a VA Physician who recommended that everyone see it (and believe it). Discussion with Service Officers across the country bear out the conditions as do reviews by various TV reporters. The movie is compelling with enough comedy to give a little relief and is well worth owning. We wore out our first copy loaning it out.

Unrecognized gem.
Article 99 (Howard Deutch, 1991)

Here's an interesting concept. Take a director whose career is rapidly fading, give him a star whose career is rapidly fading, and stock his film with rising stars. Think you can come up with a saleable product?

You can if you're Howard Deutch (Pretty in Pink) and Kiefer Sutherland (The Lost Boys). Article 99 was the last good film Sutherland made before the dry spell that ended with Dark City; Deutch is still looking for a comeback film. Sutherland is surrounded by then-rising stars who have since become household names, including Ray Liotta (fresh off the success of Goodfellas), Kathy Baker (a year before Picket Fences), Keith David (still best known for playing Childs in Carpenter's 1982 remake of The Thing), and Lynne Thigpen (who, come to think of it, still hasn't gotten the recognition she deserves). Put the lot of them in a VA hospital, as (all except David, who plays a sociopathic-but-likable Vietnam vet) they try to cut through all the red tape and just do their jobs, while the hospital's administrator (John Mahoney, now known as Frasier's dad) tries to hamstring them at every turn. It doesn't sound like a recipe for the kind of comedy Deutch is used to directing, but somehow it all works, with the doctors and the administration battling it out until things go just one step too far, as they usually do in movies. And it still could have fallen flat on its face if not for the very last scene, as the end credits begin rolling. It's a feel-good movie that doesn't allow you to feel good. Now THAT'S an accomplishment. *** 1/2

Extreamly Funny Satire
A great foundation of hilarious comedy by great actors and great casting. Poking fun at the politics of the Vetran's Hospitals. An excelent choice for watching again and again.

Accurately depicts WW2, Korea & Vietnam Vet's medical care.
Article 99 isn't the "action film" which many see it as, nor is it a true comedy. It's more of a satirical parody of what these vets go through when trying to obtain their "guaranteeed lifetime medical benefits". Bearing in mind that Vets of these eras did receive that guarantee in exchange for higher pay rates, it accurately depicts a portions of what these vets have to go through to receive the care FOR WHICH THEY PAID.

Most who have lived through those eras or who are frustrated with the lost promise- similar to a retroactive pay cut have a more precise understanding of the film. Vets of these wars & particularly those who have attempted to access the quality medical care promised them see may be able to view this film as highly accurate. The humor is ingrained in attempting to receive this retroactive benefit promise. The film's very accurate depiction & humor makes it almost sad by illustrating in view of the degradation that the Vet must encounter when trying to access their medical care, when needed.

It also illustrates the low status given to the Vet in attempting to access health care. I suppose if one really wants an accurate feel for this film, they should sit in a VA Hospital clinic reception area for 6-12 hours so as to see a doctor who will refer them to another to see in 2 months, or schedule a test 4 weeks off, with instructions to return to this dr thereafter. The unknowing viewer can walk though the clinic to discover that the Vet who saw the referral doctor and had the test 2 months earlier, will in many cases meet with "lost records" & the need for a rescheduled appointment. By the time of returning to see the origianl Dr., he/ she is usually no longer on rotation at this government hospital. So the Vet must start over from scratch with a brand new dr who knows nothing of him, and can't locate the test results. Of course, by the time these records are located, any negative results have probably caused medical deterioration. Add to this the fact that the Vet's follow up appointment may very often be rescheduled up to 3 months down the road. This IS the reality, which sprouts humor to the "insider".

For the young eager Dr/ resident, he too starts out highly frustrated & often must pull strings to accellerate the Vet's needed care. It's unlikely that one's VA doctor will be around throughout the Vet's entire diagnosis & treatment. So no one really works to assist the patient. This movie may be compared to "The Doctor" in view of a chronically or seriously ill patient who gets frustrated and often gives up attempting to receive the care that is not readily available.

It also can be compared to the legislature's recent desire to control medical care of private patients in order to assure that those not paying are treated.

I perceived the film as highly accurate in it's depiction of treating the Vet as though they were non- paying welfare recipients. In most cases, the doctors are too young to fully understand that these earlier Vets paid for their medical care in the same manner as one pays his medical insurance premium & co-pay's. The difference is that these Vets paid for their medical care by forsaking the pay they were due, and are thus, far from the Welfare spectrum. But permitting welfare recipinets to use these facilities now is another way of cheating the Vet, who now must apply for private insurance & is expected to pay the balances of bills out of pocket... someone must pay for those who expect FREE- NO PAY insurance & open- ended medical care, so the vet is financially penalized. It's not just the taxpayer now; it's the Vet... and he/ she is being cheated.

Perhaps it's a film which is difficult for anyone under 40 to fully understand since many equate the Vet with the welfare patient, and view both as living off the system. The unknowing viewer may also not fully comprehend the delivery of services, which were VERY ACCURATELY deopicted in the film. To understand, they need to accompany the Vet to an appointment at a VA hospital. First of all, it takes anywhere from 1-3 months to get in. Then after a 6- 13 hour delay, sitting in reception areas and losing pay at their jobs, the vet is seen by a young new Dr. He/ she may order tests, a follow- up referral with another department Dr & then a return visit.

Given the average 2-3 letters acknowledging a changed appointment due to overbooking, et al... the Vet often returns to find that the Dr. he saw is no longer at the hospital; the tests done- with no results providrd for 3-4 months are probably in his missing medical file, and the new dept dr. is unaware of the the Vet's medical history, problem or follow-up, so the dr then redoes an initial work up... Very often the Vet is disgruntled with losing 2 full days of pay and being nowhere further then when first coming in months earlier.

On the positive side, the young dr if viewing this film and others of a similar nature may gain some perspective into the the film's true-to-life merits. He may also learn for the first time of these Vets having paid for their medical during their active tour while in service.

I'm not a big Southerland fan, but do likr Leotta; yet the 2 did a good job in their roles here.

I'd recommend the film to 40 y/o plus adults & younger people who are unaware of the promises made to the older vets. These viewers may be able to view this scenario in the same light as accessing medical care which is dictated by a corporate medical group. Perhaps those who have dealt with the frustrations of attempting to access medical care via a HMO/ PPO may have some understanding here; if they have chronic or serious medical problems/ disabilities, their insight may be greater.

Yes, the film has some political overtones; but the VA Healthcare system is controlled by the government & thus politics are at the center focal point. This political influence is moving into private healthcare now, so a better under- standing may exist. In addition, anyone with a serious/ chronic medical condition has probably lived through these similar frustrations.

In sum, I found the film accurate, and unfortunatley predictable for this scenario. Although it's not new, those with some level of understanding of political influences in healthcare may in fact empathize with the vets who have no other options & may then find this film a good one. ... Read more

Description

This provocative and disturbing movie is based on an incident that happened in the first winter of the war in Bosnia in 1992. Two childhood friends, one a Serb the other a Muslim, square off on opposite sides of war, their friendship tattered and in ruins.Interactive Menus, Production Notes, Scene access, Trailer ... Read more

Reviews (50)

Truth vs. Denial
I give some credit to this movie since it was the first Serb movie admitting to Serb atrocities in Bosnia. The movie has faced serious opposition in Serbia by the nationalists and radicals.

