Description

In the wildly entertaining spirit of A FISH CALLED WANDA, BLAME IT ON THE BELLBOY delivers the year's craziest laughs! Featuring an all-star cast, the hilarity kicks off when a daffy bellboy (Bronson Pinchot -- TV's PERFECT STRANGERS) accidentally switches the itineray envelopes for three guests (Dudley Moore, ARTHUR, Bryan Brown, COCKTAIL, and Richard Griffiths, HARRY POTTER AND THE SORCERER'S STONE). His actions cause a hilarious case of mistaken identities, sending the trio down a road of comic nonstop adventures! Check in today for a zany time where mix-ups, mishaps, madness, and mayhem are all part of the service -- and just the beginning of the fun! ... Read more

Reviews (2)

100% fun
I've seen it and I would see this a hundred times ans still
laugh. Typical Dudley Moore misunderstanding trama (Micki &
Maude, Unfaithfuly yours)that would make you laugh besides
Patsy Kensit is a very attractive and talented actress.

Good entertainment
Sure the movie is silly and the story farfetched and somewhat predictable, but it is good entertainment and joy for 1 1/2 hours. ... Read more

Amazon.com

In swinging '70s London, Jason (Robin Askwith), a Brian Jones doppelgänger, grows weary of the rock scene and decides it's time for a vacation.He responds to a flyer for a "Hairy Holiday" and meets up with Judy (Vanessa Shaw) on the way, but they soon find that their resort is actually a Hippie-to-Zombie Conversion Center, complete with crazed researcher (Michael Gough), evil midget, and lobotomized longhairs.The doctor harvests human heads with a retractable blade attached to his limousine and runs his zombies via remote control.A monster who appears to be made of Silly Putty stalks the grounds and claims an unlucky victim or two, until the midget and heroes plan their escape from the goonatorium. Gough claims some great chewable dialogue (Peter Cushing must have been busy), the midget has a great pathos-laden death scene, and a toxic waste site is also crammed into the overstuffed plot.It's not quite funny enough to be a horror comedy, but there's enough gore to give it the feel of a later-era Hammer film.Horror Hospital breathes some new life into the mad-doctor-and-zombification-facility plot and moves fast enough to keep things interesting, at least.If you don't go into it expecting stupendous effects or deep narrative, it's a fun ride. --Jerry Renshaw ... Read more

Reviews (5)

Slow and pointless
Patients check in, but they don't check out. This British production is ponderously slow, pointless dreck. Avoid at all costs.

I would've given this film 0 stars out of five, but that wasn't an option.

Hippies, lobotomies, and a guy named Abraham
Take one part Woodstock, one part funky psychedelic music, two parts skintight jeans and "Right on, man," mix thoroughly, smother the whole thing in cheese, and you have the makings of the 1973 camp classic "Horror Hospital." Made by director Antony Balch on an obviously shoestring budget (and probably as an enormously sick joke), "Horror Hospital" ranks as one of the funniest films masquerading as a horror movie I have seen in some time. Personally, I suspect Balch and his compatriots actually got the idea for this quirky schlockfest when they attended Woodstock and accidentally ingested the brown blotter. For all I know, maybe a biker rapped Balch over the head with a blackjack at Altamont. Whatever the case, only a severe trauma to the cranium could instill such a warped idea as "Horror Hospital" in the human brain. It is a great shame more fans of the genre don't know about this movie. This film is great fun for those willing to put their mind on hold for a couple of hours.

What you have in "Horror Hospital" is some nut case, a Doctor Christian Storm (Michael Gough), running an asylum out in the sticks where he performs weird experiments on hippies. His latest would be victim, Jason Jones, heads to Storm's hospital under false pretenses. After suffering a beating from a rock band at a local club, Jones decides he needs a vacation from the rigors of urban hippie life. After a decidedly uncomfortable meeting with an effeminate travel agent, Jones heads off on holiday with bell-bottoms and unkempt hair firmly in place. Little does he know that this agent is in league with the nefarious Doc Storm and his evil minions. On the way to the madhouse, Jones meets up with a groovy little number on the train, a woman who is also heading to the hospital in order to pay a visit to her Aunt Harris. That dear old auntie is a raving loony in cahoots with Storm is not apparent at this time. Soon after arriving at the Storm's fortress of solitude, Jones and his chick discover weird goings on: a bed drenched in blood, shambling zombies all over the place, and a demented little man with a bad attitude. It isn't too long before Jones learns of the evil machinations of Storm and attempts to save his girl by breaking out of this miserable backwater.

Why is Storm such a malevolent figure? Well, he apparently worked as a psychologist of some note in his early days before a controversial research project caused him irreparable physical damage. Now confined to a wheelchair--from which he roars out orders and ultimatums in a hilariously histrionic performance--Doc Storm has restarted his grotesque experiments. Storm uses the idea of a bed and breakfast to lure in fresh young recruits for his special two for one deal: a lobotomy followed by an implant that allows the doctor to control the thought and actions of his patients. Anyone who tries to escape dies horribly when the doctor and his miniscule helper run the hapless dupe down in a limo outfitted with a retractable guillotine blade. Predictably, Jason Jones isn't about to stand for such nonsense from some old fogy conservative. With the help of the ultra laid back Abraham, an uber hippie who shows up on the scene looking for a missing girlfriend, Jones spreads peace, free love, and equality by destroying Storm's sick dreams once and for all. Well, that's the plan, anyway.

"Horror Hospital" is such an outrageous film, such a bad idea made worse by putting it on celluloid, that it is an absolute must see for fans of cheese cinema. The performances are, for the most part, atrocious. Michael Gough, an actor who has appeared in numerous films since this picture appeared in the early 1970s (notably as Alfred in the "Batman" film franchise), should have known better than to take this role on. As campy as his performance is here, without him the movie would have been forgettable. The actors who play Jones, his girlfriend, the evil Aunt Harris, Storm's dinky helper, and the boisterous Abraham all more or less tread water in their roles. Still, these characters are invaluable to the plot. The elfish cohort of Storm eventually sees the error of his ways and attempts to help our imperiled heroes. His death scene on the stairs transmits to the viewer a feeling of deep poignancy, an absolute sense of loss to the sum total of humanity. Yeah, right. If you believe that claptrap, I have a heck of a real estate deal in Florida to tell you about. "Horror Hospital" is a laughfest from beginning to end. The best guffaw in the film has to be the scene when Abraham cruises up to the castle gates. As he waltzes through the forest, a funky, happy psychedelic tune blares in the background, apparently as a signal that this guy is the height of hippiedom or some such nonsense. I don't know what it meant and you won't, either. It's so funny that it simply doesn't matter.

You can forget about any substantive extras on the DVD release, but you do get an amazing picture transfer. There are scenes in this movie that look so fresh and colorful as to defy description. The movie often looks as though Balch and his crew lensed the thing yesterday. I liked the movie on a purely camp level, but I also thought the picturesque scenery of the castle and the forest grounds around the place added a nice touch. I would definitely watch this clunker again if I had the chance.

