Description

A retiring cop and his replacement track a psychotic killer who's using the seven deadly sins as a guide. Starring Brad Pitt, Morgan Freeman and Gwyneth Paltrow. ... Read more

Reviews (453)

A worthy addition to DVD Format
I love DVD's! Not only is the format superior to VHS, but it allows me to enjoy movies on multiple levels. Now, in the spirit of the Criterion Collection, we have 'SE7EN - New Line Platinum Series Edition' added to the ever expanding library of DVD's to choose from. (If you have not heard of the Criterion Collection, please search for titles that include this designation - you will not be disapointed!) Seven is a great film with superb writing, acting, direction, the whole shebang and I am not going to bore you with those details. This review centers entirely on the Platinum DVD Release - and I can honestly say that it is VERY worth the money you spend on it. The commentary by David Fincher is awesome, and the commentaries by Morgan Freeman and Brad Pitt expand the understanding of their characters. Beyond this, the professionals who work behind the scenes have their two cents to share with you as well, and they are quite informative. Exlporing the Title Sequence is invigorating, as are the animated story boards. But the true value of this DVD is in the animated Notebook of John Doe's writings. Talk about a glimpse into the mouth of madness! It illustrates the mind of the killer, played marvelously by Kevin Spacey, and blows your mind. Talk about over the top DVD extras! This two disk set will keep you busy for quite a while, and I highly recommend it.

Brilliant...and Disturbing.
I wish more movies like Se7en were made, and not because I'm into only creepy, unsettling films. Se7en simply doesn't pull any punches. The excellent characters, script, music, and atmosphere all work together to create the perfect canvas to paint this brutal tale of a serial killer that tortures and kills specific people in accordance with the seven deadly sins. Everything in Se7en has been tweaked to perfection. The movie captures your attention so completely that you can't look away, even at some of the truly morbid scenes. And let's not forget the acting! Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and Kevin Spacey are all simply outstanding. Every word they utter seems real, unlike most Hollywood films where the characters are contrived and simply not believeable. The ending is shocking and depressing, more than equaling the rest of the film.

As if Se7en wasn't awesome enough, the DVD is simply loaded!! This is one of those rare cases when a movie DESERVES to be stocked full of extras! Obviously, this movie is not for the squeamish or weak of heart, but anyone who can handle this kind of a movie will discover one of the best films of the 90's.

Morgan Freeman Is A Genius....
Robin Williams...Russell Crowe...Marisa Tomei...Angelina Jolie...Cher...How come these "actors"(& I use the term lightly)have an Oscar & Freeman doesn't? Between SE7EN & NURSE BETTY, 2 of the best performances of all time, there is something seriously wrong.. Watch this powerful film with a lead performance to match to cure any doubts...........

The Best of it's Kind
A series of freak murders. A detective ready to retire and a new detective make this film one of the best in the drama genre. Will keep you on your feet till the very end. A very similar idea as other inteligent murder mystery thrillers like "Kiss the Girls" and "The Bone Collector" but this is the best of the lot.

Terrible movie
I'm obviously in a minority here. But IMO the movie just sucked. The thing that irritated me throughout the movie was the darkness and by that I mean the absense of light. The lighting is artificially dimmed for effect and it just doesn't work. Nobody works and lives in such poor light. The black and white film noirs work beautifully, but this movie seems stage-managed. Amongst contemporary movies, the lighting in "Dark City" was very natural and fit in well with the theme of the movie. This is a one gimmick movie and it got old within the first 5 minutes. I count this, along with "Absolute Power" and "Behind Enemy Lines" as amongst the worst 10 movies I have seen. ... Read more

Amazon.com essential video

Taxi Driver is the definitive cinematic portrait of lonelinessand alienation manifested as violence. It is as if director Martin Scorsese andscreenwriter Paul Schrader had tapped into precisely the same source ofpsychological inspiration ("I just knew I had to make this film,"Scorsese would later say), combined with a perfectly timed post-Watergateexpression of personal, political, and societal anxiety. Robert De Niro, as thetortured, ex-Marine cab driver Travis Bickle, made movie history with hischilling performance as one of the most memorably intense and vividly realizedcharacters ever committed to film. Bickle is a self-appointed vigilante who viewshis urban beat as an intolerable cesspool of blighted humanity. He plays guardianangel for a young prostitute (Jodie Foster), but not without violently devastatingconsequences. This masterpiece, which is not for all tastes, is sure to horrify someviewers, but few could deny the film's lasting power and importance. --JeffShannon ... Read more

Reviews (274)

WEAK LOOKING PRINT - POWERFUL FILM!
Travis Bickle (Robert DeNiro) has a big problem - and not just one. He's a seemingly ordinary New York cabbie who's stalking one woman, Betsy (Cybil Shepard) while playing savior to another, Iris (Jodie Foster). But ol' Trav' is just a few coins short of a full meter, a neurotic oversight that will allow him to turn vigilante, threaten the political reelection campaign of Senator Charles Palantine (Leonard Harris) and blow away Iris's pimp/drug dealer (Harvey Keitel). Suffice it to say, "Taxi Driver" is not your feel good movie of the summer. It is a cinematic snapshot of 70s pop culture gone horribly awry, with its crack and whore infested streets, its unstable social setting for easy scores and cheap sex, and a seething underbelly of corruption and dismal isolation as its acrid palette for moral decay. Travis' slow spiral into becoming the loner with a purpose is predicated upon warping the old adage and precedent that one man can make a difference. But when that one man is touched by his own sexual and financial inadequacies, his psychotic inability to bond with another human being and his self delusion - that he is on par with a deity, above the rest of humanity and the law - then the difference he can make is between destroying himself and bringing about the next apocalypse.
Martin Scorsese directs adeptly enough, drawing the viewer into this dark world of unsettling realities. The irony of the ending seems somewhat strained and rather a bit like the happy ending tack on associated with conventional Hollywood wisdom, but there is the frightening prospect that with a return to normalcy, Travis' alter ego is, like many a volcano, merely dormant, not dead, and destined to erupt in the future.

The transfer from Columbia is a rather disappointing remastering effort. There are moments when the color is bold, if dated, and moments when fine detail is generally realized to good effect. But the bulk of this video presentation is riddled with excessive grain - both film and digital, a barrage of compression artifacts, a lot of aliasing, some tiling, and a considerable amount of edge enhancement. Night scenes break apart with pixelization and exhibit a very muddy color scheme. There's plenty of age related dirt and grit to further detract from your viewing experience. The audio has been remastered - but just barely - with low to no bass and a really screechy high end that betrays the original mono elements. Extras include a 70 minute making of documentary with interviews featuring the director and principle cast, a photo montage, still gallery, theatrical trailer and storyboard sequences.

The Perfect Bad-Day at Work Movie
Now first off I should warn people that this is not a movie for all tastes. If the following offends you:

- Graphic, ultrarealistic violence.
- Porn films
- The idea of taking your date to a porn film.
- 12 year old hookers.
- Graphic language involving sex with a 12 year old.
- Graphic language in general.
- Racial slurs

...then don't watch this film.

OK, now that I sound like I'm giving the movie a bad rap, let me continue with the good stuff: this film is the only movie where you root for the depressed psycho stalker. It sounds incredible, but its true. Robert DeNiro's character Travis Bickle is described in the Mystery Science Theater 3000 Colossal Guide as "an ordinary guy with a few problems." Few problems includes not being able to sleep, having a steady job as a taxi driver only because he has too, and dealing with his hatred for the world around him.

He attempts to change things by turning to a young woman working on a presidential campaign. What starts out great turns rotten after Travis tries to make her watch a porn film. Stalking her doesn't work, so he gives up and decides to take his rage on the corrupt New York of the time on some one else. That being the hoodlums toying with Jodie Foster, a 12 year old prostitute. He sets out to save her from life on the street - a one man war on prostituting minors.

Like I said, its the only movie where you cheer for the psycho.

Any way, you might wonder why I rank this "the perfect bad-day at work movie." Thats because it really is. Travis has to deal with customers having sex in the taxi or making him park the vehicle outside a house where they explain on killing some one. Travis doesn't like it, but its the only job he can have at the moment so he has to put up with the horrible conditions. Finally, he breaks free of his torment and gets back at in any way possible.