However, this movie should in no way be taken seriously. Just like "No Man's Land" it is merely a Serbian view of the war and very inaccurate. When watching "Pretty Village Pretty Flame" or "No Man's Land" one gets the idea that both sides are sick and perverted men fighting just because it's the only thing they know how to do. One gets the idea that the war just happened and Serbs got caught up in the middle of it. No matter what some nostalgics and nationalists have written on their comments here, the war is purposely misportrayed in the movie.

The whole world knows that Serbs started the many Balkan wars. You just have to look at the number of casualties on each side to understand who was fighting for self-defense, and who was committing genocide and ethnic cleansing. It's not just a coincidence that mass graves are filled with Muslims, Croats or Albanians.

I see a new pattern evolving in recent movies like "Pretty Village Pretty Flame" and "No Man's Land". Traditional Serb media has totally denied Serb crimes by always portraying Serbs as either heroes or victims, and others as evil. This new media, after not being able to hide all the war crime evidence, and after being blamed for causing all the ethnic hatred, tries to portray both sides as equally guilty. It seems like Serb media is delicately and slooooowly trying to break the truth to its people, going from ultimate denial to partial denial. To the rest of us it is just another form of propaganda.

I really hope that in the near future a Serb director will be man enough to portray the whole truth and help Serbs heal from their denial.

Great job, disproves all the anti-Serbian bigotry here
Despite what the Muslim Victicrats (people who always make it look like they are the victims) say, that it was "genoice" and not a civil war, this movie shows just what the victicrats don't want people to know...and with the help of the American media, very few people actually know what really happened in Bosnia. The innocent Bosnian-Muslims, who by the way were funded by Al Qaeda during the war (Osama Bin Laden has Bosnian citezenship!), were all massacred systematically by the big bad evil Serbs...according to CNN. Give me a break. The Muslim Victicrats cry foul when they see this movie, but that's because it's one of the few non biased films (and of course they call it biased becuase it doesn't appease their anti Serbian hatred). It shows how despite the media lies, Serbs were very much victims in a bloody civil war in the former Yugoslavia. Anyone who thinks otherwise is foolish...bullets fly in both directions my friends. CNN just doesn't do the job...as much as the victicrats hope it does, the war went beyond CNN's lies...Serbs suffered most at the hand of Mujahedin terrorist Al Qaeda sponsored extremists and Croatian Neo-Nazis, and all this movie does is show that despite CNN/Christiane Amanpour lies (such as the Srebrenica "massacre"), Serbs did suffer greatly in the Yugoslav civil war. Cheers.

Post - war propaganda
This film was probably made not to entertain the audience, but more to show as much as possible the reality of the terrible agresion on Bosnia. But it does so for a small part only, showing the Bosniaks and Serbs living together peacefuly before the agresion. With the begin of hostilities this film leaves its half-folkloral nature and becomes a pure propaganda movie of serbian nationalists. Its attempt to blind the viewer, hoping he never watchs news or read a newspaper, is amaturelike and fails not only through its fake of reality, but also through poor cinematografic form. The dialogs are poor and the actors definitely not worth the theme of the movie. Handfull of interesting phrases and few fleshes of situation are by far not enough to save the movie from the abyss. The handling shows several onlogical moments. And as a concept of "we all suffered and we Serbs did not start the war" it only makes a serious and average informed viewer laughing. This movie does not entertain at all, and shows the events as unrealistic as any B - movie about Vietnamwar. And about facts it shows only that there are very unserious and nationalistic directors and producers in Serbia. My rating is absolutely thumb down. Comparing with, for example, No Man's Land this motion picture is failing in everything that makes movies about war a potential time window about occurences in former Yugoslavia. Instead to jump into the minds of people that participated the war, You can only get an idea of dogma that the director is trying to spread by making this underaverage movie.

Homo hominis lupus est.
- (...). This is a triumph of filmmaking (with zero budget) and writing, even though the translation is terrible.
- Pretty Village, Pretty Flame is not about who started what, when or how. It's about people caught up in the midst of something fundamentally senseless. It's about lost souls and desperation.
- This movie is heavy to watch and in my opinion one of the best war movies ever made. Second only to Roman Polanski's The Pianist. I highly recommend it.

Understanding what...........
This film is great, ok it clearly has not been made with a Hollywood budget but thats besides the point. I first saw this film in Bosnia when it was released and it caused quite a stir. The translation into English on this DVD is at best pathetic, prehaps that is why so many of our self appointed Balkan historians in the USA have missed the point of this movie, its not the war according to CNN, its made by people who understand the history and the culture of the region because they live in it and experience it first hand. The film seeks to draw out the contrast of a people who at one time lived together in brotherhood and unity as Yugoslavians who shared the same childhood experiences together, listened to the same music and went to the same schools and now find themselves in a conflict that is as much about nationalism as it is religion. More importantly the film portrays the normal people of Bosnia as just that normal human beings who are caught up and activly involved in a civil war, be they Croat, Muslim or Serb. A welcome relief from the typical 'bad Serb' properganda normally spouted by people who have never even been to Bosnia let alone live there. The viewer is shown how the thin veneer of civilisation is soon stripped away in such a complicated and bloody conflict. And the film also has the typical humor of the people of Bosnia that was evident even in such dark times. Open your mind and let this film challange the common misconceptions of the war in Bosnia. ... Read more

Reviews (373)

A Very Short Review
Now let me start by saying, if I could have given this "film" a zero, I would have. Unfortunatly that is not possible.

This is by far, the worst film I have seen this year. Mary Harron was trying way to hard and it shows. The movie has very little substance to it, and people seem to be fond of attaching vague statements to their reviews like "brillant satire" and "amazing mind games." None of these terms can rescue this movie however, as it is a feeble attempt at art, a meaningless and shallow depiction of rich white business men in the 1980's, and a totally unconvincing portrait of a serial killer.

As far as the acting in this film I was not impressed with Christian Bales protrait of a man with no conscience. The dialogue was to "clever" to be believable, or even stomachable. Bale's voice over's are painful and irritating to listen to.

What upsets me most about this film, is not the film itself but the tendency for people to compare it to either Clockwork Orange or Fight Club. American Pyscho does not begin to compare to either film, although their were some shots(most notably towards the end) that seemed to emulate Kubricks style, but they do no justice to the late genius. As far as comparing it to Fight Club, the narrative style, and structure of the two films are vaguely similar, although Fight Club is on an entirely different level.

All in all, American Pyscho will fade into oblivion within the next few years. There is absolutely no good reason to watch this movie as you will gain nothing from it. I apologize for being a little vague in this review myself, but I was so dissappointed in the film, that a second viewing is simply out of the question.