Confessions from a Horror Health Farm.
When attempts to break into the pop business leave him with nothing but a bloody nose, songwriter Jason Jones (Robin Askwith) decides to take a break with “Hairy Holidays” an outfit run by campy travel agent Dennis Price. Realising chatting the young holidaymaker up is getting him no where- Price sends Jason to pseudo-health farm Brittlehurst Manor. On the way via train Jason meets Judy (Vanessa Shaw- whose only other film appearance-uncredited- was in the 1972 transvestite comedy ‘Ooh, You are Awful’) a pretty girl en route to the same destination- always one for the ladies Askwith’s choice chat-up line here is ‘there’s no need to get uptight- I’m not going to rape you’. Both are unaware that the health farm (i.e. ‘Horror Hospital’) is a front for Dr Storm (Michael Gough) and his lobotomy experiments that turn wayward boys and girls into his mindless slaves ‘just like puppets- and I am the puppet master’. The wheel-chair bound quack also surrounds himself with an oddball entourage, including ex-brothel Madam Olga, Dwarf Frederick, and numerous Zombie bikers ready to dish out rough justice to any escapees. Jason and Judy’s stay offers few quiet moments- taps run blood, flashbacks reveal kinky misappropriation of lobotomy patients, and a Rolls-Royce fitted with a giant blade decapitates interfering third parties. The health-farm is also home to a hulking monster that resembles a badly turned out pudding, but whose real identity provides the film with one last plot twist- and it’s a jaw dropper.
A long time favourite, Horror Hospital holds a special place in my heart and is still a film that I never tire of watching. Equally fascinating is the career of its director Antony Balch- an experimental filmmaker, exploitation film distributor, Bela Lugosi obsessive, William Burroughs collaborator and all round mischief maker who died young (of cancer in 1980). The best place to read about Balch is Colin Davis’ 1988 article ‘Eros Exploding- the films of Antony Balch’, while Barry Miles’ Burroughs biography ‘El Hombre Invisible’ also has some interesting tales to tell about Balch and Horror Hospital co-writer Alan Watson. Larger than life characters that Watson and Balch come across in those two texts its perhaps no surprise that every Horror Hospital character is in their own way memorable, from the sinister rail-guard played by Kenneth Benda (also in Balch’s Secrets of Sex and the pilot episode of Adam Adamant Lives!), Skip Martin’s victim/victimiser dwarf who goes around shouting ‘Don’t forget to brush your teeth’, ‘Baron’ Kurt Christian’s wooden hippie whose fairly lobotomised to begin with, while Robin Askwith- in very much a warm-up to his star roles in slap and tickle comedies of the Seventies makes for a far more colourful hero than seen in the average UK horror film of that era. Then there’s Michael Gough who Balch apparently prepared for the Dr Storm role by screening him The Devil Bat with that film’s star Bela Lugosi as Gough’s ‘inspiration’. While there is certainly allot of Lugosi evoked in Storm and his mad doctor schemes Gough clearly injected a good deal of his own horror film persona into the part as well, and at a time when he was starting to play more sedate villains (The Corpse, Satan’s Slave) the Balch film gives us one last look at the raving, scenery chewing Michael Gough of Horrors of the Black Museum and Konga.
Serving up its chills the tongue-in-cheek way, Horror Hospital’s scenarios are deliberately exaggerated and over the top (upon discovering a blood splattered bed diminutive Fred tells Judy and Jason ‘I hope you’ll be tidier than the people who had that room’) yet at the same time the film works as a totally straight horror/exploitation piece, a balancing act often attempted but rarely pulled off in horror comedies. References/send-ups of older horrors particularly the later Lugosi films and items like Mystery of the Wax Museum are also given an original spin by Balch’s peculiar world view which combines these olde horror film elements alongside finger on the pulse exploitation spectacles like severed head gore and shower scene nudity all cutting edge for a 1973 British production. Balch even throws in a glam/transvestite band whose prophetic wailings of ‘something ain’t right, something is wrong’ memorably open the film. The DVD release offers some good and bad news- on the one hand the film, presented in widescreen and sourced from the original negative, has never looked better- but, save for the UK trailer (“the most horrific programme ever shown in England”) the lack of extras disappoints. By all accounts this was quite a colourful production and a story worthy of an audio commentary- as such this DVD seems a bit of a missed opportunity. The packaging sells Horror Hospital well in horror film terms (quoting the immortal ‘the ultimate in blood and screams’ Dilys Powell review) but doesn’t quite capture the film’s anarchic edge, the blood red box is a more inspired touch but call me a nit-picker is it too much to ask someone to spell Balch’s first name right on the sleeve.
The rest of the Balch back-catalogue is comprised of a handful of experimental short films like Towers Open Fire and Bill and Tony (which would have made ideal DVD extras) while his only other feature was Secrets of Sex (aka Bizarre) a sometimes disturbing horror/sexploitation picture narrated by an Egyptian Mummy- that is quite unlike any other movie you’ll ever see- providing you can get to see the ultra-obscure Balch debut feature in the first place that is. Horror Hospital remains Balch’s most straight-forward and entertaining piece of filmmaking, and a super introduction to a slender but always fascinating body of work. Obscure for most of the Eighties, this DVD release restores to its proper place one of the all time great Brit horrors of the Seventies.

Horror Hospital (1973) d: Balch, Anthony
British import, about a mental health retreat, were patients check in, but they don't check out! One of two films written and directed by Anthony Balch [the other one being Bizzare] before the director died in 1980. Horror Hospital is a tongue-in-cheek send-up of classic horror films such as Mystery of the Wax Museum and Hitchcock's Psycho. Comic touches along the way, such as an escapee stopping to grab a bite to eat before he flees, give the film that extra flavor. Horror Hospital still manages to capture some of that straight commercial appeal. A mad doctor invites hippies to his mansion so he came perform lobotomy techniques that will turn them into obedient servants for the madman's bidding. Very bizarre, yet entertaining film that features taps running with blood, a midget porter assistant; brainwashed biker bullies and a Rolls Royce with a retractable machete used for handy decapitations. Not much in the way of extras provided on this disc.

Cheesy and campy-the way all "B" horror flicks should be!
I love "B" horror flicks. I must confess. And when I saw this, my thirst for the true art form of "B" movies was sated. It was wonderfully done, and the silly putty monster was the greatest part of it all. This movie has it all from midgets to an "evil genius" and a ketchuppy substance that almost resembles fake blood. The dialogue is a bit lacking, but that adds even more to the ambiance of the picture. A fun time, and great for those of you that love campy horror movies. ... Read more

Amazon.com

Fresh from the playfully exuberant A Hard Day's Night (1964), director Richard Lester applies the same acrobatic, tongue-in-cheek style to this delightfully frivolous take on swinging London and the sexual revolution. Gawky young Michael Crawford is a meek landlord who vies with his ladies-man lodger Ray Brooks for the attentions of spirited funny-face Rita Tushingham, whom he literally picks up while pushing his new brass bed through the streets of London. Lester floats his sweet nothing of a goofy romance with an offbeat sense of humor, a compendium of sight gags and non sequiturs stirred in with devil-may-care spirit, and a pair of winning leads. Crawford's underdog desperation and endearing naiveté makes for an appealingly nerdish hero, but it's Tushingham's kooky charm and deft comic delivery that steal the film. A lovely score by John Barry balances the energy and invention with a tender romanticism. --Sean Axmaker ... Read more

Reviews (9)

A Blend of Avant-Garde and Slapstick
This 1965 Cannes Film Festival Palm D'Or winner still looks innovative nearly 40 years after it was made. The John Barry soundtrack used throughout the movie is outstanding. This film is not to be missed by those who love the 1960s and the films made during that decade.