One night I came back after working an exhaustive 9 hour shift as a clerk for a grocery store. I had had a HORRIBLE day, so when I got home I popped this movie in my DVD player. I tell you, you never see Travis so much a hero as when you've had a horrible day at work and know just how he feels. Even if you feel disgusted by some of his actions, in reality we all have a bit of Travis in us all, and there are times when we all just wanna break out in, "Listen all you f***heads, you screw ups, this is the story of a man who would not take it any more..."

Taxi Driver
To start this off, I'll just say this: Do yourself a favor and buy this fantastic film. If for nothing else, buy it for DeNiro's INCREDIBLE performance! I'm a movie buff myself, and I have never seen such amazing acting. It's a crime he didn't win the oscar. Secondly, it's directed by Martin Scorsese, one of the more brilliant filmmakers of our time, and written by Paul Schrader. This is the team that brought you Raging Bull. When these two geniuses get together, they make pure movie magic. And finally, Jodie Foster. She's only fourteen years old, and beautifully brings to life the child prostitute who is secretly hating the horrible city she lives in. One of the most brilliant touches of filmmaking was made here when Scorsese portrays NYC as hell, such as focusing on the smoke spewing out of the sewers, and making Betsy, Travis Bickle's love, seem like an angel among all the demons.

The story goes something like this: Travis Bickle (Robert DeNiro) Is a taxi driver who can't seem to sleep. He works at night, and the city around him fills him with paranoia, for the gangsters and the slime on the streets at night every day seem to be everywhere. Among all of these demons and devils, Travis sees an angel, a gorgeous woman named Betsy. He immediately falls in love with her, but his anti-social tendencies scare her off when he brings her to a pornographic movie on their second date, thinking it was just like all of the other movies. When she leaves him and won't return any of his phone calls, his depression rises until he meets a child prostitue named Iris (Jodie Foster) and her pimp named Sport (Harvey Keitel). Feeling the deepest sympathy for her, he tries to help her leave that terrible lifestyle, not believing her pleas that she loves her being a prostitute and loves her pimp.

To sum this whole review up, do yourself a favor and watch this great piece of work. See Scorsese's nightmarish vision of NYC, and Travis Bickle's slow descent into insanity.

Taxi Driver - A disturbing experience
After watching the classic 1976 film "Taxi Driver," viewers may be interested in their reaction. It can be depressing. Martin Scorsese directed this open-sore of a film and of his many classic works, this is the one most obsessively analyzed. "Taxi Driver" is such a raw, visceral experience that after viewing its nightmarish terrain one must decompress.

Seedy does not begin to describe the horror of "Taxi Driver," which details a world of pimps, prostitutes, drug addicts and a loner psycho brilliantly portrayed by Robert De Niro. This film established some of the great talents in motion picture history including De Niro, Scorsese, Albert Brooks and Jodie Foster. I wonder about disturbing epics like "Taxi Driver," "A Clockwork Orange," "Straw Dogs" and "Natural Born Killers." Whenever I visit the video store, I notice these films are usually checked out, empty boxes leaning against the shelf. Who's watching these films, and why so often? The films share a common thread in that they have likable actors (De Niro, Malcolm McDowell, Dustin Hoffman, Woody Harrelson) playing despicable men prone to violent rages. Alienated one and all, these characters have become anti-heroes for a world severely lacking in heroes. There are so many ways to view this film, with multiple levels serving as proof to its complicated brilliance. Urban alienation, cultural emptiness, veiled racism, Watergate analogy and Oswald repression are just a few of the metaphorical doors one can open in this nightmare.

De Niro's Bickle is a Vietnam veteran suffering from insomnia. He takes a job as a cab driver to work nights, driving through the most dangerous New York neighborhoods for fares. He becomes infatuated with a beautiful woman (Cybill Shepherd) who works at the campaign office of Palantine. Bickle takes the woman to a porno theater on their first date, and she dumps him immediately. To no one's surprise, Bickle soon begins to stalk her. He purchases a deadly arsenal of hand guns and intensely works out in preparation for his assassination of Palantine (and most likely the woman too). Along the way, Bickle stumbles across a 12-year old prostitute (Foster) whom he befriends. His attempted assassination fails and he walks over to the prostitute's home and kills her pimp (Harvey Keitel), landlord and an unlucky gangster. "Taxi Driver" unbelievably ends with the prostitute having been returned to her parents and Bickle becoming an inner-city folk hero. Shepherd's character tries to make a date with Bickle, but he's now at peace with the inferno around him and drives on disinterested.

This ending has been debated for years. It is so controversial that when the film first ran on television, stations posted warnings stating they did not consider Bickle a hero. They're right. Bickle's a whacked-out cultural icon, granted, but he's no hero. He wants to be a hero, and perhaps the final scene is Bickle at the moment of death dreaming of a happy ending. He's essentially saved the day and rescued a damsel in distress. Bickle was seriously wounded after the shootout, having been shot in the neck. So it could have been a dream sequence, though Scorsese purposefully made it too vague to be entirely sure.

It's clear Bickle wishes to be a cowboy hero in "Taxi Driver," as seen by the boots he wears and the guns he straps on like an inner-city John Wayne. His famously improvised "You talkin' to me?" speech is in fact a line of dialog lifted from the classic 1953 western "Shane." And the final showdown has Bickle taking on three men (outnumbered a la Cooper in "High Noon") in a bloody, ferocious battle that to this day is one of the most violent scenes in history. Bickle, adorned in Mohawk and Army jacket, fires at random. The violence is so sloppy one gets the feeling they are viewing an actual crime scene. There is no music, only the jagged noises of constant screaming and guns blasting within closed-in spaces. While we love the balletic violence of the final shootout in "The Wild Bunch," we turn away from the gore in "Taxi Driver." It's as repellant as reality.

Scorsese's masterpiece is not intended for the young or emotionally disturbed. Bickle is not a hero in a film populated by an army of non-heroes. Still, viewers just might get confused. I know Bickle is crazy, but I feel sorry for him. At times, I even identify with him. And that can be depressing.

classic tag hides amoral and poor film
This film is manipulative and exploitative. It DOES NOT really give you a portrait of what alienation, paranoia and dislocation are really like. It glamourises these things in the worst possible way ie very, very slickly and with a lot of craft and attention to detail. This film belongs in the same dustbin as similarly AMORAL and empty films like Seven, Goodfellas et al that purport to be 'truthful' investigations of the dark and disturbing - they are part of the problem, not the solution ! ... Read more

Reviews (88)

Wonderful Movie!!
I loved this movie! I applauded De Niro's acting and directing for this film. It's an intriguing Bronx Tale with a young man at its center. It tells the story of Calogero, an Italian boy who grew up in a neighborhood that was run by a local hood named Sonny (Palminteri). Cologero admires Sonny's life of getting things easily like money, respect, and even fear. However his father Lorenzo(De Niro, who's a blue-collar bus-driver, tries to get Cologero to turn his back on Sonny for the sake of his life as well as everything that Lorenzo has instilled in his son. All in all, it's a wonderful movie. It's a story of love, loyalty, friendship and family amidst its violence.
The music's awesome too!! Get the soundtrack.
I recommend this movie to De Niro fans (like me!) and fans of the genre in general.
Oh..and watch for a cameo by none other than Joe Pesci!

Very Accurate Story of Life in the City
This film is definitely one of the most underappreciated films of the 1990s. Besides excellent performances by EVERY actor (I actually can't think of one bad acting scene--even young Francis Capra had his part down cold), there are wonderful sets, great music, and great dialogue. Robert De Niro happens to be my idol in a way, and his directorial debut did not let me down one bit. But for me the most striking aspect of Chazz Palmentieri's script and De Niro's adaptation of it is the way that Calogero falls in with the wrong people. It hits close to home for me, having been in a similar situation and environment. To the people of the neighborhood, Sonny isn't a gangster, he's just an important guy. And that's how it is. Crime is never crime in those neighborhoods, it's just a means to an end. And the way that this movie captures that is truly amazing. My only complaint is the way the movie forks. It starts out as a young man's dilemma of who to listen to, and everything seems to be headed toward a resolution of this. But then a completely alien storyline kicks in about Calogero's crush on a young black girl from Webster Ave. While there is nothing wrong with the second half of the movie, it seems to detract from the first part, in which we were already engrossed in. I think that there could have been a better transition from one to the other. (As a sidenote, all respect to De Niro, I think that he was probably particularly passionate about portraying the white kid/black girl story. After all, he seems to be quite attracted toward black women seeing as how there have been more than a few in his love life. Thank you for showing this, Mr. De Niro. To those people who never lived in a similar place it doesn't seem relevant, but in those neighborhoods it is a very big matter.) Although every actor gave a great performance, I think the shining stars in this film were the uncredited appearance by Joe Pesci, the wonderful job by young Francis Capra, the sets, and last but not least the performance of Palmentieri himself. THis man is a really outstanding actor who stays very true to the central vein of his character throughout the movie. Over all, he playus a very interesting real-life wiseguy.