American Phycho
This film rocks!
There, now thats out of the way I may begin.This is a satirical look at life in the late Eightys in greedy New York, a group of young, rich and bored men and women live there lives on a cocktail of expensive restaurants, clubs and drugs. Howerver all is not well and good within Patrick Bateman(Cristian Bale)he has developed a intense bloodlust through bordem he gets nasty with often shocking but occasionally humourous results.
My advice : BUY IT AND WATCH IT TWICE

A satircal view of the eighties with incidental killing
Despite its title and a considerable amount of bloodshed, “American Psycho” is a superbly witty and satirical film. The film is ostensibly about a serial murderer who happens to be fabulously wealthy, handsome, fit, and successful, but it is really a sarcastic critique of the money culture that defined the nineteen eighties.

Patrick Bateman is a twenty-seven year old CEO who lives in the late 1980s and spends his leisure time in exclusive restaurants and clubs with his peers. He has occasional love affairs so meaningless that he can’t be troubled to remove his trousers during epidermal frictional activity, and of course, he kills people. Bateman is an odd bird who is obsessed with the comparative quality of business cards and who possesses an encyclopedic knowledge of contemporary (i.e. 1980s) music.

Bateman’s homicidal impulses are frequently governed by his intense hatred of the superficial world around him. (spoiler).

The message of this film is that in the yuppie culture of the late eighties, even if you were a self-confessing murderer, people would not be able to see you for who you were. In a sense, Bateman, the murderer, is like other extreme characters in literature such as Werther, Pechorin, and Merseault. Like his literary predecessors, Bateman is alienated by the superficial society around him and is driven to extreme forms of reaction against it. In a notable scene, Bateman brings two call girls to his apartment and commands them to debase themselves in front of him. Later, as he thrusts his tube steak in and out of their love pockets he makes ridiculous posses in front of a mirror, essentially laughing at himself.
To its credit, “American Psycho” is not a clinical or horrorific film. While serial killing is certainly a grizzly subject, it is a more a device and a motif than a theme in this movie. Much of the killing is performed off camera. What homicide we do see is stylized to the point of being ridiculous. In a wonderful way, the film goes out of its way to assure us that its concerned with satire, and a social critique not with simulating brutality.

"Payback" level humor combined with psychotic thoughts
Christian Bale plays a yuppie on wall street with some serious mental issues. The attitude of the movie is sarcastic and mostly humorous. The actors do a good job of following the look and feel of the movie- everything is a little corny.

Patrick Bateman (Bale) has only a few emotions. Two are greed and disgust, and the third is an uncontrollable urge to kill, which is his only escape from a dull and dreary life.

Due to the many complaints about this movie, I will state the obvious: this movie has a lot of killing in it. The presence of the word "psycho" would tip most people off, but just in case it's not for squeemish folks. But even being squeemish won't ruin it, as there is very little visible violence. In most cases, the victims are not shown much during the attack. It's about as tastefull as you can get when it comes to killing people. The most graphic displays are Bateman's pencil sketches.

The movie contains elements of satire, but the personalities of his friends were chosen to provide Bateman's personality a suitable environment, filled with others that don't find his outward displays of greed and concietedness odd. The movie may contain a lot of poking around, but the focus is definitely on the psychological aspect of Bateman- the ridiculous decade takes the back seat.

[...]

That brings us to the intellectual aspect of it. You could watch the movie without really paying attention to what happens, and just laugh at goofy scenes and pathetic yuppies. But one only has to listen to the dialog at the end to get the main idea.

For the benefit of those that don't get it (in order to preserve the surprise, I will leave one part unexplained), in the beginning Bateman kills out of boredom and addictive impulse. Only after his great frustration with the jarring issue at the end does he become frustrated with hopelessness and truly sadistic. He then suggests he will kill for the actual satisfaction of watching others suffer to make up for his own mental pain (a big difference when it comes to the rehabilitation issue, which is not addressed). This is all spelled out in the movie, with the exception of transferring vengeance to murder, but by that time we can hardly reason to doubt his inclusion of murder as an option. Since the mood of most of the movie tends to put you in a watch-only mode, I can see how some people might need to watch the last couple minutes over again, as the resolution is 99% dialog.

A few corrections to common comments. First, there are no real cries for help. Bateman reveals himself to drunk/drugged people for his own amusement (one of which he is already carrying out his plan to kill). His only serious confession is near the end, and becomes necessary for the plot, so there is no reason to believe the movie is about the armchair psychology of "cries for help." Second, the is no men/women sexism, or at least no preference. The men are selfish pigs, the women are too emotional, and both are equally promiscuous. They're all scum. Also, there are almost no similarities to Fight Club. Sure, the main characters are both nuts (though they have completely different disorders), and there is violence in it. Not much of a match. I find two real connections myself. One being that both movies require the viewer to be light hearted and not too emotional about violence (which leads to emotional types to classify them as both too violent, and thus the same). The other is that unobservant critics make the same mistake about both: they fail to comprehend that the main characters are crazy (and therefore the films purpose is not to promote whatever they do) and try to draw cliche statements about society as the theme.

Finally, if you are the type that needs to have a hero in every movie, this is not for you. Much like the Mel Gibson flick "Payback," the movie is full of unscrupulous characters, including the protagonist. To really enjoy the movie, you have to laugh at ridiculous and trite murder.

Grey humor and creepy stuff
I say grey because the movie is too goofy in so many parts to call it dark. If you like to laugh at stuff that the average whiner refers to as horrible, this movie is great. The acting is great on all parts. "Bateman" will really convince you he is nuts, and all of the other characters do a great job of playing [exagerated]corny yuppies that take themselves seriously. It's as if the director knew it was a joke but the actors didn't.

For all of the humor and rediculous eighties characteristics, it gets a little creepy at the end if you pay attention. There are a few different angles to psychotic behavior you could gather, all of them at odds with popular attitudes. If you don't get into all that, it's still a fun movie. ... Read more

Amazon.com

While it falls squarely into the precious category of love-it-or-leave-it art-house oddities, the hypnotically absurd Swedish comedy Songs from the Second Floor is certainly unlike any other movie you've ever seen. That alone is reason to check it out, and many pleasures await those who are receptive to director Roy Andersson's conspicuously offbeat worldview, presented here as a series of marginally connected vignettes illustrating a bleak world that has literally ground to a halt. A perpetual traffic jam lurches through an urban landscape imbued with post-apocalyptic atmosphere, a ghost town populated by pale, shell-shocked citizens bereft of hope and teetering on the edge of collective madness. Characters and plot are nonexistent in any conventional sense; it's as if Andersson has cast himself as a detached God, gazing upon these lost souls from a distant remove, as if they were fish in a tank, lumbering through their oppressive city like zombies at the dead-end of civilization. Described by critic J. Hoberman as "slapstick Ingmar Bergman," this highly unusual film is certainly not for everyone, but if you're on its wavelength it's sure to prove unforgettably amusing. --Jeff Shannon ... Read more

Reviews (6)

An absolute gem
I first saw this film IIRC in 2001 at the Roger Ebert Overlooked Film Festival ("Ebertfest") in Champaign-Urbana. I instantly fell in love with the film -- it was clearly the best film at the festival. And then I waited for DVD release... and waited... and waited. Finally I received my copy, some 4+ years after the film was released.