The story started out as a play by Ann Jellicoe. The film shifts between broad slapstick and avant-garde as it tells the story of an unlucky in love schoolteacher, his womanizing housemate, the artist who moves in with them, and a naive girl who has just arrived in London.

Director Richard Lester uses all kinds of editing shots that still look fresh and there's something about this film being in black and white that somehow makes it more "1960s" than if it had been shot in color.

MGM released this in widescreen with the theatrical trailer but it really could use some extras where the making of the film is discussed. (Check out the liner notes on the CD soundtrack for some behind the scenes information.) Audio commentary from Richard Lester and any of the actors would have also been much appreciated.

WE ARE ALL, MORE OR LESS, SEXUAL FALURES...
...So Tom tells us about half way through "The Knack...and how to get it". Whether he speaks for the other characters or for humanity as a whole the viewers have to decide for themselves but it is just the sort of thing that keeps you guessing in this amazing film.

When someone askes me to name my favourite film I usually say "The Knack...and how to get it" which is almost always met with a puzzled look in responce; so few people have seen this movie, even though it won the main prize at Cannes the year it was made and was a popular and commercial success across the world, that you might be forgiven for thinking that perhaps it had been surpressed or maybe overtaken by fashion that lumped all the "Swinging London" films together and forgot them. Either way I think it is a neglected clasic that deserves wider recognision.

Taken from a not very successful play by Ann Jellicoe, that ran at the Royal Court experimental theatre for six weeks about a year before it was filmed, Charles Wood's screenplay expanded the action away from the run-down house, which is at the centre of the play, to use London as the backdrop for the film; not tourist London but the back streets and slightly run down areas of Shepherd's Bush. The true masterstoke was to give the running commentary by the old people on what the four main (young) characters are up to. This babble is so typical of the British attitude to sex sensorious, but at the same time obsessed and slightly regretting that they haven't done it themselves that it is hillarious. This aspect of the film is clearly influenced by Dylan Thomas' "Under Milk Wood" but used here it takes on it's own identity. Charles Wood also has a small part in the film himself; he is one of the Guardsmen that Nancy encounters in their "Bear Skins" (pun fully intended) while trying to find the YWCA.

The performances by the main actors are all superb. Michael Crawford as the accident prone, sex starved Colin, living in his run down Victorian house, who careers from one disaster to another is clearly the reletive of Frank Spencer the character Crawford played to such great effect in the 1970's "Some Mother's Do 'ave 'em" before he went on to even greater success in West End and Broadway musical theatre.

Ray Brooks delivers a totally beliveable Tolan, the superior, promiscous man living on the top floor of Colin's house who's self confidence eventually leads to his own downfall. A year after making this Brooks was the male lead in "Cathy Come Home", one of the most famous British television plays of all time, which shocked a nation by graphically showing the full reality of the homeless in the UK. It is difficult to imagine two more contrasting rolls.

Donal Donelly as Tom the manic painter and decorator who acts as the catalyst bringing the other elements of the film together. He was in some other 1960 movies including "Waterloo" but I haven't seen him in anything for a very long time now.

Rita Tushingham always has a vulnerability about her and never more so than in this film as Nancy. She arrives in London and wanders haplesly around costantly being mis directed to the YWCA until she comes across Colin and Tom in a junk yard. As she comes to know the other characters she comes under Tolan's spell until she suddenly finds she is in love with Colin. Tushingham handles her part well as she develops from the innocent new girl in town to the more confident woman at the end of the picture via a sort of breakdown after which she accuses all and sundry of "rape". It is this aspect of the film which has drawn most criticim bringing with it accusations of misogyny. I don't think that it is justified after all nobody gets raped they just shout it a lot!

John Barry's score brings the whole film together; He uses a choir of womens voices and the jazz organist Alan Haven, who had previously enlivened the opening titles of "From Russia With Love", to a variety of moods with one basic theme in 3/4 time. It is one of the most creative uses of music I can think of.

Richard Lester directed this gem of a film on location at break neck speed just as he had some months earlier with "A Hard Day's Night". His surreal imagination, sense of humour and love of scilent movies all combine to make one of the most original films ever made. Using black and white stock allowed him greater freedom to film in awkward locations as well as to experiment with over exposure so what started out as a budget restriction became a creative tool. There are some wonderful individual shots; at one point, for instance, Colin, Tom and Nancy are seen throwing stones in the river and there is a shot of their reflection it is only there for a few seconds but it is the composition of the film for me. It is rare to find a film which has good dialoge and creative cinamatography.

On DVD the film looks great even with so few extra features. I was pleased that there were suptitles as some of the lines of dialoge are a bit indisdinct and even as a native English speaker I've often wondered what they were.

One final thing. Whenever I'm feeling a bit depressed I often look at this film and it never fails to make me feel better you never know perhaps it will do the same for you.

Mods and Rockers Indeed
Since everybody and his brother is out reviewing the recent re-release of Hard Day's Night (including people who cannot tell John from Paul!) I thought I'd review Richard Lester's other great film instead.

Richard Lester obviously learned to tell a joke at the knee of Spike Milligan. It's a shame that the television shows he directed for Milligan (and Peter Sellers) in the 1950s haven't survived the BBC's notorious indifference to posterity. This makes it even more important that MGM has again made available this film that is now so politically incorrect I long ago concluded it was being surpressed.

This film won the Palm d'Or (best picture) at Cannes in 1965. It has more brilliant silent sight gags than most any three Buster Keaton pictures combined yet has so much verbal wit that you'll likely be back to watch the film at least three times, just to make sure you really got it all, which I'm not certain is really possible. The running commentary on youth by the older generation is one of the most hilarious things I've ever heard (and I am amazed I've never seen anyone steal the idea for a lesser picture.) Listen carefully to the broken dialog in the teacher's lounge where a spinsterish teacher worries no one wants to rape her and a boorish old male teacher reminisces over once hitting an unruly student right up the nose with a piece of chalk. The sight gags are more obvious, usually broad though occasionally subtle, with large parts of the film having no dialog at all, such as the sequence pushing the old bed frame across London, the sequence with which the film is most frequently identified (note that the bed turns white when they get pulled through a car wash).