Don't waste your money!!
This was not a great movie like everyone thinks it is. I really didnt get into it. I thought the actors portrait of "the mob" was not right at all. Very Very off.

Terrific directorial debut
For a directorial debut, Deniros first is impressive. The story takes place in of course, the Bronx, about a bus driver and his kid growing up. Deniro does not overblow the movie....and does capture realistically the street humor and language that makes it very realistic.

It might not be a Scorsese or Coppola film, but its very very respectable just the same. Give it a look, its very good!!

Superb Westsidestoryesque Drama: BEST FILM OF 1993
A compelling insightful drama set in racially-charged New York City of the 1960s. Chock full of wisdom and insight, the powerful message swept along in riveting, tense tale of how making the wrong choices can be truly deadly. Robert Deniro and the youngster that plays his son create a real-life relationship and tug of war that is both fascinating and heartbreaking. Outstanding film that is a must-see for teenagers who think they have all the answers and essential viewing for parents whose uncompromising adherance to can lofty ideals can bring heartbreak to all those around them. Acting is excellent and the staging is superb. One of the top 100 best movies of the 1990s. ... Read more

Reviews (216)

Go girl! Hitch's feminist fable.
Although Hitchcock listed this as one of his 2 favorite films, I had once viewed it as "closet drama" because of the limited set, conventional bad guy, passive good guy. The voyeuristic angle was interesting, even provocative to a point, but insufficient to save the movie from its sense of claustrophobic one-dimensionality.

That was before I viewed the film through the eyes of Grace Kelly. In one respect, the critical, pivotal moment in the movie is not when Kelly puts herself at risk in Raymond Burr's apartment, nor is it the film's climax with James Stewart fending off the murderer with his camera's flash bulbs. Rather, it's the moment when Hitchcock's camera (not Stewart's) shows Kelly's eyes suddenly open wide and come alive when she, too, becomes interested in the scenes being played out on the other side of the court yard.

At this point, within the first half of the film, Kelley drops her high society, fashion-model airs and her constant mothering of Stewart. She now spectates with greater curiosity and imagination than Stewart, and even though she questions these "rear window ethics" and characterizes her behavior as "ghoulish," it's clear she has become a major player, fully participating in the game of voyeurism, scopophilia, and fetishism that is normally assigned only to men who fail to emerge from an obsessively narcissistic and hedonistic childhood.

For the past 20 years feminist academics have been applying "male gaze theory" to just about every film in sight, and invariably to the discredit of the male. He is the subject; she's the object; he's the one who sees; she's the one who is seen; he owns the gaze in all of his power, pleasure, and guilt; she can only helplessly follow the gaze, experiencing a kind of masochistic pleasure at best.

In "Rear Window" Hitchcock, frequently depicted by feminist critics as a mother-obsessed misogynist, turns gaze theory on its head. Grace Kelly demonstrates that a woman can get as much pleasure from looking as do men--an irony of collossal proportions when we consider that as a high fashion model her role, if not job, is to be looked at and photographed.

But Hitchcock's film manages to liberate its central heroine's vision while preserving the "institutions" of marriage, motherhood, and femininity. What is the object of Kelly's pursuit while playing the game at its most intense moment? A wedding ring, which she flashes before the probing telescopic lens of Stewart. And at the end of the film, the camera makes clear that, pending his recovery from double castration (both legs are now broken), he will no longer go off on adventures without Kelly at his side. But then, of course, Hitch has his final little joke when, once Stewart goes to sleep, Kelly (now wearing pants) puts away her mountain-climbing magazine and replaces it with a high fashion title. Still, a radical film for Hitchcock and, for that matter, most other filmmakers.

The DVD makes it all the more possible to read the visual dynamics of the film, permitting razor sharp stills of the principals' faces and eyes, disclosing the act of seeing to a degree never before possible.

Checking Out a Murder with Hitchcock
A daredevil confined to a wheelchair is the concept of Alfred Hitchcock's comedy-mystery "Rear Window", a man of action so bored with his confinement that he begins spying on the neighbors he can see across his Greenwich Village courtyard: the frustrated composer,the "interpretative dancer", the newlyweds, the desperately lonely spinster ... and the bickering couple. The wife suddenly disappears. Has she been murdered? L.B. Jeffries thinks so, and he convinces his fiancée Lisa (Grace Kelly) and the insurance company nurse Stella (Thelma Ritter) who visits him every day. (Jeffries, a professional photographer, has been temporarily disabled in an accident.) This set-up is perfect for Hitchcock, who loved tense situations in close quarters ("Life Boat", "Rope"), and who was in top form when he directed this masterpiece of entertainment in 1954. (There was a made-for-TV remake a few years back; according to... reviewers, it's pretty awful.) James Stewart was one of Hollywood's most popular personalities, but he was often mis-cast. He was pushing fifty when he played the 25-year old Lindbergh in"The Spirit of St Louis". Similarly, in "Rear Window" he's too mature for the lead. The part just weeps for William Holden. Stewart even takes his shirt off in a couple of scenes, revealing a pale, thin physique. The idea that Grace Kelly would travel all the way down from the East Sixties to Greenwich Village to spend the evening with him is a little ... well,unbelievable. Miss Kelly is almost as seductive here as she was in her next Hitchcock "To Catch a Thief".The Master was obviously infatuated -- but, then, who wasn't? She also had a droll sense of humor: the way she pronounces "weird" is priceless. Thelma Ritter and Wendell Corey give witty support. Raymond Burr, just a couple of years away from playing the most famous of fictional lawyers, is quite creepy as the killer Thorwald. The sound track is a mixed marvel of car traffic, distant voices, and snatches of music; it sounds great with stereophonic ear phones. About the only real complaint in John Michael Hayes' screenplay that the pragmatic might bring up: Doesn't Jeffries ever LOCK his door?

Trapped in a Sound Stage
I don't think this is Hitch's best film. It is highly ranked by film rating services, sometimes higher than Vertigo, but I can't agree. There's something claustrophobic about what is essentially a movie set. We are stuck in that lofty room with the big glass windows. Jimmy Stewart peers across a courtyard and observes New Yorkers in their habitat. When I was in elementary school we used to have projects called diorama's where we would take a shoebox and decorate it like a stage. Each apartment in Hitch's diorama showcases a mostly silent vignette, the gorgeous dancer and her boyfriends, the lonely-heart middle-age lady, the sex crazed newlyweds, and the guy who kills his wife. Stewart can watch all the fun, but with a broken leg, he can't leave the apartment to do anything about it. Hence, the suspense centers on Stewarts inability to maneuver when his girlfriend, fashion gal, Grace Kelly breaks into the killers apartment to find clues. We see the killer coming down the hall and Jimmy can't warn her from his perch. Stewart and Kelly are interesting as a couple with opposite interests. She's high fashion-society chick and he's a rough-it, world-traveling photographer. These differences never really resolve and Stewart appears maybe 15-20 years older than young marriage-scheming Grace. This is really a stage play with stage play lighting and a who-dun-it plot. Great suspense, yes, but not as good as Vertigo by a mile.

The Perfect Alfred Hitchcock Movie
North By Northwest and Vertigo are spectacular cinematic achievements but, for me, Rear Window is the one Hitchcock movie everyone must see. It is as perfect as a Hitchcock movie can be. One of the greatest American movies ever made. Not one false note. It is the movie I would show to someone who hasn't seen a Hitchcock movie but wonders what they're all about and why he's so revered. The tremendous psychological drama and cat and mouse suspense are perfectly tuned. Stewart turns in a brillantly nuanced performance as a morally dubious peeping tom. The film is about him, of course. Not about an unseen murder or a pieced together amateur murder investigation. Listen to the dialogue and observe the interactions between Stewart and his guests. Subtext and more subtext. Just perfect.