Upon watching it again, I felt it lost something compared to the presentation on the massive screen and enthusiastic 800+ audience at the Virginia Theatre. The visuals are intentionally drab, but incredibly rich and detailed; hence, the small screen is not kind. Also, like much absurdist art, it is difficult to recapture the emotional shock and wonderment of the first viewing. But yet the movie is still compelling on DVD.

This Swedish comedy is dark, brooding, irreverent and often times disturbing. From the grey skies to the traffic-jammed streets to the predominantly obese and ashen-faced cast, this movie makes no attempt to be be pretty or cheery. However, certain scenes of despair are so full of beauty, one smiles despite oneself. I am reminded of certain scenes from the work of Terry Gilliam.

The plot is rather simple: things are not going well in this fictional Scandinavian city and the citizens are getting desperate. Don't ask why or where -- it's truly unimportant. Woven into this fabric is Caesar Vallejo's poem "Beloved be the man who sits down," the verses of which form a a type of modern beatitudes extolling the merits of the mundane individual. In the movie, the poem is written by the protaganist's son, who now resides in a mental hospital. Ironically, the people in the patients in the mental hospital appear to be the only sane residents in a city gone loopy as capitalism, government and religion fail its increasingly desperate and selfish citizens.

A great film to see, but really not for everyone.

Esthetically stunning and visually poetic...
Songs from the Second Floor is visually stunning as it esthetically illustrates a cynical view of the human existence. This view consists of a kaleidoscope of scenes that personify desire, fear, guilt, and anxiety among other human traits. These human characteristics are symbolically tied up with the everlasting traffic jam that is depicted in the film as the characters are constantly unavailable for each other as they are trying to get somewhere better. This search could be a quest for happiness; however, the search itself might be the cause of the gloomy state of the characters. Songs from the Second Floor is based on a poem by Caesar Vallejo, and Andersson extracts the darkness of the verse as he brings a brilliant cinematic experience to the silver screen, which will cerebrally agonize the audience in a poetic and artistic manner.

Before you jump...
If you feel you need a push, an extra little something to convince you that there is no point to life, no point at all - watch this film.

No plot.
Unrelentingly depressing.
Interminably long.
Excruciatingly slow.

It consists of a series of unrelated scenes. In each scene, awful, humiliating and depressing things happen. A demented person lies in hospital. A man screams after he caught his hand in a train door. Dead people walk around. People are being hanged. I had no idea what was going on. Except that it was all horrible. As an added bonus, everyone in the film is sick or dead or at the very least morbidly obese and sickly looking. If not actually sick. And dying.

Apparently there is deep meaning in this film. It's 'philosophical'. Apparently you have to 'decipher the images'.

I just wanted to scream. Like Munch.
Decipher that.

I've heard this film being compared to Bunuel. I guess if you like him, you might want to give it a shot. Otherwise, spare yourself the torment. Life is short. Why waste any moment?

Better Than Both Wes and P.T. Put Together....
www...com offers insight into the film that cannot have been seen enough in North America. The site can also direct Inquiries to when the DVD will be available, to a British Production company still working on the English release. And from the quick response that i received, it sounds as though they appreciate the interest and would like us to have the film sooner than later.

I wish to purchase this for every fan of film that i know.

Now this is something to be looking for...
This is the single best movie I've ever seen!!! and i dont say that about many movies... this one has been on the first spot since i saw it for the first time (and i figure it'll be for many many years)
It manages to go from the most profound and artistic scenes to the funniest, most amusing situations anyone could have imagined without even putting a single step into the classical "funny".
Throughout the movie, all the characters are struck by constant tragedy and the absurd situations make an excellent criticism of society, but the movie manages to make it look funny, absurd, stupid and completely true.
Everything in the movie is excellent... you couldn't ask for anything more... great story, great sound, great acting (well, for what it stands for, the acting is very good), great ambientation, great dialogue, much inovation, great scenes...
Every scene in this movie is carefully cared for. Roy Andersson is a genius. ... Read more

Description

A hilarious and outrageous comedy from England that throws political correctness out the window! Two Irish lads movefrom London to hit the big time, but end up working as male prostitutes in the gay underbelly of the city. Equal parts John Waters and Quentin Tarantino, 9 DEAD GAY GUYS is a raucous and whacked-out romp! Includes Director'scommenary. Stars Steven Berkoff, Glenn Mulhern, BrendanMackey ... Read more

Reviews (180)

Addictively Sick and Definately Insane
The opening scene at a very wild bachelor party in a Vegas hotel room is the movies hook. After being shocked into submission by this scene you will not be able to turn the movie off (try as you might) The remaining scenes are less interesting and pointlessly violent yet increasingly insane. Cameron Diaz also throws some extra "spice" into the movie and over-all it makes an excellent movie for someone who lives in a boring suburb to watch. But prepare to be shock to a degree that you will remember every scene the next day. Especially shocking to women.

Don't waste your time, money or health.
Don't waste your time or money baying this movie. It is not a Comedy, I didn't laugh seeing it. Violent films with no don't offend me, but this is nothing but random violence. This movie is truly very bad. the movie should be named "Very Bad Movie" ZERO STAR MOVIE

I didn't find this movie funny at all, but.....
I was still fascinated. There was too much violence for this movie to be funny in any way, but my jaw dropped to the floor during the hotel room scene and stayed there. I was disgusted, but had to watch till the end. Cameron Diaz's scene at the end sums up the movie; it's insane!

Usually, I'll turn off a movie this ugly, but this one captivated me and I actually recommended it to others. I say it's a must see simply because it's so outrageous.

Oh my god
on the contrary to what all these people say about this flick being funny this movie left me shaken and disturbed, I was literaly scared and shking. thee deaths in this movie are gruesome and is no laughing matter. but I know I loved it

The name says it all
Don't waste your time or money with the flick. It is not a "Black Comedy", it's just a lame attempt at one to give slow-witted teens something to laugh at. Violent films don't offend me, but this is nothing but random violence put together for some unknown reason. Christian Slater needs a serious beat-down. This movie is truly very bad. ... Read more

Amazon.com essential video

Christina Ricci had a great year in 1998. The young actress continued to cast off her youthful image from the Addams Family movies and made a big splash on the independent movie scene, especially in this scathingly witty comedy in which Ricci has the central role. Here she plays Dedee, a buxom, sexually precocious teenager who's pregnant, cynical, and looking for a volunteer father for her unborn child. This takes her to the home of her gay half-brother (Martin Donovan) whose current lover (Ivan Sergei) becomes Dedee's latest target for seduction. That's just the start of the mischief that Dedee so masterfully orchestrates, and Lisa Kudrow (from TV's Friends) is also on hand to deliver some of the movie's most quotable dialogue while fending off the affection of a local policeman played by Lyle Lovett. If all this sounds rather sordid, rest assured that the movie's got a warm heart (well, sort of) beating beneath all of its sharp-edged sarcasm. Writer-director Don Roos (Single White Female) injects most of the movie's appeal and humor through Dedee's voice-over narration, which constantly reminds us that even the most familiar movie clichés can be cleverly overturned. As a result, The Opposite of Sex is the opposite of boring. --Jeff Shannon ... Read more

Reviews (85)

Opposite Attraction
This Indie film from 1998 is a real winner. Deedee Truitt (Christina Ricci) pays a visit to her half brother, Bill (Martin Donovan), in Indiana. When she arrives, she turns everything upside down, with her tell it like it is style. Within in a short time, she seduces Bill's live in boyfriend, Matt (Ivan Sergei) and they run off to LA with $10,000 of Bill's money. At the same time, another of Matt's boyfriends (Johnny Galecki) blames Bill for Matt leaving with Deedee, and starts trouble with the town sheriff (Lyle Lovett). All of the performances are first rate, but Lisa Kudrow as Lucia, (she hates everything about Deedee) really is superb and makes you forget her role on T.V's "Friends".with her caustic characterization. Directed by Don Roos, OPPOSITE OF SEX, has a great understated tone that fits the film nicely. There are some genuine dramatic moments amid the chaos that will surprise you. When you are looking for a different kind of film to watch, you need look no further than this film. Just when you think you have it figured out, the storyline takes a few unexpected turns.