The film is politically incorrect from the first shots of all the identically dressed girls queued up the stairs waiting for their turn in Tolin's (Ray Brooks) room. (Tolin has guestbook in his room and asks women to keep their comments to a single word). School teacher Colin (Michael Crawford) is obsessed that he will end up one of the dirty old men who hang around the school yard to watch the little girls play sports. Tolin offers to let frustrated Colin share his girls if Colin, who owns the house, will rent the empty room downstairs to Tolin's ladykiller friend, Rory, with everyone sharing in all the girls (we never do see Rory in the film but his presence keeps popping up in important ways). Before Tolin can move in his friend, however, a stranger, Tom (Donal Donnelly), a painter who paints white everything he sees, moves into the room on his own initiative. Releaved at not being drawn into the sex deal, but still wanting the knack of getting girls, Colin decides that his real problem is the size of his bed. Meanwhile, in the other story line, innocent Nancy (Rita Tushingham) has just arrived in London, where, in one of the film's best sight gags, she soon gets an educating eyeful from a prostitute working the photography booth trade. Nancy has further adventures trying to find the YWCA, including a very funny sequence in a dress shop where a salesman gives the same seductive spiel to each customer, various silent gags involving getting around the streets, and a very strange encounter in a phone booth with a man taking a call about Rory. Finally, she encounters Colin and Tom out acquiring a large old bed, that Colin likes because of the noise it makes. The three roll the bed back to the house across London. But back at the house Tolin quickly puts the moves on Nancy just to show Colin how its done. And then it all gets even more politically incorrect in a hurry so I'll leave the rest for those who watch the film. Let's just say it has a nicely moral ending even if the commentary from the older generation disagrees (there are things on their clothes line you wouldn't expect from three young lads).

Another review on Amazon describes the film as anarchic but I think that misses it. The jokes do come very fast and there are some decidely surreal sequences, some very stylish editing, and the occasional interupting fantasy. Yet somehow nothing ever seems so silly or outrageous that you completely lose some sense of reality. In this sense it is more Hard Day's Night than Holy Grail.

The picture and sound quality of the DVD are very good despite the picture's age. There is obviously a small amount of cropping of the original picture taking place though the aspect ratio is said to be the original 1.66:1. The DVD provides no extras beyond it's very entertaining trailer. Since the idiots at Mirimax didn't include Lester's Running, Jumping, Standing Still film on the new Hard Day's Night double DVD set, when it was on the earlier cheapo DVD release, it would have been awfully nice for MGM to include it here.

mod must-have!
i first saw this film back in the mid 80's. i was in high school then. i remember not really "getting" the film, but that i really enjoyed it, especially the music, the fashion, and the energy. i saw it that one time (on pbs, believe it or not) and i had been looking for this film for a long time. i'd forgoten about it until recently. now that i finally have my own copy, i can see that i didn't "get" it the first time because it was all just some energetic mod absurdity! this film is so much fun....impress all your hipster friends and get this film. if you're a fan of quadrophenia, to sir with love, or a hard days night (richard lester directed this film and that famous beatle one) you must add this to your collection! this needs to be on DVD!

An example of an extinct film: the smart comedy
This movie is great in the grand sense of the word. The cast is superb, the gags are funny, and it is among the most stylish films I've ever seen. Other reasons to see it:

1) Rita Tushingham stars---Tushingham is gorgeous in an unconventional way, and is known for being a gay icon---the first leading lady who preferred the company of gay men over straight.

2) A young Michael Crawford in a hilarious performance

3) Swinging London portrayed in a non-cliched manner.

4) The film in its entirety (cast, script, setting, cinematography and wardrobe)is more "hip" and avant-garde than anything I've ever seen---and it was done forty years ago.

If you are a fan of smart comedy, hip fashion and lifestyles, or just great cult films, you must have it. If you are none of these, you probably won't get. Let it be known---Lester, who is known most for A Hard Day's Night, surpassed that film tenfold in making The Knack...and How To Get It. ... Read more

Description

A beautiful, spoiled heiress has everything money can buy - except a husband. After a disastrous first marriage, she sets her sights on a dedicated, but poor Indian doctor who saves her from suicide.Interactive Menus, Filmographies, Scene Access ... Read more

Description

The Blackadder cast returns after a 10 year absence for this special.The new 21st century Lord Blackadder and his scabby, but loyal, servant Baldrick wreak havoc as they tumble through the past in a time machine, with disastrous consequences. ... Read more

Reviews (16)

Cute, But Is It Worth the Price....?
Being a longtime fan of Rowan Atkinson's Blackadder, I snapped up this DVD as soon as it was released. Considering the vast amounts of extras most DVD's have, I generally avoid buying ones that aren't loaded with hours of viewing material. However, seeing that the box said the program was 55 minutes long, and knowing it would NEVER show up on TV, I figured what the hell.....

The actual content itself is about 31 minutes long, with an 18 minute long "Baldrick's Diary" (Which is really a making-of featurette), some witty "Who's who in Blackadder" Bios narrated by Actor Tony Robinson, and 5 minutes of Historical tidbits touching on spots visited by Blackadder & Baldrick during the "Film", also narrated by Robinson. There's also some trailers for other BBC DVD's.

The Film itself is more like an episode of the series writ somewhat larger; A modern-day Blackadder and his manservent Baldrick use a home-made time machine to visit various spots in history. The usual suspects return, including Hugh Laurie, Stephen Fry, and Miranda Richardson. There were a few chuckles, but no real laughs until the end-credits song. Hardly worth the price, especially since the description on the box seems to imply that the actual movie is an hour long, not that EVERTHING on the disc equals an hour. Blackadder completists will certainly buy it, and enjoy it, but it should have had either more content or a lower price point....

Flogging servants: once just a hobby, now a motion picture
Don't be teased: BACK AND FORTH isn't a fifth series of BLACK ADDER. It might be CALLED "BLACK ADDER V", but it's no such animal. It's a special, one-off film, much in the tradition of BLACK ADDER'S A CHRISTMAS CAROL. Like that predecessor, it takes the basic BLACK ADDER elements and uses them to its own purposes.

If this were truly the fifth series of BLACK ADDER, we'd expect to see the familiar cast of characters put in a single time period for a few episodes of mirth in the context of that time. Instead, perhaps inspired by Rowan Atkinson's own trip in the TARDIS, this is BLACK ADDER meets DOCTOR WHO.

The comedy, here, comes from sending Blackadder and Baldrick on a search for historical artifacts in a faulty time machine. As might be expected, they can't quite work the controls, so they go through the titular "back and forth" movements through time, meeting up with familiar faces from the series' (and Britain's) past.

It's great fun--much, much better than A CHRISTMAS CAROL at making multiple time zones work. Heeding the rampant criticism of A CHRISTMAS CAROL's "future" scene, writers Curtis and Elton have Blackadder only barely venturing into the future, here. Happily, they place Blackadder firmly in the past, with a wider range of actual historical (or at least legendary) figures than ever before. Blackadder's sharp criticism of historical greats like Shakespeare, Wellington, and Robin Hood will leave you laughing. But the best part is perhaps the ending, which holds unique satisfaction for long-time BLACK ADDER fans

Still, it's not a five-star effort. Just as in BLACK ADDER'S A CHRISTMAS CAROL, the need to visit all these time zones means that the characters along the way don't get the attention they deserve. Writers Curtis and Elton are guilty here of taking the easy historical joke from each time period and then running like hell. It's not a HUGE sin, because the jokes are very, very good--but there's nevertheless a sense that Curtis and Elton would've done better by simply choosing one epoch and staying there.