If you prefer souffle over meat or casserolle
5 stars as a piece of cinematic craft. 1 star as substance. another hitchcock exercise of excellent pacing, subtle humor and
droll commentary on the folly of human behavior, heavy on dramatic artifice, as are most of hitchcok's films. ... Read more

Amazon.com essential video

When Brandon Teena, a young man with an infectious, aw-shucks grin andan angelic face that's all angles, wanders into Falls City, Nebraska, he takes to the town like it's a second skin. In little time he's fallen in with a gang of goofy if temperamental redneck boys, found himself a girlfriend, and befriended enough people to form something of a small family. In fact, it's the best time Brandon's ever had. However, there are shadows looming over Brandon's life: a court date for grand theft auto, a checkered criminal record, and a seemingly innocuous speeding ticket that could prove to be his undoing. Why? Because as it turns out, Brandon Teena is actually Teena Brandon, a woman masquerading as a man.

This fascinating story was based on real-life events (as documented in The Brandon Teena Story) that occurred in 1993 and ended intragedy: Brandon's rape and murder by two of his supposed friends. Despite thishorrible outcome, however, in the hands of director Kimberly Peirce (who cowrote the unfettered screenplay with Andy Bienen), Brandon's story becomes not oppressive or preachy, but rather oddly and touchingly transcendent, anchored by Hilary Swank's phenomenal, unsentimental performance. Swank inhabits Brandon's contradictions and passions with a natural vitality most actresses would refuse to give themselves over to. Brandon's deception is doomed from the start, but Swank's enthusiasm is infectious, and when Brandon starts romancing the sloe-eyed Lana (a pitch-perfect Chloë Sevigny), he finds a soul mate who wants to transcend boundaries and fated identities as much as he does. The last part of the film, when Brandon's true identity is discovered, is truly painful to watch, but in between the agony there are touching moments of sweetness between Brandon and Lana, who wrestles with the truth of who Brandon actually is. You'll come away from Boys Don't Cry with affectionand respect for Brandon, not pity. --Mark Englehart ... Read more

Reviews (214)

Important stuff!!!
When's the last time anyone dared to tackle such a subject? We already know that some of the details of Brandon Teena's life needed to be changed to make a concise and coherent film. There is no question that Brandon is not a nice person; he's a user, forger, thief, etc. Still, it's an interesting person around which Kimberly Peirce chose to center her first film. Certain elements of Brandon's life have been "abbreviated" but this was for the flow of the film's narrative. There is really no way anyone can fault Hilary Swank's brilliant performance. She was in practically every frame of the film; Chloe Sevigny brought out the sweetness and tenderness from Swank's character. She also personified the boredom of the lower class, mid-Western, stuck-in-a-rut, karaoke singing, girl at dead-end. There are people like this.It's frightening to think that previous reviewers don't believe it. It's a riveting film, and Hilary Swank gives one of the most courageous performances. Even if you don't believe the gender switch, Ms. Peirce's film is an important one.I love this film. There's ugliness, and it's dealt with appropriately. This IS a true story (edited for content), though a good display of red-neck culture. Most instructive. Most upsetting. Most enthrallng. Hilary deserved every award.

Truth Hurts
Boys Don't Cry certainly deserves praise for its many fine performances - although most of the actors did not have much to work with. Only Brandon and Lana are written with depth, and even they could have been written with more depth. But Swank and Sevigny did Oscar-worthy work with what they were given. Swank in particular deserves kudos for getting through some of the film's more brutal moments.

After seeing the movie, however, questions remain. More about Brandon's background would have been particularly interesting and helpful - perhaps a scene of seeking help earlier in life.

That said, the story of the last few days of Brandon's life is one that should be told. And here it is told well. The gritty style of filming matches the bleakness of all its protagonists' lives. The brutality of Brandon's rape, its aftermath, and the subsequent murders are as horrifying as anything I have seen on film. Despite the horror of the murder, Brandon is not quite depicted as a martyr. (S)He does make serious mistakes throughout the movie, and at times it is difficult to feel sympathy for Brandon even if it is clear that this is a person with few choices that could really lead to any permanent sort of happiness. That is the source of my sympathy for Brandon.

Facinating and strange
The production quality both audio and video was good. The script was facinating and truely sad. This was not a feel good movie and in fact will leave you angry. Teena Brandon was a self destructive, confused young lady that wanted to be accepted and loved however she could not accept herself. The story is about how she lived and the situation that leads to her death. It was actually very well acted and I was impressed with the finished product. This is a quality addition to any collection.

Powerful
A stunning movie. Characters are multi-dimensional, flawed, fully human. The filmmakers pull no punches in depicting the life of of Brandon/Teena. I have nothing to add to the other review's commentary on the plot. I just want to add my kudos. The performances--all of them, not just Swank's--are outstanding. The movie hits the bullseye. This film is a disturbing and moving experience, not to be missed.

Teena's Story is Touching, Boys Don't Cry is Overrated
I vaguely remembered the facts of the 1993 incident where Brandon Teena was murdered. I was in high school and high school students don't think of much past their own selfish lives. So it is no amazement to me that it took becoming 26 to finally see Brandon's story and learn from it. I think Brandon's life was remarkable and of course I don't understand everything about him but his story should be a lesson to anyone who has ever hated someone just because they didn't understand why they did the things they did, or said the things they said. Brandon's story opened my eyes and exposed me to different aspects that people like Brandon go through. I will always be disgusted by what happened to Brandon but still cannot go with anyone who masquerades and fools people into thinking they're something they are not. Even if we think we are that person in our minds. Anyway, the film is overrated I believe. Yes, the actors were good but I expected more from the way people go on and on about this film. I think viewers confuse Brandon's real life with the film and believe that it is automatically amazing but the film has faults ( that need questioning ). It's hard to watch documentary films because you never know what was really fact and what was just made to do a film. I didn't take the scenes with Brandon and Lana at face value because I couldn't help wondering if this really happened this way. I think the movie should have started with Brandon's early years so we could have seen what she went through as a child before she succumbed to her feelings of being a man. The film could have introduced the characters better. Why start the film with Brandon getting dressed to pick up women if we don't know how she got to that point? I don't know if it was laziness or if the director felt it would be too long to start from the beginning but I think it harmed the film by starting the film in the middle of Brandon's life. We needed to know more. Why try to wrap it up in only two and a half hours when you got so much that needs to be accomplished? I would be interested in another film of Brandon Teena's life. Boys Don't Cry didn't do Teena's story justice. ... Read more

Amazon.com

The Hot Spot is best known to lecherous film buffs for Jennifer Connelly's topless scene, but this sultry southern noir deserves more than prurient interest. It's arguably Dennis Hopper's best directorial effort (OK, so that's not saying much), and Charles Williams's source novel Hell Hath No Fury finds Hopper in a comfortable B-movie milieu, riffing on Double Indemnity with an overripe tale of sex, greed, and blackmail in an unnamed Texan town. Fresh from the final season of Miami Vice, Don Johnson stars as a shifty drifter, conning his way into a salesman job on a used-car lot, where the boss's insatiable wife (Virginia Madsen) offers him sexual favors and a lovely secretary's (Connelly) innocence is threatened by a percolating scandal. Nobody's really innocent, of course, and Hopper spices this languid web of secrets with enough trashy misbehavior to qualify The Hot Spot as a bona fide guilty pleasure. --Jeff Shannon ... Read more

Reviews (33)

A 'Slice of Americana' Film Brilliantly Directed by Hopper!
If a list of top 100 most unappreciated films was ever composed, this movie would make the top ten easily. Siskel & Ebert raved about this movie, and if you give it a try, you'll see why! Well written, expertly cast and almost flawlessly directed by Dennis Hopper, this movie brings small town America to life like few others in recent memory. A steamy tale indeed, put the kiddies to bed before starting this one. Don Johnson and Virginia Madsen are perfect in their parts, and I defy any male to watch this movie and NOT fall in love with the character (Gloria Harper) played by stunning Jennifer Connelly. I could write a 1000 words alone on how good each actor was in their part, main actors AND "small-part" actors, and perhaps that was the genius of this movie; chemistry among the characters that WORKED! Combine that with a plausible and well written story line, set in a uniquely small town America setting, and just plain solid movie making compliments of director Dennis Hopper, and you have "The Hot Spot", a movie that any movie connoisseur can't watch just once! Excellent!