The DVD includes very few extras. There are a handful of deleted scenes with optional commentary from the director. The commentary will offer some great stories about filmming and trivia. Finally, viewers are given the choice of seeing the film in Widescreen or Pan and Scan. There's a lot to like about this movie, enjoy. Recommended

Ricci is peachy!
Ricci aside I thought Lisa Kudrow was a delight playing the oppisite of her well known ditzy blonde "Friends" type cast, which helps her to not become to much of a type casted actress. She does have range. I fully enjoyed this movie. I loved the characters, the offensive (to many) script, the well balanced comedy mixed with drama. This film moves you, makes you laugh, think, and truly has you wanting to reach into your television to strangle some if not everyone. Christina Ricci "She's the human tabloid." is all attitude and no graduate as DeeDee Truitt a 16 year old girl that refuses to grow a heart of gold even for us the veiwers. Thats cool we see that type of stuff everyday in the movies. After her stepfather kicks the bucket she decides to go and live with her brother. He, who is moaring his lovers death welcomes her. One might say that was a huge mistake on his part. She does little more than ruin his teaching career, steal his new boyfriend, gets him involved in a gay sex scandal involving a former student where he teaches (thus, the reason for his almost termination), okay what else... steals his dead lovers urn containing the mans ashes. Oh and thats just the half of it. Let's finish this... "The Oppisite of sex" is what DeeDee wants. SEX involves relationships, deceases, pregnanies and other complications in ones life. Who want's that? The film also addresses the survival of the species topic. It's true if we didn't love sex (complications aside) we would have died out aeons ago. Good move on God's part. This is a movie that can be enjoyed by adults that aren't easily offended.

A movie that sticks with you (if you like comedy black)
It's saying something about a movie when a friend asks you for a recommendation in 2004, and 1998's "The Opposite of Sex" is one of the first things that pops into your head. Christina Ricci - in her first real adult role - rips the paint of the walls with her performance as Dede Truitt, a one-woman hurricane. She wreaks havoc here in everyone else's life, starting with half-brother Bill, played by the always excellent Martin Donovan (see, among others, "Insomnia," in which he plays Al Pacino's doomed partner).

In fact, for all the attention garnered by what was essentially Ms. Ricci's very successful coming out party, the real news here are the excellent turns by Donovan, Lisa Kudrow (playing about as far from Phoebe as one can get) and Lyle Lovett. Mr. Lovett proves her that he doesn't need Robert Altman to transfer his charisma from his musical performances to film. [He had been essentially an Altman 'house player' up to this point in his career.]

The script is sharp and witty. We've got Don Roos (as writer and director) to thank for that. I'm a little perplexed by Mr. Roos' career since that point - 'Bounce' (a disappointing Affleck/Paltrow outing) came out in 2000. He did have a critical hit with 2000's TV summer replacement 'M.Y.O.B.'

Roos has proven himself to be a great writer who attracts quality stars and directs them to impressive performances. He does have 'Happy Endings' in production right now with Ms. Kudrow and other talented actors. As far as I'm concerned, his success with 'Opposite of Sex' will compel me to see anything that he creates.

SUCKs with a capital SUCK
It's billed as a comedy, but somehow it's just not very funny. The funniest part about it is the fact that you're actually sitting there, subjecting yourself to this. A 16 year old girl runs away from home, seduces a gay guy, exploits everyone she knows, kills the father of her baby... and you're supposed to laugh. I spent most of my time shaking my head in disgust, wanting to reach out and strangle the girl, and wondering who could possibly think it was funny.

The opposite of great
If you like your films to be fast food with extra fries, if you live in a trailer perhaps, or drink lots, perhaps get into fights and have the police around, swear like a trooper, didn't do too well in school, shout to your friends at the other end of the street, buy books at the supermarket, wouldn't know good dialogue from bad/great acting from not so great, think that gay men just need the right woman, think that vegetarians secretly lust after bacon sandwiches, think that National Enquirer is a serious newspaper... get this film because YOU ARE IN FOR A TREAT. ... Read more

Reviews (16)

Strange and Dangerous
This is a strange movie that lies between strange and dangerous. Elliott Gould is fascinating as the world weary and world famous photographer who spends his afternoons taking pictures of Dog feces. He used to make a greater effort towards his work, but realized the art world couldn't tell the difference between what was good and what was crap. So he decides to literally take shots of...crap. Lo and Behold, he continues to win awards for his work. Deepening his sense of the meaningless of life. That's the strange part.

The dangerous part lies mainly in the film's underlying current of social unrest. Stemming largely from the idea that life is meaningless and essentially without value. Random beatings, random murders, all help our protagonist over the edge. Yes this a comedy, but it is a dark comedy.

If you happen to find a copy of this out of print film, you will be in for a treat (check eBay periodically). And that comes by way of a brilliant cameo by Donald Sutherland, who plays a priest lost in an existentialist haze. That alone is worth the price of admission!

Another Brilliant American Comedy No One Knows About
This is one of the most hilarious black comedies ever made. With a perfect cast and one odd and offbeat bit after another. Elliott Gould is the passive and disconnected photographer of dog doo whose life is invaded and turned upside-down by the relentlessly optimistic and determined Patsy (the little seen Broadway actress, Marcia Rodd). He is then brought into Patsy's insular family with their own brand of self-contained lunacy (as in all families)and absolutely hysterical sidetrips and surprises follow to a disturbing, yet hilarious, ending.

Not to be missed are the following: Lou Jacobi as the pompous judge railing about the good old days from the bench. Donald Sutherland as the hippy existential priest conducting the funniest wedding ever filmed. Gould's liberal parents, rearguard 30's leftists over-intellectualizing and full of theories while being totally inept at real life and unable to relate to their only child. Alan Arkin as Lt.Practice, the detective coming unglued before your eyes at his growing list of unsolved murders.

And of course, Vincent Gardenia, Elizabeth Wilson & John Korkes as Patsy's sweetly, obliviously, dysfunctionally daffy family.