Also, I think that while this filmed production has higher production values than its siblings, it's not necessarily the better for it. In particular, I would've traded all the sumptuous location shots for a studio audience. As a television series, BLACK ADDER had a very syncopated, rhythmic prose; as a film, it's missing the punctuation of a studio audience's laughter. It's not just that it's minimally less enjoyable to watch without the laughter, it also affects the actors somewhat. In some scenes, the actors just slightly lack the timing and the energy they've had on other BLACK ADDER projects.

Laying these two objections to one side, however, you really should get this film. While I think some of its humor is vastly improved by having seen the television series--and even better enhanced by knowing some British history ---converts to the cult of The Black Adder could certainly do worse than to start here.

Black Humor - Masterful "Spoof" of Britain's Bad Ol' Days
This is not another compiation of Black Adder TV Shows, but rather a special, one-off film, much in the tradition of BLACK ADDER'S A CHRISTMAS CAROL. Like the former, it takes the basic BLACK ADDER elements and uses them to its own purposes.

If this were truly yet another set in the series of BLACK ADDER, we'd expect to see the familiar cast of characters put in a single time period for a few episodes of mirth in the context of that time. Instead, perhaps inspired by Rowan Atkinson's own trip in the Tardis, this is "Black Adder meets Doctor Who".

The comedy, here, comes from sending Blackadder and Baldrick on a search for historical artifacts in a faulty time machine. As might be expected, they can't quite work the controls, so they go through the titular "back and forth" movements through time, meeting up with familiar faces from the series' (and Britain's) past.

It's great fun--much, much better than A CHRISTMAS CAROL at making multiple time zones work. Heeding the rampant criticism of A CHRISTMAS CAROL's "future" scene, writers Curtis and Elton have Blackadder only barely venturing into the future, here. Happily, they place Blackadder firmly in the past, with a wider range of actual historical (or at least legendary) figures than ever before. Blackadder's sharp criticism of historical greats like Shakespeare, Wellington, and Robin Hood will leave you laughing. But the best part is perhaps the ending, which holds unique satisfaction for long-time BLACK ADDER fans

Still, it's not a five-star effort. Just as in BLACK ADDER'S A CHRISTMAS CAROL, the need to visit all these time zones means that the characters along the way don't get the attention they deserve. Writers Curtis and Elton are guilty here of taking the easy historical joke from each time period and then running like hell. It's not a HUGE sin, because the jokes are very, very good--but there's nevertheless a sense that Curtis and Elton would've done better by simply choosing one epoch and staying there.

Also, I think that while this filmed production has higher production values than its siblings, it's not necessarily the better for it. In particular, I would've traded all the sumptuous location shots for a studio audience. As a television series, Black Adder had a very syncopated, rhythmic prose; as a film, it's missing the punctuation of a studio audience's laughter. It's not just that it's minimally less enjoyable to watch without the laughter, it also affects the actors somewhat. In some scenes, the actors just slightly lack the timing and the energy they've had on other Black Adder projects.

Laying these two objections to one side, however, you really should get this film. While I think some of its humor is vastly improved by having seen the television series--and even better enhanced by knowing some British history ---converts to the cult of The Black Adder could certainly do worse than to start here.

Mr. Bean -- eeehm, Rowen Atkinson has done it again! A visual feast sure to keep your belly shaking with harty laughs! A five star delight!*****

Not the Place to Begin With Black Adder
While a total stranger to the Black Adder corpus can appreciate it, a lot of this lovely little poison valentine's fun comes from being familiar with the setup and the characters so that one can ALMOST predict the next line or situation... and then being delighted when the writers and cast give it some twist you hadn't predicted.

I must agree with another reviewer that the return to the court of Elizabeth I really doesn't work; it does indeed seem forced as if the actors no longer inhabit the characters, but rather are pretending to be their younger selves inhabiting the characters. (Does that make sense?)

On the other hand, one of the funniest sequences in the production is in the Elizabethean time frame but without any of the series regulars save Blackadder himself, meeting up with Shakespeare, getting his autograph and then... Well, it's Very Funny. Even funnier if you thought Branagh's uncut "Hamlet" was a touch long.

The Waterloo sequence is lovely, with a neat little "Wizard of Oz" reference.

And, of course, the ending(s) -- particularly the end ending,a it were -- an absolute delight for the Black Adder fan, with, of course, an appropriate version of the theme song vocal for the end credits.

The "extras" on the disc, though a bit sparse, are appreciated, including a short "making of" documentary piece, with the writer director and actors all expressing themselves with wonderful clarity, and also including a couple of bits that were (mostly for the better, i think, funny as they are) edited out of the episode.

ALso under the "Special Features" menu are cast biographies, recited, in character, by "Baldrick". Unfortunately (and i don't know if it's a defect in the disc, itself, or in my APEX DVD player with the hacked firmware, or a combination), after the first few bios have played, the last few syllables or words of each bio were cut off as it skipped to the next.

Strictly for Ardent fans
I am the biggest fan of the blackadder there is (including three email addresses entitled blackadder), but this video is for the fan who waxes nostalgic. If you have every thing else by all means purchase this if you (like myself) always crave more of Lord Blackadder. On the other hand, this is not the place to start, in fact it is rather disappointing, better to get the complete collection and the Christmas special first. ... Read more

Description

A delightful British comedy of manners based on Frederick Lonsdale's popular play. Adapted, produced, directed and starring Clive Brook, "On Approval" is the story of a trial marriage on a remote island, a tame idea by today's standards, but shocking set in 1890! Much admired for its cinematic cleverness and sparkling quips, today's connoisseurs will also enjoy the tour-de-force ensemble acting. Named one of the ten best pictures of the year by Time Magazine. ... Read more

Reviews (7)

Mannered, amusing, and slightly malicious
I won't recap the storyline, but will only add to what others have said. On Approval is an extremely amusing comedy of upper class British manners. It is wickedly malicious without being mean-spirited. The four leads play off each other flawlessly. Clive Brook, who also wrote and directed the film, is priceless as an aristocrat who finds it entirely reasonable to take his pleasures at the expense of others.

Brook is largely forgotten now, but he was a major British actor in his time. He made only one movie after this, 1963's List of Adrian Messenger. At 76 he could still command the screen, even when sharing scenes with George C. Scott.

The DVD's look and sound is very good.

Tart, snappy, dark comedy
Clive Brook and Beatrice Lillie star in this arch (and, for the time, fairly risque) English comedy about a would-be couple trying out "married life" for a month before they tie the knot. Complications ensue, but this movie is less about the actual plot than about the tart zingers the "bad" character toss about like darts from a quiver. There are some real zingers, perfectly delivered and deliciously, unrepentantly mean-spirited. A fun movie, considered by many to be one of the best British comedies ever made.

Extremely Funny
This is one of the best comedies ever made. An absolute romp through the 19th century outlooks and the problems encountered by four improbable companions two of whom are looking one another over with the prospect of marriage. The witch, so to speak, of the four makes the movie. Her performance as the hard to get along with rich widow is magnificent. The rest of the crew do a great job as well. The ending is not what is expected but it is a happy ending which makes the movie even more fun.

A must see movie for all comedy fans, especially romantic comedy.

How did I ever get hold of this DVD???
With a friend in the movie business - that's how. This is one of the funniest films if you have anything which can be described as an education. It's unlikely to appeal to anyone whose idea of humour is visual and as subtle as a train wreck.