My favourite film..!
Well, my first review and my favourite film to boot. Having read the book by Charles Williams- a gift from a friend who is big into literature and the classics, therefore I felt it might be good - I thoroughly enjoyed conjouring up the images of dusty hot Texas whilst trying to keep cool with the steamy sultry shenanigans between the two diverse female leads and Harry Madox, the main character. Watching the movie for the first time a year or so later, it struck me how rarely when one reads a book does the film match up to the imagined filmscape. In this instance it exceeded my expectations like no other film had done or has done since. With the wonderful music, evoking the atmoshpere in spades and the masterful performance by Don Johnson - hitherto remebered by most for his role in Miami vice and its lack of real depth - the movie comes alive to me as a romantic representation of what I imagine a small Texan town and its bizarre characters may be like. Jennifer Connely is indeed one of the most beatiful women on screen, a shame that many seem to have just focused on her nudity as a reason to watch (or fast forward) the movie, I guess it must tell you a thing or two about them..

You will either love or hate this movie for many reasons. I make no apologies for liking this and if you want a slick, stylish movie with great music, a hot steamy atmosphere and the opportunity to watch Don Johnson perform in the movie of his career (if only for posterity) then you will do worse than spend a couple of hours watching this.

"I found my level and I'm living it."
Drifter Harry Maddux (Don Johnson) arrives in town and takes a job as a salesman at a used car lot. The boss, Mr. Hawshaw, isn't sure quite what to make of Harry. Harry aggressively tells another salesman: "in this life, you've got to take what you want," but he privately admits that his past is "a series of jams over floozies." Hawshaw has a nubile, seductive young wife, Dolly (Virginia Madsen), who quickly targets Harry as her next prey. Harry lacks the willpower to resist her rather obvious charms, but at the same time, he is also attracted to Gloria (Jennifer Connelly), Hawshaw's young female employee.

"The Hot Spot" --a Neo Noir film--is directed by Dennis Hopper, and it's an excellent entry in the genre--complete with a sleazy blackmailer, crimes, and a wicked femme fatale. I am not a Don Johnson fan, but he did a credible job in this film. He was suitably sweaty and stressed at the appropriate moments. But the film really belonged to Virginia Madsen. She drives a vintage, pink Cadillac, and her tackily decorated mansion resembles a bordello--complete with a stuffed Polar bear. Madsen writhes, coils and slithers her way from scene to scene, and she holds Maddux in a state of horrified fascination--what a performance. There are several scenes with strippers swinging around poles, etc, and one topless scene with Connelly. Obviously not for the kiddies--displacedhuman

The Hot Spot is scorching HOT
I am a big Jennifer Connelly fan so this film is very close it my heart and I recomend it because not only do we get to see Jennifer topless on a beach but the film is pretty good.

Don Johnson does an admiral job in the film and I was impressed with the director Dennis Hopper a very nice film that wasn't expected to do anything when it was released in 1991.

A worthy addition to your DVD collection or the guilty pleasure that is my collection

Oh, Jennifer!!!!
It's true Jennifer's topless scene is very nice for us guys
but,that is not all this movie offers.The acting in this film is
good all way round. (At least in my eyes) Hopper is exellent at
bringing the southern heat to the screen and telling an offbeat
story that's fun to watch and that's what it's all about! I think
this movie is an overlooked gem and i watch it at least once a year!

Oh, Yeah!.... Did i mention Jennifer Connelly??? ... Read more

Reviews (138)

Parting the waters of the medulla oblongata of mankind
Normally, movies that are written, directed and star the same person have some fatal flaw due to over-control and a lack of another voice of reason. However, in this case, Billy Bob Thorton put together a great movie.

Billy Bob's portrayal of "Karl", a retarded man who killed his mother and lover as a child, is one of the best characters ever on screen. With his high-water pants, bad haircut, underslung grin and gravelly voice, he's not someone you'll soon forget.

A finely acted film, even the smallest parts were well-done. Suprisingly, John Ritter (an actor who I can not normally watch), gave the finest performance of his career as a gay store manager. Dwight Yoakum was great as the abusive boyfriend, and Lucas Black was good as the kid. J.T Walsh, Robert Duvall, and James Hampton are also in it.

This is not a Disney type plot, and there is a fair amount of swearing and yelling, and some violence. It all is natural to the story however, and the dialogue is some of the best you'll hear anywhere.

I don't give out 5 stars to movies very often. Mmm-hmmm.

An terrific wonderful film, which is unforgettable.
When a man by his early forties living in a Mental Hostipal, who being release by the first time in thirty years by the name of Karl Childers (Billy Bob Thornton) for murdering her's mother lover and then his mother. Karl is a mentally challenge man, who never really experience the outside world. Once he's out to the World, Karl befriend with a sad-sensitive boy (Lucas Black), His Mother (Natalie Canerday) and a nice man (John Ritter), who take a liking in him. Karl hits reality with mean-spirited alcoholic abuser man (Dwight Yoakam) and his past comes to haunt him.

Writted and Directed by Billy Bob Thornton (All the Pretty Horses, Daddy and Then), which is based on his Play, which also he win for an Oscar for Best Adatped Screenplay. Thornton was also nominated for Best Actor. This independent film has First-Rate Performances by all. J.T. Walsh, James Hampton and Brent Briscoe appears in Small Roles-including Oscar-Winner:Robert Duvall. This film is touching, sad and funny also. This is a real one of a kind, unique film. A true classic of the 90's-A Winner. Grade:A+.

Billy Bob does everything but sell the popcorn
Billy Bob Thornton took his screenplay and directed himself in this unforgettable film.

Thornton's Karl Childers became one of the Icons of American cinema, and I still hear people doing Karl's gravel-throated mumble which gets an immediate look of recognition from the people around.

Karl is an essentially good man who is mentally challenged. He recognizes good and bad in others, and he seems to understand his place in the world, even if the intricacies of complex human relationships pass by him as unnoticed as the ozone layer.

As the movie opens we learn that Karl is being held in a State Mental Hospital many years after he has killed a couple of people he thought were doing wrong. I'd say more here, but I think it might spoil some of your enjoyment of the movie to learn more - so just watch the movie! We also learn that Karl is being released because they've "cured him".

He goes back to his home town with all his worldly belongings in a sack. A kindly Doctor from the institution gets him a job as a lawn-mower mechanic and he meets a little boy who is friendly to him.

This is a movie of characters, and simply describing them would not do the characters justice. Karl is a simple man with a pretty well-developed sense of right and wrong. The little boy has lost his father, and the boy's mother, Linda, (portrayed in a wonderfully understated performance by Natalie Canerday) has taken up with a hard drinking, bad-mouthing redneck played by Dwight Yoakam. The late John Ritter is almost unrecognizable playing the soft-spoken crew-cut manager of the store where Linda works. Ritter's Vaughan is devoted to Linda and the little boy, Frank (played by Lucas Black), but Vaughan is also a homosexual in a small town in the south, and his social status is precarious.

There are many serious and tender and hilarious and moving scenes, and most of them involve Billy Bob's Karl. For example, there is one scene where Vaughan invites Karl to the diner where Vaughan proceeds to pour his heart out to the uncomprehending Karl. Vaughan goes on about the difficulties he has had in life, and with his father, and being a homosexual. The entire time Karl sits silently, eating his "french-fried 'taters".

Vaughan finally pauses and says "You always seem to be deep in thought. Tell me, what are you thinking right now?"
Karl replies: "I was thinkin', I'm gonna take me some of these taters home with me."

This movie will stick with you long after you have seen it. Highly recommended.

A legendary performance for Billy Bob Thornton
Sling Blade starts out at a mental home where Karl, played by Thornton, is being released after 25 years. He killed his mother and a boyfriend after he caught them having sex and he didn't think it seemed right. But Karl is deemed to be safe for society and he is also a man with a good heart that when asked if he will do it again replies,"I don't reckon I got no reason to kill nobody." Karl, by the way is somewhat mentally challenged. So it is time to be released, and Karl returns to the town he used to call home with no place to go and no one to return to (except a father who will not recognize him).