Written by Jules Feiffer and directed by Alan Arkin (his only directorial effort I think). This is a BLACK comedy. Be forewarned, it has some nasty things to say about those times (late 60's early 70's) of Vietnam, Nixon & violence in the streets....but its observations of our culture's violence and paranoia are still as pertinent today as they were then. A Classic American Comedy.

MIRACULOUS! LOST CLASSIC BACK IN PRINT!
If you look at reviews for this film, you will notice that they fall in two categories: people who praise it to the stars as one of the finest American comedies ever filmed, and people who had no clue what they were in for when they sat down to watch it. Well, as far as the second group goes, if you don't want to see a depressing movie, definitely don't watch this. But as hard as it may be to believe, considering that practically nobody has even heard of it, that first category of reviewers is NOT EXAGERATING: this REALLY IS one of the best comedies ever filmed. It is literally the blackest comedy I have ever seen, but I have loved it for more than twenty years now, ever since I found a copy of the then-out-of-print VHS. Thank heaven it's finally available on DVD, and with a full-length commentary track by actor/producer Gould and writer Feiffer, maybe, just maybe, this film will FINALLY get the serious attention it deserves. The performances of Vincent Gardenia and Elizabeth Wilson are among the finest comic acting ever done by anyone EVER. (And no, I'm not being overblown in saying that.) And the 3 major cameos (all of which are long, brilliant monologues) by Sutherland, Jacobi and Arkin are nothig short of show-stoppers. Nobody's heard of this movie because it's so uncommercial, but if there were any justice in the comedy world this movie would have at least six or seven reasons to be in the Hall of Fame, not least of which are Gould at his peak and Feiffer, one of our greatest social satirists. Even more depressing, and even more relevant, today than when it was first released (and that's not true of a lot of late-60s/early-70s-era stuff, which often dates fairly poorly) Little Murders belongs on the shelf of any serious fan of what comedy is meant to be. A STUNNER, A CLASSIC, AND A NEAR-MIRACULOUS ACCOMPLISMENT BY THE CAST AND FILMAKERS. ENOUGH GOOD THINGS CANNOT BE SAID ABOUT "LITTLE MURDERS." If you, like 99.999 percent of moviegoers, have never seen it, then all I can say is holy cow are you in for a mind-blowing discovery. This scary, sad, shocking, brutal, uncompromising, and riotously laugh-out-loud movie is going to seriously blow you away.

Comedy Noir with Series of Bizarre Situations
Elliot Gould is stunningly attractive, which is one of only a few reasons why I watched this insane film all the way through. Each of the characters introduced are in their own right neurotic or uniquely nuts. The only fairly sane person is the young woman who falls in love and marries Gould in order to "change him". The brief appearance of Donald Sutherland as a very progressive minister, who prides himself on the high failure rate of the ceremonies he performs is amusing, as he frankly insutls everyone gathered by pointing at their peculiarities, causing an eventual riot.

It takes the film more than half of the running time to get a close up of the "little murders". The most shocking moment is when a blood-drenched Gould takes a subway ride, his visibly near-death appearance raising not a single eye-brow among the many commuters. A middle aged woman matter-of-factly announced that she was shot at, the bullet stopped by her her shopping bags. "Open up, I have leaking groceries". Bizarre! An irrate police detective investigating the random murder spree is one of the "bigger nuts" in the cast. WOW!

If you enjoy "shock value", then this film is for you. To me, the entire cast was made up of zombies who wander about their existance and can't be bothered by anything. The final scene is the culmination of bizarre occurances. See for yourself, but for me, this was definitely a one-time-view.***

Black Comedy at its Best
Brilliant satire, excellent cast (especially Alan Arkin as Lt. Practice and Donald Sutherland as Rev. Dupas). If you liked "Harold and Maude," you're going to love this movie. ... Read more

Description

With sixteen women to each man, the odds are against Andula in her desperate search for love-that is, until a rakish piano player visits her small factory town and temporarily eases her longings. A tender and humorous look at Andula's journey, from the first pangs of romance to its inevitable disappointments, Loves of a Blonde (Lásky jedné plavovlásky) immediately became a classic of the Czech New Wave and earned Milos Forman the first of his Academy Award® nominations. ... Read more

Reviews (88)

"The game of life is hard to play, I'm gonna lose it anyway"
Probably no cinematic comedy produced by Hollywood in the last half of the twentieth century is as irreverent, disdainful of authority, critical of war and its effects, and, incidentally, as funny as "M*A*S*H", that 1970 comedic masterpiece starring Donald Sutherland, Elliott Gould, Tom Skerritt, Gary Burghoff, and Sally Kellerman; written by Ring Lardner, Jr.; and directed by Robert Altman, in his directorial debut.

"M*A*S*H" is actually a very difficult film to review for a variety of reasons. First and foremost, it's darned near impossible to provide an adequate synopsis for readers who've never seen the movie. Because, unlike most modern films that contain a linear story line, an easy-to-follow plot, and well developed characters that one can either root for or vilify with ease, "M*A*S*H" is a film that can only be described as a series of loosely joined comic vignettes, featuring a set of very true-to-life characters that are all BOTH very likeable and flawed.

"M*A*S*H" is one of the best comedies ever made, and for good reason. It is genuinely funny. It is artistically produced; it contains great writing and acting; and it proclaims an important social message to viewers.

Having said all that, "M*A*S*H" is very likely NOT a movie that will appeal to everyone's tastes - even now, 32 years after it was first released. How the movie was written and produced has a lot to do with that fact.

As the story goes, the idea for producing a movie version "M*A*S*H" got its start when literary agent Ingo Preminger referred Dr. Richard Hooker's famous novel of the same name to 20th Century Fox executive Richard Zanuck. Zanuck enthusiastically supported the idea, hired Preminger as the movie's producer, and set out to find a screen writer and director. Ring Lardner Jr. (son of the famous 1930s sports writer) was brought in to write the script. Robert Altman was hired to direct. (As Altman tells it, he was about the "13th choice" of the studio to direct.)

Shooting began during the summer of 1969. At the same time, the films "Patton" and "Tora! Tora! Tora!" were in production. Altman, eager to be successful in his first major film, decided to "hide out" on a back lot of the studio, where he would escape the watchful eyes of studio executives.

As a result, Altman was able to apply many innovative techniques to the film. He wanted his actors to improvise as much as possible in each scene. He wired each actor with an individual microphone and encouraged them to talk over one another. He incorporated several bloody operating room scenes in the film. He tried to mask the fact that the film was supposed to be set during the Korean War. He wanted audiences to assume that this was a film about Vietnam, and he wanted them to understand his clear message about the monstrosity of war.

(By the way, Altman's technique enraged Lardner, who thought Altman had basically thrown away the script. Lardner came perilously close to disassociating himself from the project, but in the end, accepted both the sole writing credit for the film... and the Oscar for Best Screenplay at the 1971 Academy Awards.).

Because of Altman's innovative (some say crazy) filmmaking techniques, "M*A*S*H" succeeds as a brilliant film that achieves almost all of Altman's goals. The film is deeply imbued with a lifelike realism that allows viewers to "feel" what it was like in the fictional 4077th MASH. The actors speak like one would expect them to when confronted with the reality of war and the boredom of inactivity.