If you like sharp quick humour - the lines are superb, the wit is on full automatic and much of the script has given future writers something to chew on and regurgitate. Clive Brook has the viperous tongue that made the likes of WC Fields, Noel Coward, etc. His rapier-like wit is balanced by the caustic Beatrice Lille who makes a perfect foil to Brook's latent chauvinism and Googie Withers who plays the softly-spoken American heiress who is impervious to his egocentricity.

Only one comment to any PC types - don't take the comments at the beginning too seriously - remember its 1939 and a woman's place is not yet on the boardroom table.

Whilst among most moviegoers today, it is obviously anachronistic in that people actually dressed in more than a reversed baseball cap and baggy shorts, the putdowns would serve any budding stand-up today. This is comedy which is fifty years ahead of it's time - and in some places quite risque. It's time that this play made it back to the stage again as it is perfect for theatre with only four main characters and 90% filmed indoors.

A minor masterpiece of sophisticated light comedy
This is a sophisticated, light comedy of the highest order. It works at every level: acting, directing, pacing, production. Especially for those who tend to appreciate the often higher caliber expertise of movie-making out of the 1940s, this movie will be bright and fresh. It holds its own with the best of that era, yet is so rarely seen today that even connoisseurs of sophisticated satire and gentle wit scarcely know of its existence. For anyone who enjoys ironic word plays, playfully disparaging witticisms, and occasionally biting satire upon upper-class manners -- all done in grand style -- this movie is a joy to experience. The DVD release corrects the sound and other technical problems of the VHS version, allowing the movie to be recommended without reservation for those who appreciate this style of comedy. Don't miss this one! ... Read more

Reviews (11)

Insightful film
Many of the other reviewers have called this film boring, but I really, really liked this movie. You have the three couples: Ben and Paul (who have been together for 5 years and have just broken up), Matt and Owen (who have been together for 3 months and it is obvious that Matt loves Owen much more than Owen loves Matt), and Will and Adam who have just had a one night stand but Will wants it to be more and Adam does not. These three couples meet in a country house for Paul's birthday--six months after his brother has died. Paul, Matt, and Will are long time friends and their interactions are quite interesting. It is pretty obvious that Paul finds Matt to be insufferable and kind of naive/stupid. Will and Paul have a pretty good friendship, although they are a little defensive about their relationship problems with each other. Matt and Will come off as pretty pathetic in this movie, because they are so desperate for relationships but they have obviously picked partners that are all wrong for them. Adam is one of Will's old cases as he is a social worker. Adam is a very promiscuous young man who has sex with Ben the day after Ben and Paul have broken up. Adam is basically the king of the one night stand-he has had 29 by the end of the movie. Owen comes off as a complete jerk because he cheats on Matt with this guy-James-he meets during the weekend. It turns out that James is Mark's old boyfriend, who has just semi-gotten over his lover's death and is ready to move on. James is older than all the other guys and he plays a counselor type role for Matt and Ben who are obviously having relationship problems. Ben and Paul do work out their relationship problems and Matt and Owen and Will and Adam all seem to go their separate ways at the end, although one gets the feeling that Will and Adam will at least be able to be friends after this weekend.

Actually a Very Good Movie of Relationships!
Despite all the reviews that called this movie 'Boring', I took a shot and watched it anyway. I was extremely glad I did. Boyfriends is a British comedy about gay relationships.

Made on the cheap and sprinkled with good-natured dialogue and good-natured sex scenes, it's an interesting slice of alternative culture.

In the movie 'Boyfriends', three gay couples gather in the country over Easter weekend. One duo is in their fifth year of a relationship, another couple has been together three months and the last two men have just met, sort of.

Over the course of a few days, things change.

Boyfriends has already been called the gay Big Chill and has also been compared to Love! Valour! Compassion! ' in my opinion, it is not nearly as good as either film, but it does center on relationships to the exclusion of all else. However, I did long to know a bit more about the characters.

Made on a budget of about $1.50, Boyfriends first introduces Paul (James Dreyfus) and Ben (Mark Sands), the long-term relationship couple. Based on their bickering, it seems their relationship is actually almost over.

Then there are the button-down Matt (Michael Urwin), who longs for love, and his partner Owen (Andrew Ableson), a dishonest charmer ready to bolt after three months with Matt. Actually, Owen has an unusual agenda for being with Matt in the first place, and that's all part of some vaguely sitcom-ish plot developments.

Finally, here are Will (David Coffey), a serious social worker, and his boytoy one-night-stand Adam (Darren Petrucci). Adam is young and free-wheeling and his sexual attitudes work change on those around him.

So. All the men involved in Boyfriends seem to be looking for love, in all the right and wrong places, etc. Moreover, there's a lack of sophistication in every aspect of Boyfriends that's annoying after a while, but never mind, the underlying story of relationships.

Romantic comedy is often annoying, orientation notwithstanding.

stay away
my god I paid twenty bucks for this movie...I couldnt watch more than five minutes of it...
it stinks.

An Examination of Gay Relationships
This film is about gay relationships, but refreshingly, it's not about being gay. A group of friends gather at a remote house in the English countryside for the weekend to celebrate Paul's birthday. Paul (James Dreyfus) and Ben (Mark Sands) have been together for five years, but Matt has become bored with Ben and this couple is on the verge of breaking up. Owen (Andrew Ableson) has been dating Matt (Michael Urwin) for three months and thinks he's finally found Mr. Right. Owen brings Matt to the party to introduce him to his friends, but Matt is not as committed to Owen as Owen is to him. Will (David Coffey), the oldest and most alienated member of the group of friends brings along a one night stand, Adam (Darren Petrucci), the youngest of the party attendees. Will longs for a man who will want him. Adam is more interested in having as much fun as he can. Along the way, each of them must confront themselves, each other, and what they want from relationships.

In terms of content, there isn't anything that breaks new ground here, but the cast and the script are appealing enough to hold one's attention. The movie does suffer from British sound (something I remember Richard Carpenter, creator of "Robin of Sherwood" that ran on Showtime in the U.S. in the mid-80s, complaining about in terms of British TV and film production) where things become difficult to hear at times. People unfamiliar with British accents and slang may be at a double disadvantage trying to understand that which they can not hear.

I've watched the DVD a few times and I still enjoy it. It has a non-exploitative approach to its characters and their sex lives. And fortunately, we are saved from the "I hate to be gay, why am I like this?" that characterizes too many gay films prior to the mid-90s. I do wish there was a directors' commentary track as I enjoy knowing why creators make the choices that they do.

As an additional feature, the DVD also includes an animated version of the story of Achilles. This short film is shot in beautifully rendered stop motion animation and narrated by Derek Jacobi.

As a whole, I think this is a decent addition to any collection of gay DVDs. People who enjoy this movie are also likely to enjoy "Like It Is", "My Beautiful Laundrette", "Queer As Folk" (BBC--Series One), "Get Real", "Lilies", and "The Broken Hearts Club."