Karl befriends a young boy named Frank, and the two are friends from the start. Both of them share some of the same emotional issues, but in Frank's case it is due to his mother's abusive boyfriend Doyle (played by Dwight Yoakam). Karl gets a job working on small engines at a local garage and lives there for a while, but Frank and his mother agree it would be good for Karl to live with them. From the first time Karl meets Doyle, he begins to see what a terrible person he is. Doyle is constantly belittling Frank and Vaughn (a friend of Frank's mother who is gay), and is verbally and physically abusive to Linda (Frank's mom). Karl appears to be a very simple man, but it is apparent that his mind is always at work analyzing the people around him. Doyle grows worse and worse, and Karl becomes increasingly fed up with him. Karl always remains calm no matter the situation, but we start to see that he is the only one who can make things better for Linda, Frank and Vaughn and that as the movie progresses Karl realizes something must be done. I will spare you the ending, but the final conflict revolves around Karl's love for Frank and Linda and with him making a choice, a choice that could send him back to the mental hospital.

This is an incredible movie that deserves all of the notariety is has collected since its release. It won many awards, and deservingly so. There is a little bit of dark comedy here, some tragedy (like when Karl is talking about his brother he had to bury when he was just born), but most of all it is a disturbing examination of internal conflict in one simple man that really is a good guy at heart. It is pretty disturbing at times, so you have been warned. The movie is nothing short of perfect though and it is definately one that you need to see in your lifetime.

A darker, more sinister Forrest Gump
Thornton portrays a man whose apparent stupidity masks a deeper understanding of morals and circumstance than the common man. Everyone treats him as, and calls him, a "retard", yet he sits in his own presence watching and learning...taking in his surroundings to figure out who is decent, and who isnn't. He just wants to get on with his life, yet, he befriends a young boy by happenstance who he can relate to through common toils and emotion, who he can share his innermost thoughts and dark history with, and who he can - within his own diminished capacity- protect in full with his own paternal....no fraternal....regards.

This movie will make you laugh, it will make you cry, it will make you cringe. But it won't let you go until you see it in its entirety, and question the fact - is it okay to kill if it's for a better cause?

A must-see. ... Read more

Amazon.com

Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation, and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase, and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalizes on his shifty screen persona, and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. --Jeff Shannon ... Read more

Reviews (64)

THIS MOVIE SHOWS THE WIDE RANGE OF THE GREAT EDWARD NORTON.
"Primal Fear" is an entertaining thriller with some plot twists, good performances and interesting story. But the best part of the movie is the Edward Norton performance, he steals the show from good actors every time he appears on the screen.

The movie introduces a cynical, narcissist and ambitious famous lawyer Martin Vail, he is played by Richard Gere, and of course he has no problem with the role because Richard Gere is cynical, narcissist, ambitious and famous. Anyway, when Martin Vail watches on TV the arrest of a boy accused of the homicide of a Chicago archbishop, he immediately sees the opportunity of raise his profile by defending the boy.

Then he meets Aaron Stampler (Edward Norton), a quiet and harmless boy; then the lawyer realizes that Aaron is innocent. After that, the movie becomes an entertaining thriller / mystery / courtroom drama, with some plot twists, interesting characters and revelations.

But the most interesting part is to see all the changes and emotions that Edward Norton prints in his character; he is just an amazing actor, his performance is by far the best in the movie. After this film, Norton delivered his best performance in American History X, and established himself as the best actor of his generation.

A more than solid thriller, with a twist
When I had first laid eyes on Primal Fear on pay-per-view years ago I had first dismissed at as another Hollywood who-done-it courtroom drama with no originality. And was I ever wrong. Primal Fear may seem like something you've seen before, but the clever, highly intelligent, and twisting script makes the film soar to unexpected heights, and Edward Norton's breakout performace as murder suspect Aaron has to be seen to be believed (Norton would receive a Golden Globe and his first Oscar Nomination for Best Supporting Actor which Cuba Gooding Jr. ended up winning for Jerry Maguire). Richard Gere has the starring role playing Norton's lawyer who seems to be the only one who believes Norton's innocence. With a super twist ending and a superb all star cast which includes Laura Linney, Frances McDormand, Steve Bauer, John Mahoney, Maura Tierney, and Andre Braugher, Primal Fear is a near superb little gem that I strongly suggest seeing.

You gotta be kidding!!!
This is a great movie with interesting plot twists?? I groaned throughout this movie. So predictable....the egotistical lawyer, his ex-lover DA, the dialogue, the acting....ughh. Nothing more than a basic Hollywood formula movie.
I will watch this occasionally to remind me what a recycled , done before, same old same old Hollywood type movie and how much I hate them. I guess some people get off on the same old stuff. Well if you don't, I warned you.

Murder and Misdirection.
"Fui bailar no meu batel alem do mar cruel," sings modern fadista Dulce Pontes in this movie's dynamic title song: "I went dancing in my boat, there on the cruel sea." And it must be just like a nutshell-sized boat dancing on a stormy ocean's waves that nineteen-year-old Aaron Stampler (Edward Norton) feels after his arrest for the savage murder of Chicago's saintly Archbishop Rushman. Or does it?

Certainly it doesn't help that Aaron was caught running from the crime scene, covered in blood, and with the archbishop's ring in his pocket. Besides, who is going to believe him anyway - a stuttering, uneducated boy from rural Kentucky who was found begging by the powerful clergyman, taken in as an altar boy and made to sing in his choir - that he was present when the murder was committed but can't remember a single thing because he blacked out? Nobody; surely not the police and ADA Janet Venable (Laura Linney), assigned by D.A./Rushman friend Shaughnessy (John Mahoney) personally to try the case, with the express mandate to obtain a death penalty conviction. Nobody, that is, except Aaron's defense attorney Martin Vail (Richard Gere). Vail, of all people: the flamboyant ADA-turned-private-practitioner, the star attorney not shying away from even the shadiest client, to whom TV and magazine cover interviews are as second nature as his courtroom appearances, and who cynically quotes as his mottos a professor's maxims on his first day in law school: "From this day forward, if your mother says she loves you, get a second opinion." And: "If you want justice, go to a whorehouse. If you want to get f**ked, go to court."

"Primal Fear" was adapted from William Diehl's like-named bestselling novel and, like in many literary adaptations, its screenplay is a hit-and-miss affair. Not successful, in my view, are those alterations that unnecessarily make Vail an even more ethically questionable lawyer as already conceived by Diehl; such as the way he becomes Stampler's attorney in the first place (which in the movie amounts to blatant client solicitation; not to mention that no sane lawyer would introduce himself to a potential client with the words "I'm what you call a 'big shot' attorney"), and the circumstances surrounding the discovery of a tape revealing the archbishop's not-so-nice private side (which in the novel isn't found by Vail but by his investigator Tommy Goodman [Andre Braugher]: of course that doesn't eliminate Vail's ultimate ethical responsibility, but contrarily to the movie, at least he doesn't "borrow" the tape from the crime scene himself, and he doesn't know in advance what Tommy is up to). Further, in the book the tape is not shown in open court and immediately introduced into evidence but viewed in the presence of only the judge and the attorneys, which given its contents seems more realistic (even if it were later introduced into evidence after all). On the other hand, particularly regarding the main characters the movie's alterations work well: Unethical or not, Richard Gere's Martin Vail is even more interesting than the character devised by Diehl; moreover, an unnecessarily cliched, ultraconservative judge nicknamed "Hangin'" Harry Shoat becomes an - although still tough - overall more multidimensional Judge Miriam Shoat (Alfre Woodard); similarly, Vail's mafia-affiliated client Joey Pinero (Steven Bauer) gains considerably in stature; and although it actually reinforces cliche to shift the love/sex relationship from the book's present one between Vail and psychiatrist Dr. Arrington (Frances McDormand) to the screenplay's past one between Vail and Venable (which the ADA now derogatorily calls "a one-night-stand [that] lasted six months"), thanks to Gere's and Linney's considerable on-screen chemistry their characters' personal relationship adds sparks and tension to their professional rivalry that also lend greater credibility to the final courtroom scene's powder-keg explosion.