Comedy scenes are uniformly uproariously funny, employing jokes and gags that range from subtle to coarse to borderline lewd. Interspersed with the comedy scenes are operating room sequences that are bloody to the point of horrific, but that bring home with full force the full brutality of war... so much so that, for a short time, the Defense Department banned the "M*A*S*H" from being shown in military theaters worldwide.

I've read some reviews of "M*A*S*H" in which a criticism is leveled that the movie's characters are not well developed. I disagree with this judgment. I found I was readily able to identify with all the characters, whether they were likeable or not. Hawkeye, Duke, Trapper, Frank, Hot Lips, Henry, Radar, and all the others were completely believable, and fleshed out in detail... no small feat since the actors who played these parts were directed to perform their roles in such a highly improvisational manner.

"M*A*S*H" is one of those rare films that gives viewers everything they could ask for from a great film: wonderfully realistic acting; a great script; brilliantly funny comedy; superb drama, important social commentary; and artful, innovative filmmaking techniques. "M*A*S*H" has steadfastly stood the test of time for thirty years, never becoming outdated or irrelevant. Whether you've never seen it, or, like me, you've seen it many times: RUN, don't walk, to your nearest video store and check it out!

M*A*S*H - intelligent satire in a benchmark DVD release
M*A*S*H is one of the zaniest and most intelligent satires ever produced by Hollywood. This is a war movie in which only two shots are fired -- as signals in a football game. It is a masterpiece of wider appeal -- even to veterans -- than is suggested by its setting in Korean War military hospitals, or by its director's explicit aim of promoting liberal opposition to the Vietnam war during the '60s and '70s.

The 2002 two-disk M*A*S*H special edition from 20th Century Fox Home Entertainment in many ways is a benchmark for DVD releases of cult movies. Picture and sound quality are high. The special feature content is entertaining and insightful.

This content includes extensive retrospective comment by director Robert Altman, producer Ingo Preminger, former studio boss Richard Zanuck, scriptwriter Ring Lardner Jr, actors including Donald Sutherland, Elliott Gould, Sally Kellerman, Tom Skerritt, John Schuck and Gary Burghoff, and medical veterans of the Korean War. We see the 30th anniversary M*A*S*H reunion at Fox, and presentation of a studio life achievement award to Altman.

The special content gives fascinating insights into the driving half-mad genius that so often makes a great director, and of egos and bigheartedness in movie making.

Almost everyone, from the scriptwriter to the studio executives and the actors, lined up against the director at some time. Donald Sutherland and Elliott Gould once even tried to get Altman fired, fearing that he would damage their careers. In the M*A*S*H special edition features they eat their words and graciously pay tribute to Altman. Former studio boss Richard Zanuck says that until Altman came along other directors were afraid of the screenplay or didn't like it. 'Altman came in, and seemed unruly enough to be able to understand this subject matter.'

M*A*S*H was made on a shoestring budget with Fox's Century Ranch standing in for Korea. It emerged from chaotic creative tension as an enormous artistic and financial success. Altman accepted a salary of only $75,000. His son Mike is reputed to have made more money from writing the lyric to the keynote ballad, 'Suicide Is Painless', with Johnny Mandel. Altman kept costs down by casting the movie with mostly unknown and out-of-work actors. 14 of the movie's 30 speaking roles were played by actors making their screen debut. Shooting finished three days ahead of schedule in 1969, and almost half a million dollars under budget. M*A*S*H went on to earn more than $80 million at the box office, a Palme d'Or at Cannes and an Oscar (for the heavily reworked script of formerly blacklisted scriptwriter Ring Lardner Jr), and to inspire a long-running popular TV series.

This is a rare thing: a five star classic movie in a five star DVD release.

Second Release on DVD?
Normaly I would give this movie a 5 stars. I mean it is that good. The movie is outstanding.

Here is the reason I am giving this only 3 stars:

I am puzzled of why 20th Century Fox is re-releasing this movie as a single disc DVD.

They should have released the single disc first, then the Five Star Collection edition.

Hey 20th Century Fox, why????????

GOTTA HAND IT TO ALTMAN, GRUDGINGLY
At the same time, Robert Altman's "M*A"S*H" came out. It, too found an audience, and truth be told many who enjoyed "Patton" enjoyed "M*A*S*H". It was just plain funny, and the anti-military theme was subtle. Altman walked a brilliant tightrope between a pro-American and unpatriotic premise. There is no doubt that Altman intended it as an anti-Vietnam movie. It was written by former Communist Ring Lardner, Jr. Lardner had been Blacklisted, and this fact featured prominently in the politics of the film's aura. It was based on a sexy paperback novel about surgeons in Korea. The film was set in Korea, yet made every possible attempt to convey the image that it was actually Vietnam. Many of the movie's set pieces were deliberately Vietnamese in nature and costume, for that very purpose. To the extent that it was unpatriotic, it subtly described "regular Army" officers as unyielding, intolerant Christians, utterly blinded by stupid jingoism. The draftees, however, are funny and attractive as they drink and love their way through a bevy of good-looking nurses, all while saving lives in the style of comic Galahads. Altman showed genius as a filmmaker. The movie avoided real controversy because it was just so darn good.
"M*A*S*H" spurred a television show that ran for years. In the 1970s it played for its time and audience. Re-runs, however, strain its credibility beyond Altman's original themes. Two doctors played the "bad guy." The first was a complete buffoon. Frank Burns was prominently identified as a Republican. He is given zero good qualities. He is ugly, a bad doctor, a coward, a racist and all-around mean SOB who cheats on his wife with Major Margaret Hoolihan, who at least is given some character. She is half-Vixen, half-Fascist, naturally Republican, a patriotic American in the "worst way," who worships the idols of war. Over the years the writers gave Margaret a little development. Very little. Burns was replaced by Major Charles Emerson Winchester, a Boston Brahmin, naturally a Republican whose father "knows Truman. He doesn't like him, but he knows him." Winchester, like Hoolihan, is allowed a touch of humanity when the liberal writers felt charitable, but generally was available for all possible bashing. Two hero-doctors anchor the show by showing their intelligence, medical skills and tolerance as direct contrasts to the war effort. The CIA is lampooned, and a military effort that in reality featured MacArthur's Inchon campaign, perhaps the most brilliant invasion in history, is also played as foolish. In the end, the TV show and the film avoid being really and actually unpatriotic because they do feature an emphasis on the basic goodness of the American spirit under stress, but you will not catch me tuned in to those old re-runs(...)