NOT WORTH IT
One word boring. This movie started out with a good concept, three couples with different problems. However the execution of the film was terrible. The mood throughout the film was gloomy, and none of the characters seemed to have any real emotion toward each other, even when they weren't on the rocks. And don't believe the words on the box which make this film sound like an oscar winner, I had to prop my eyelids open with toothpicks halfway through. To add to this, the four or five (I lost count) love triangles were to much to keep up with. And nobodys life has that much coincidence in it. Perhaps if you have nothing better to do with your time, or if you suffer from a sleep disorder, this movie is for you. Like I said before: A good concept, poorly executed. ... Read more

Description

A superb English cast in the acclaimed comedy of manners from Merchant/Ivory based on E.M. Forster's novel of wit and romance. Off to the sensuous landscape of Florence for her horizon-broadening tour, Lucy, a perfectly proper young Edwardian lady, is chaperoned by her even more proper Aunt Charlotte. At the merest hint of scandal--Lucy is kissed by an improper suitor--Charlotte whisks her back to the serene English countryside, where she is betrothed to a supposedly suitable gentleman, insufferably in love with himself. With its "superb ensemble acting, intelligent writing and stunning design" (The New York Times), this delightful comedy of manners sparkles with keen observations of class behavior and genuine humor. ... Read more

Reviews (114)

Merchant/Ivory bursts onto the scene
One of the most charming films of the last century was this chamber love story. Extremely literate and intelligent, this Victorian story is easily accessible as an extremely well versed John Hughes could easily write the simple boy-meets-girl storyline. Fortunately for us, he was unavailable and the resulting film, made outside the Hollywood Studio system, avoids many current clichés and uses smart character to propel the story. Well, this is a Merchant Ivory film so propel might be too big a word. There films are usually soft character driven stories with a lack of speeding cars, ricocheting bullets or clever profanity. If you can tolerate small, romantic character pieces, this is one of the best. Great performances by Denholm Elliot, Maggie Smith and Judy Dench sturdily support the love triangle of Daniel Day Lewis, Julian Sands and the phenomenal Helena Bonham Carter. With beautiful classical music and nice cinematography, this view is a pleasant one. The DVD has a shaky video transfer and sufficient audio. It offers no extra material.

ELEGANT, THOUGHTFUL, FUNNY...A MASTERPIECE YOU NEED TO OWN!
This exquisite classic of Merchant-Ivory is sensually explores the struggle between the tight exterior of the British upper crust and the seething passion that lurks just beneath in the increasingly powerful middle class. You've seen a movie or two for sure that veer around such themes, but very few films have captured this combination of class struggle and personal liberation any more evocatively!

Our protagonist is a young, passionate and repressed Miss Lucy Honeychurch (Helena Bonham Carter in possibly her best role ever) who exemplifies this unspoken inner-outer conflict. As she struggles between what is expected of her, to marry the effete and obnoxious Cecil Vyse (Daniel Day Lewis in a richly textured performance), and what she really wants, to be with the yearning, romantic George Emerson (a soft and unfocused Julian Sands) Miss Honeychurch must juggle class concerns and personal desires.

As with any Merchant Ivory product, the all-round cast is vivid and intriguing. Maggie Smith never leaves a dull moment in any of her movies, a credo she maintains here as well as Lucy's nervous and confused escort -- for which she received a well deserved Oscar. As George's bewildered and sweet father, the marvellous Denholm Elliot steals every scene in which he appears. Lastly, Simon Callow as the ebullient, robust Reverend Beebe captures all that is good and true about humanity.

A word for the DVD. The cinematography in this movie sparkles, and the DVD does complete justice to Ivory's camera skills -- the shots are so pure you will want to taste the dew resting atop the grass in the sumptuous English gardens.

What a complete movie, full of life, love and hope! Highly recommended for your collections, you'll watch this more than once.

They do not come better than this
James Ivory's "Room With a View" is a tour de force. Adapted by Ruth Prawer Jhabvala from the novel by E.M. Forster, "A Room with a View" is a shining example of Merchant-Ivory's ability to achieve maximum quality and opulence at minimum cost. It shows the life of Lucy Honeychurch starting from Italy, going through England and ending in Italy. This is a thoughtful movie that requires one to understand the standards of England then to realize that it is fighting against the set rigid style of life. This style of life is eternal and can be seen in movies like "Guess who is coming to dinner". Denholm Elliot raises his son to not care about anything but truth and beauty. The acting and screenplay is wonderful. Daniel Day Lewis does a superb job as Cecil. Judy Davis is superb as the novelist, Eleanor Lavish as is Maggie Smith.

Even the humor in the movie is unusual. When the English chaplain in Florence, Mr Eager shows a chapel and mentions, "Remember that this was built by faith in the full fervor of medievalism", it prompts, Mr Emerson to say, "Faith indeed. It simply means that the workers were not paid well." The movie has understated humor that is refreshing compared to the usual slapstick. Scenes were the brother and sister are together are especially funny.

A lot of people found the movie too slow. Well, this is not a cop movie, it requires one to think about what goes underneath each person. The movie is based on one of the special books that breaks down class distinctions, though it is subtle and dignified. I personally felt that this was the best movie of the year and easily bet "Platoon" in its class. A winner of three Academy Awards, "A Room with a View" is not what one could call fast-moving, but fans of the Merchant-Ivory team will enjoy luxuriating in the film's leisurely pace and stimulating cast of characters.

One of my favorite films!
I saw this film when it first came out, in the theater, and it has remained one of my favorite films. It was the first film I bought when I got a VCR. This is one of those elegant Merchant-Ivory productions (which also include Maurice and A Passage to India, other E.M. Forster adaptations to film) that sets the late Victorian/early twentieth century world in upper- to upper-middle class England in such gracious light.

The stars of this film include Helena Bonham Carter as Lucy, the heroine, and Julian Sands as George Emerson, her free-spirited suitor, who shocks everyone by doing such risque things as running around without a jacket, or kissing someone (willing) in a field of poppies. The official suitor of Lucy is the stuffed-shirt Cecil Vyse, whose personality seems like it is jammed in a vise. There are great performances by Judi Dench (as a conventional free-spirit, one who likes to be freespirited but not at the expense of reputation), Rupert Graves, Simon Callow, Denhom Elliot, and an outstanding performance (as always, she just has to walk on the set and the film gets an extra star) by Maggie Smith, as the gossipy and fretting aunt and chaperone to Lucy, who eventually comes round to recognizing and rejoicing in the true love of Lucy and George.

The sets are beautiful, the costumes all very much a part of the period, as are the small touches that make up the style of English society that Forster was trying to expose and celebrate in different ways both at the same time. The music is enchanting, with the glorious opera piece "O Mio Bambino Caro" sung by Kiri te Kanawa.

Are you serious?
I heard such wonderful things about this movie and was really looking forward to seeing it. I had a couple friends over to watch it and out of the four of us I was the only one left awake to see the end. I was so disappointed. The movie was too long and left me feeling cheated at the end. So gald I didnt buy it. Rent it first before buying... ... Read more

Reviews (7)

Feminist Giant Gorilla In A Chainmail Bra. Need I Say More?
As a fan of grade B movies, I thought I was adequately prepared for anything in a giant gorilla movie, as I have seen 'A*P*E' at least three times now with no side effects. I was so very wrong. This movie, obviously a parody of 'King Kong' (and in fact kept out of general release by Dino de Laurentis and his lawyers since it was made in 1976), is so totally rank in every way that I considered giving it one star, but it does have occasional moments of high camp value that help it up a bit.