Outstanding as all of its actors are, however, "Primal Fear" rises and falls with the performance of Edward Norton, and it is his breathtaking achievement that validates the movie more than anything. Then-newcomer Norton not only had to portray a boy almost a decade younger than himself (which he manages flawlessly) but also an incredibly complex character, sometimes shifting behavioral patterns, accents and manners of speech from one sentence to the next; and he delivers supremely, deservedly garnering an Oscar nomination (which in a year of extremely tight competition he lost to Cuba Gooding Jr. for "Jerry Maguire"), as well as a Golden Globe and several other awards, and together with his roles in "People vs. Larry Flynt" and Woody Allen's "Everybody Says I Love You" playing himself into public awareness once and, hopefully, for all.

Although "Primal Fear" is often cited for its final plot twist, anybody who has seen more than that occasional thriller can see its end coming somewhere halfway through the narrative (and I think that's true for both book and film - although I admit I hadn't read the novel when I first saw the movie). Moreover, the final twist depends on a feat on the part of Norton's character that lawyers and psychiatrists alike will find hard to take at face value. Thus, at first viewing this movie's end may appear a bit of a let-down. But trust me: The story grows on you the more often you watch it, and in my view it actually helps to know the end, because not only does this enable you to see the many nuances you necessarily missed the first time around; it also frees you to think about the moral issues addressed. For those reasons, and for the entire cast's - first and foremost Edward Norton's - fine performances, this has long become one of my favorite courtroom thrillers.

"[I believe that] things are not always as they appear, that sometimes facts can be manipulated the way a magician manipulates an audience. He distracts you with this hand, while the other hand does the tricks. It's called misdirection." - "Primal Fear," preface: from Martin Vail's summation in a case entitled "The State vs. Nicholas Luma."

Primal Fear (1996)
Director: Gregory Hoblit
Cast: Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alre Woodard, Frances McDormand.
Running Time: 130 minutes.
Rated R for language, perverse sexual situations, and some violence.

Rarely is a psychological thriller/courtroom drama so intense, intellectual, and mind-blowing. "Primal Fear" is an excellent adaptation of the William Diehl bestselling novel, using a stupendous cast, an equally riveting screenplay by Steve Shagan and Ann Biderman, and fine direction from virtually unknown Gregory Hoblit. Red herrings and duplicitous plot twists are woven tightly into the film about a hotshot defense attorney named Martin Vail (Richard Gere) who goes looking for the limelight and finds it filled with shadows.

When a popular archBishop is brutally murdered in his illustrious home, a terrifyed young altar boy (in an exceptional, eerie role by newcomer Edward Norton--who would later become a star because of the film)is arrested as a suspect and held into custody. Due to the magnitude of the case, Vail leeches onto it and decides to defend the young man. Little does he know that he will uncover a viper's nest of corruption, pit him against a prosectuor (Laura Linney in a fine role) who happens to be his ex-lover, and hope to find the truth of a case that tests his will and win-at-all-costs attitude.

Gere is stupendous as the fame-hungry, confident lawyer, while Norton steals the film as he reveals the inner demons of the poor suspect. "Primal Fear" is one of the most well-made thrillers of the 1990's and is a film that emphasizes what is right and wrong about our judicial system, questions the legitimacy of the courtroom, and taps into a fear of the psychological unknown. A finale that will, if nothing else, shock you and make you think. An absolutely great drama. ... Read more

Reviews (39)

The human spirit is alive and strong...
If I remember correctly, this movie was not rated well when it was first released in theatres. I couldn't understand why since it was well made, had a decent cast and had a thought provoking plot based on true events.

The cinematography is very attactive in showing the badlands of South Dakota and featuring looks into the Indian reservations. Also, the music was well done and offered a nice perspective of Native American sounds and environments.

This movie also sends a message about a darker time in America's past when the govenrment perpetrated some devious acts against the Native Americans. Maybe it was high time that these events came out into the open so that more people would know what happened and know that what the U.S. government did was very wrong.

Val Kilmer proved to be well suited for the "by the book" FBI agent that came of age and got in touch with his Indian heritage and learned to do the right thing. Sam Shepard, a great actor as always, played the role very well of the "dark horse" FBI agent with skeletons in his closet and a secret agenda on the Sioux reservation. Graham Greene could not have done any better as the reservation police officer. Showing his pride and dignity as an Native American along with the humorous backlashings at Val Kilmer made for pleasant interactions throughout the movie.

A movie worth watching again and again.

A diamond in the rough
Time over time, Val Kilmer has proven that he is not just a pretty face. He has continually impressed even the most severe critics that he is a formidable actor. THUNDERHEART, to me, is among his best performances.

There is some predictability in the plot: Kilmer portrays an FBI agent who is part Native-American. When he is sent to a reservation to investigate a crime, he begins to respect and embrace the heritage he had not previously acknowledged. What is not predictable, however, is how well the script avoids sentiment and focuses on Kilmer's transformation.

Loosely based on the actual events surrounding Leonard Peltier's American Indian Movement, and the murders of FBI agents on the Pine Ridge reservation (all of which is the subject of Peter Matthiessen's book "In the Spirit of Crazy Horse"), THUNDERHEART is a powerful examination of the surreal and frightening life on Native American reservations. Brutality is everywhere: whites against Indians, Indians against Indians, etc. Director Michael Apted does a remarkable job of tempering the violence with scenes of beauty and with images of a peace-loving tribe of people. This is a heartbreaking film at times, but there is a sense of justice in the long-run. THUNDEHEART is not a piece of hunk-actor mind candy. This is a powerful (and underrated) film that demands your attention. It is well-worth it.

They should have named it "Days of Thunderheart"
Just kidding. This is such a good movie. It would be a shame if more people didn't get to see it. All the characters are so interesting to watch. I saw it on cable when it came out and I had to own a copy when I saw it in the store. No gimmicks, just a good story and good actors.

One of the Best, but least-known movies of all time !!!
We have more movies than you can imagine, but we watch this movie probably every 2 months. And if this says anything for it, I'm an action and comedy kind of guy, and my wife is a chick-flick and foreign film person. We both love everything about this movie. This movie was very well done. All of the acting is well-performed. For being a drama/action movie, it has some great little twists of humor at times. I probably can't say enough about it that hasn't already been said in the good reviews already written here.

Poetic Justice
One of my all time favorite movies is this often overlooked classic. Ted Thin Elk, a genuine Souix chief, is one of the most beautiful men I have ever seen on film. His authentic spirit radiates from every frame he is in. Graham Greene is always brilliant. Val Kilmer makes his role seem like second nature. He is passionate and unspoiled.

There are a few moments that do seem a little cliche, though I only thought that after I had seen the movie a few times. The photography is mesmerizing,
and the script has many moments of sheer poetry. I love a story that can be read in layers, and that deals with life beyond the visible surface. Native American spirituality is woven throughout fabric of this story, but it never bogs itself down in esoteric mumbo-jumbo.

It packs a punch, and the ending always makes me cry. ... Read more

Reviews (57)

The Merry Widow Murderer strikes again
Hitchcock loved to subvert what others took for granted. Set in the Northern California town of Santa Rosa, Shadow of a Doubt is most subversive about the very normal, tranquil qualities of small town life. Like all of Hitchcock's most convincing and powerful thrillers, the mystery is revealed right away. Uncle Charlie (Joseph Cotton)is on the run from the police. He's endearing, charming and a serial killer nicknamed The Merry Widow Murderer. With the police hot on his trail he turns to the only place he can--home.

Uncle Charlie visits with his sister and her family in a sleepy small town. Uncle Charlie gets the chance to visit with his namesake and favorite niece nicknamed Young Charlie (Teresa Wright). They have a grand old name visiting until the past comes haunting. Young Charlie begins to suspect that Uncle Charlie is the Merry Window Murderer. What's worse, he realizes that she knows. Suddenly, he must find a way to murder his favorite niece and escape without suspicion.

Shadow is one of Hitchcock's earliest films where his favorite themes finally come together in a great collabortive effort with Thornton Wilder (Our Town). Wilder's early drafts (Hitchcock's wife and frequent collaborator Alma Reville did extensive rewrites along with Sally Benson and, of course, Hitchcock himself, as always, uncredited). Like many of the releases from Universal in the Alfred Hitchcock Collection, Shadow comes back with some interesting extras.