Suicide is painless
Dear lord, I could not stop laughing during this movie, everyone from Hawkeye to Hotlips are back in a special edition five star collection restored set, the picture and sound are restored wonderfully, I watched this on VHS when I was 12 and I can appreciate DVD quality, the anti-war message is beautifully satirical, right from the opening theme to the heart warming ending, it is quite a trip ... Read more

Reviews (37)

A touching, funny yet somewhat frightening view into "trust"
'Proof' is a wonderful, intriguing movie that keeps you riveted to your seat every moment. It's not an action film or a serious melodrama or even a rollicking comedy. It's a fascinating, plot-driven story with one underlying theme: trust. Why would a blind man insist on taking photographs? Why would a woman continue to torment a man she insists she loves? And why would a friend betray someone who puts all his faith in him just to 'play blind'? (see the movie...you'll know what I mean). All the performances are wonderful, particularly Hugo Weaving as our temperamental photographer. He gives Martin such depth that while he is generally a miserable SOB, you come to care about him and want to protect him from the evils around--much like Andy, his young friend. Speaking of Andy, Russell Crowe is delightful. A bit of warning though: this ain't Maximus of "Gladiator". Crowe is an incredibly diverse actor, ranging from the likable guy-next-door ("Sum of Us", "Proof") to imploding/exploding rage ("Quick and the Dead", "LA Confidential", "The Insider" and "Gladiator"). If you are looking for the latter, this is not the movie for you. You'll be bored and wonder if the body from the "rage" flicks were just creative lighting (no.....he just pumped up for "Romper Stomper" and never bulked down). But if you want to see Crowe smile and giggle uncontrollably, check this out. Overall, it's a moving, funny yet thought-provoking film that makes you think about what "proof" we all need in our lives.

A simple but powerful character study
The thing about a simply made movie with a well-delivered message is that it will outlast any present-day film that reflects the glamour, glitz and special effects that today's audience seems to crave. And "Proof" will continue to hold its own against any film to come. It is simply great acting by three talented actors. Weaving commands respect from the audience for blind Martin, rather than pity. His character demonstrates how the a youthful interpretation of an event can shape a person's entire outlook on life. Picot's character Celia plays the desperation of a woman seeking intimacy to the hilt. Andy, played by Crowe, is Martin's light on the path to truth. And for once, Crowe doesn't "out act" his peers, making this a great ensemble piece that will always be relevant, no matter what era of movie making we pass through.

SUBTLE HUMOR, INTUITIVE AND PERSONAL
I SAW THIS MOVIE ON TV. IT STARTS WITH A YOUNG BLIND BOY THAT'S LISTENING TO HIS MOM DESCRIBE THE VIEW OF OUTSIDE FROM THE WINDOW. WHEN SHE TELLS HIM THERE IS A GARDENER OUTSIDE HE IMMEDIATELY THINKS SHE IS LYING. HE IS GIVEN A CAMERA FOR A GIFT ONE DAY AND TAKES A PIC OF THE GARDEN (HE HAS HIS MOM POINT HIM IN THE DIRECTION THE GARDENER IS SUPPOSE TO BE IN) AS PROOF THAT THERE INDEED ISN'T A MAN IN THE GARDEN. HE SAVES THE PIC UNTIL HE CAN FIND SOMEONE HE TRUSTS TO TELL HIM WHAT'S IN IT///AS AN ADULT LIVING ALONE HE CONTINUES HIS "PROOF" PHOTOGRAPHY OFTEN IN THE PARK, WHERE HE TAKES ALONG HIS DOG TO ALLOW IT TO RUN LOOSE. BUT EVERYTIME HE CALLS HIS LOYAL DOG WHEN IT'S TIME TO GO, HIS DOG DOESN'T COME FOR SOMETIME. THIS ALWAYS HAPPENS WHEN HE IS AT THE PARK AND THIS BEWILDERS HIM SO HE TAKES A SERIES OF PICS HOPING TO SOLVE THE MYSTERY OF WHAT IS KEEPING HIS DOG///THERE ARE 2 OTHER CHARACTERS INVOLVED: A BITTER, CONIVING, OBSESSIVE, VINDICTIVE HOUSEKEEPER THAT IS SUFFERING FROM UNREQUITTED LOVE OF HER EMPLOYER (WHICH IS A REASON HE KEEPS HER SO HE CAN PITY HER INSTEAD OF HER PITYING HIM). SHE PLAYS MIND GAMES & MAKES THINGS DIFFICULT. THEN THERE IS A FRIEND THE PHOTOGRAPHER MAKES AT A RESTAURANT THAT HE BEGINS TO HANG OUT WITH AND TRUSTS HIM TO DESCRIBE HIS PHOTOS TO HIM. HIS FRIEND'S LOYALTY IS TESTED WHEN HE MEETS THE HOUSEKEEPER///THIS ISN'T A ROMANTIC MOVIE OR A LOVE TRIANGLE AT ALL. INFACT THE PHOTOGRAPHER VERY MUCH DISLIKES HIS HOUSEKEEPER. IT'S A QUIET MOVIE, LETTING THE VIEWER INTO SOMEONE'S EVERYDAY PERSONAL LIFE AND DIFFICULTIES. IT SEEMS TO ME THE MAIN CHARACTER IS EMOTIONALLY INDEPENDANT AND PRACTICAL AND INHIBITED OR IS JUST TOO PROUD TO SHOW THAT HE IS OTHERWISE///PLEASE KEEP YOUR EYES GLUED TO THE TV WHEN THE DRIVE-IN SEEN ARRIVES. IT'S SO HILARIOUS! I WISH THEY WOULD MAKE A FOLLOW UP MOVIE. I WOULD LIKE TO SEE HIS LIFE CONTINUE BUT WITH MORE EMOTION. HE WAS PASSIONATE BUT SUPRESSED AS WELL. IT'S SO DYNAMIC THOUGH WITH SUCH A SMALL AMOUNT OF CHARACTERS. YOU'LL BE HOOKED FROM BEGINNING TO END. THERE ARE NO BORING PARTS. IF YOU'RE INTROVERTED, AND DEEP, YOU'LL ESPECIALLY ENJOY THIS.

A rare terrific movie !
Absolutly amazing this movie ! It's one of the best movies I've ever seen !
Hugo Weaving is great, starring the character of Martin, a blind loner cold man full of bitterness who trusts anyone more probably because of his strange relationship with his mother.Really talented this man !
Geneviève Picot is also very good at the character of Celia, Martin's housekeeper. She's a strange perverse woman who is secretly in love with Martin completly obsessed by him.
Russel Crowe 's starring Andy who becomes the only person Martin trusts in.
The actors, the script all are great. I recommand this movie.
Thanks for this really rare entertainement.
I ask some kind of movie more and more...

Russell Crowe helps a blind man for "Proof".
Russell Crowe (as "Andy") works in a restaurant. Out the backdoor, he helps a cat with the left-over food. A blind man, Martin, (played by Hugo Weaving, Lord Of The Rings: [2001, 2002, 2003]) walks by with his cane and knocks over the food and the crate the cat was hiding in. Russell Crowe takes notice of the blind man and also that the cat has died from the accident. One day, Martin is in the restaurant. Even pouring a glass of wine is difficult. Later that night, Crowe tells Martin about the cat being killed. Martin insists it is not and he knows a vet that can help the cat. Crowe offers him a ride. At the vet, Crowe discovers Martin takes pictures with a camera. A blind photographer. When the pictures are developed, Martin asks Crowe to describe each photograph. To Martin, the pictures are "proof" that what he sensed, is what Crowe saw through his eyes. "The truth". A helpful friendship begins until a woman (played by Genevieve Pichot) gets in the middle. ... Read more