The documentary which includes interviews with Teresa Wright, Hume Cronyn, Robert Boyle, Pat Hitchcock O'Connell and director Peter Bogdanovich, isn't the usual slapdash affair. There's some interesting insights and observations about the film (if you'd like real insight into the film, I'd suggest the recent Hitchcock biography).

Joseph Cotton, Teresa Wright and the rest of this stunning cast capture the atmosphere (or least Hollywood's version of it with a bit more realism courtesy of Wilder and Hitchcock)of life in a small town during the 40's. It's one of Hitchcock's early American masterpieces (along with the wonderful Notorious).

The transfer looks pretty good overall. There are some minor issues with edge enhancement but the overall look of the film is very clean considering the age of the negative. It's a pity that so many Hitchcock films are spread over so many studios. Shadow would work well in a boxed set with Strangers on a Train and even Rear Window.

Charlie, think. How much do you know about your uncle?
Having just watched Alfred Hitchcock's Shadow of a Doubt (1943) last night for the first time, I was surprised at how good it was, and why I've never seen it before. I mean, I am a fan of Hitchcock, and I've seen many of his movies, but to have heard so little of this particular film seems puzzling to me, as it's an excellent film, and worthy of a lot more recognition than it seems to have gotten. Either that or I just need to get out of my cookie jar more often...

Anyway, the film, directed by Alfred Hitchcock and written by Thornton Wilder, stars a wonderful cast including Teresa Wright, who appeared with Gary Cooper the previous year in The Pride of the Yankees (1942), Joseph Cotten (Citizen Kane, The Third Man), and Henry Travers (High Sierra, Mrs. Miniver, It's a Wonderful Life). Also making an appearance is Hume Cronyn making his film debut in a supporting role as a mousy neighbor.

The story involves a family in a small California town, and the impending arrival of a relative, Charlie (Cotten), from back east. Most anticipatory is younger Charlie (Wright), named after her uncle, as she feels a deep, almost telepathic connection to this man she hasn't seen in quite awhile. Now, before Charlie's departure for California, we get a general sense of unease, as it seems Charlie is involved in something of a sinister nature. Upon arriving in California, the visit seems to be going well, as the family welcomes him with open arms, but soon we learn that trouble has followed Charlie in the form of two rather shady individuals who present themselves with a certain amount of deception, which is elaborated on later. The older Charlie's behavior begins to change subtly, perceptible only to the younger Charlie and us, the audience. As various bits of information are disseminated, the younger Charlie's begins to realize that her uncle may harbor a terrible secret that could tear apart the very fabric of her family. As her uncle's slick veneer is slowly peeled away, she eventually learns the truth, with the older Charlie realizing that the relative safety he sought in coming to stay with his sister and her family is in jeopardy. What lengths will he go to to protect himself from his past?

The film starts out very slowly, but it's obviously deliberate, as the sense of dread within the viewer is cultivated in meticulous fashion. This seems a common tactic with Hitchcock, but I did get the feeling it was more drawn out here than in most of his other films. The pacing felt very similar to Rebecca, another Hitchcock film, which was released in 1940, but while that film had a much more grandiose feel to it, this film keeps things fairly simple, which really works well. There is a good amount of leaving the viewer in the dark within the first hour or so of the film, but when the secrets of the character is revealed, the plot points prior to this fall into place nicely, making sense of these once less meaningful elements. Teresa Wright's character is wonderful as the perceptive and intelligent niece forced to make a very difficult decision between her family and her uncle, trying to deal with the consequences of whatever path she chooses. Cotten is the real standout performance in the film, presenting a very likeable character, with a highly polished exterior, but an exterior you learn is barely hiding a very ugly and, ultimately, dangerous core. He figuratively becomes the fox in the hen house, as his sinister nature encroaches upon this quiet, unassuming community. As I said before, the pacing is pretty slow, picking up moderately within the last 30 minutes (it has a running time of 108 minutes) to a very suitable and satisfying ending, one that provides a nice jolt during an already tense scene.

The print provided by Universal for this release looks very good, despite a few hardly noticeable signs of age and wear. Special features include a featurette on the making of the film, detailing why Hitchcock considered this to be one of his favorite movies he made, production notes, drawings and photographs, recommendations (to other Hitchcock films), and a theatrical trailer for the film. All in all, and excellent, if underrated, Hitchcock classic.

Cookieman108

What a Film!!!
It is sad that Santa Rosa, Ca. doesn't look like this today,but this film almost foretells the waiting, looming changes that we were about to face in our land, both to our lifestyle and our environment. Never more relevant than now.Hitchcock captured the essence of a wonderful and, now, nostalgic time in America as no one else, before or after.

5 star movie ...
While the film itself is absolutely brilliant, 'Shadow of a Doubt' loses a star for being a disappointing DVD. Considering this film was always hailed as being Hitchcock's favorite, I'm really surprised that Universal didn't roll out the red carpet when it came to the disc's bonus features.

I completely expected to see the same TLC that made the 'Rear Window', 'Vertigo', and 'Psycho' DVDs such an education to watch. Instead Universal didn't even seem to think 'Shadow of a Doubt' warranted a simple wide-screen format.

I loved the film and will always think of it as one of my favorites among Hitch's works. I can't help but to be disappointed that it seemed to fall to the way-side when it came to the attention I felt it should have commanded in its reproduction and formatting though.

I'll Go With the Masses on This One
No question about it: this one of Hitchcock's best, and it ought to be a lot better known.

There's some truth in the contention that much of Hitchcock's work is based on flimsy plotting, gimmickry, and attractive stick figures racing from one scene to the next just a step ahead of sense or logic. This is easily seen even in much-admired films like "North by Northwest".

But "Shadow of a Doubt" (along with "Vertigo" and the first half of "Psycho") gives the lie to the claim that this was all there was to Hitchcock. This is a film in which every turn of the narrative is governed by the development of character, as a girl matures from giddy teenager to strong (and even deadly) young woman while grappling with the knowledge that her beloved uncle is a serial killer.

The acting is uniformly outstanding. Cotten is in full lounge-lizard mode here--nobody ever enunciated a perfectly-balanced sentence with more venom. Hume Cronyn plays a neighborhood geek almost--but not quite--to the point of parody. But it's Teresa Wright who takes the prize here. Wright was a pleasant but unremarkable presence in a number of films, but in "Doubt" she really shows what she was capable of. Consider the expression on her face as she descends the stairs in the climactic scene, and how easy it would have been to overplay it.

Perhaps it was the influence of Wilder (though his biographers state that he actually didn't really do much work on the picture), but "Shadow of a Doubt" is one film in which the master outdid himself, stepping beyond the limits of entertainment into something approaching art. ... Read more

Reviews (221)

Great coming of age story from Stephen King and Rob Reiner
"Stand by Me" is a coming-of-age story about four boys on the verge of adolescence and junior high school, who go on a journey to see a dead body. The movie was based on the Stephen King novella "The Body" and directed by Rob Reiner, who also did King's "Misery" for the screen. This is a very faithful adaptation of a King story, and much of the dialogue came straight from the book.

What makes this film really great is the interaction, chemistry and performances of the four young actors. Gordy LaChance is the college-bound writer/dreamer, played by Wil Wheaton (who went on to become Wesley Crusher in Star Trek: TNG) with some great facial expressions and moments of vulnerable emotion and inner strength. Chris Chambers is the rebellious bad boy, but smart and athletic, played by a very young River Phoenix (whose promising career was tragically cut short) with strength and wisdom beyond his years. Gordy and Chris are the characters who grow the most during the adventure. Gordy's older brother Dennis (played in cameo scenes by John Cusack) died earlier in the year, so he in going to view the body, he is unknowingly looking for some closure to that event. Chris is at a crossroads where he can either "take shop and make birdhouses with the other retards" or take the harder classes with Gordy.

Teddy DuChamp is the psycho and dramatic kid, played by Corey Feldman, who had a productive child actor career. Teddy's relationship with the father who burned his ear on a hot stove is the key to his experience during a confrontation at the junkyard.

Rounding out the group is Vern, the dim fat kid played by Jerry O'Connell, who of the four has changed considerably as an adult and continues to build a decent acting career.

The film is very nostalgic, with its portrayal of sma