This is essentially the 'King Kong' story retold from a liberated feminist's point of view. In this film, the work of genius director Frank Agrama (who shares a very boring commentary track with no less a man than Fred Olen Ray!) tells the story of a group of women and one (allegedly) good looking man (the ever annoying Robin Askwith), who must be protected due to his delicacy by the women at all times. They are making a movie in Africa (in the country of "Lazanga Where They Do The Conga") with this loser as the star, when they meet up with Queen Kong. Naturally they bring her back to London where she climbs Big Ben after escaping. Ultimately Robin decides he loves her and they go off into the sunset together.

This film has something for absolutely everyone to hate. Rula Lenska and Robin Askwith are more than a bit annoying as the leading characters, the script is sophomoric (please take special note of the "Lady Jaws" special effect for all the evidence of that allegation you will ever need), and the acting is repugnant. I am particularly flabbergasted by the scene in which Rula Lenska speaks "Unga Bunga" to her arch enemy. (She speaks all native languages, you know. Typical line: "Unga bunga, hunga, chunga!") Also not to be missed are the jaw dropping musical numbers. These numbers (especially the one on the 'Liberated lady', their tugboat that they sail from London to Africa) are far worse than anything from "The Incredibly Strange Creatures Who Stopped Living And Became Mixed Up Zombies", the previous touchstone for bad dancing (particularly in the now legendary 'Shook Out Of Shape' number.) Of course I adore TISCWSLABMUZ, and all of the Steckler works, as Ray Dennis Steckler has more talent in his left pinky toe than the makers of this travesty have in their collective bodies. Your ears will also be assaulted with what may possibly be the very worst theme song in movie history. I won't get into that further, just suffice it to say that you may be unprepared for the horror.

True lovers of grade Z movies owe it to themselves to watch this once. You will be numb when you are done, but then you can smile with pride at having watched the unwatchable. I can't imagine a worse ape film.

This makes the Laurentis version look like oscar material
This movie had dumb humor. It was annoying silly. Not funny silly. The jokes were lame. It did not give you the nostalgia of the campy b-movie experience. It just annoyed you until it was merclessly over.

It was an activist's version of a monster movie. Just annoying propaganda that got old FAST.

If you want a funny "guy in ape suite" that will make you laugh, get "A*P*E" instead. Do your eyes a favor and avoid this crap.

Boring
This one is a real klunker. I guess some people like this for the camp. This is full-on 70's campy, but without any retro-cool. It's supposed to be a comedy, but I can't imagine anyone laughing at it. The jokes are of the "unga-bonga" type. (Those Africans talk so funny don't they. Please, give me a break.) Some of the jokes are offending, and the one's that aren't are just plain dull. The actors are some of the worst I've ever seen. If you're looking for cheesy movies, I recommend the Mystery Science Theater series instead. Give this one a miss.

Benny Hill not Monty Python British humour
If only they had some actual money to spend on this it could have been tremendous. The acting is solid and the jokes are actually funny though dated. The sound and picture quality are a little shaky. I was totally surprised to find an actual directors commentary track but only listened to it for about 10 minutes. I had one major laugh while watching this that made me fall out of my chair, Queen Kong has just escaped from her Command Performance for the Queen and the promoter goes to Queen Elizabeth to apologise and she knees him in the balls. Low-brow but highly effective!

Unlike Dino's Big Monkey Movie ,the parody's intentional
It's obvious why Dino's lawyers kept this tied up.While neither film should be spoken about in the same breath as the 1933 classic King Kong , at least you laugh with this one instead of at it.It not only spoofs Kong ,but along the way it manages to take jabs at Jaws, Brando,Tarzan,Andy Capp,Konga and even the debate over who wrote Shakespeare's plays.The humor often goes for the groan. The feminist politics of the day serve the gender role reversal twist in the script well.It's held up well and has not become as dated as other films of it's era.It's just possible it was ahead of it's time. If you are a fan of the Godzilla series ,Barbarella, Flesh Gordon,Son of the Blob, and/or 1966's Batman the Movie you'll like this one. ... Read more

Amazon.com

British cinema in the late 1950s and early 1960s turned out a series ofgently satirical films that mocked established institutions, and HeavensAbove! is the member of the group that turned its attention to religion.Peter Sellers, in an unusually low-key performance that's all the better forbeing underplayed, stars as a young vicar whose tendencies to interpretChristian doctrines in his own individualistic way, rather than conform tochurch traditions, leads to all kinds of chaos. He really believes, for example,in taking from the rich to give the poor. It's a quietly funny film rather thana festival of belly laughs, but the points it scores against religioushypocrisies are deftly and persuasively made, and it's one of those Britishcomedies in which squadrons of wonderful character actors fill out the minorroles. Any fan of vintage British comedy will find a cast including Irene Handl,Eric Sykes, Miriam Karlin, Ian Carmichael, Cecil Parker, and Roy Kinnear hard toresist, and there are also very brief appearances from Derek Nimmo and RodneyBewes at the beginning of their careers. --Andy Medhurst ... Read more

Reviews (2)

Metaphor, satire and a brilliant critique
"Heavens Above" immediately preceded "Dr. Strangelove" and "The Pink Panther" with Sellers at the top of his form. He blends into the role of Rev. Smallwood with such completeness that he seemingly went through catechism and seminary - perhaps even journeyed back in time to the Sermon on the Mount.
Smallwood is mistakenly placed as the priest of small town, which is profoundly in need of a priest. Unfortunately, what the town needs and what they want are entirely opposite. Without agenda and in full conviction of the Christian gospel, Smallwood takes every utterance of Jesus as the standard by which society should operate. Smallwood's attempt in the twentieth-century works about as well as his first-century counterpart's.
A truly thoughtful, humorous, and insightful film, "Heaven's Above" is as near to an original clergy film as any in the last century. It is a step beyond satire - more of a hypothetical exercise. The difference between loving and absolutely loving the film depends completely on how the ending is received: (Should it have ended earlier? Is it a departure from the character? Too much farce?) Cinematography is splendid and witty, acting is thoroughly successful and the DVD transfer is crisp and rich. The biographical text on Sellers is interesting. If only there were more extras....

A classic film indeed..go buy it now!!!
This film is in a class of it's own. A classic 1960's black and white movie from the UK that is better, much better than you might think. Set in a typical parish in rural England, Peter Sellers plays a kind, honest and loyal vicar that battles church, the locals and goverment to do what is right for a family of gypsies.
It's the kind of film that makes you feel good, and that is what counts. ... Read more

Reviews (8)

one of those movies that could change your life
atleast it will for a little while.

Makes you think about how lucky you are. And I know you are lucky if you are reading this. You are must be part of the economically privileged - and that is anyone who lives in a first world country and is not involved in war.

Inspirational

tulloch@primus.com.au

Good, very good
... it's about these people in the london area that seem like they're not related directly but indirectly they are. The movie starts off pretty slow as you try and figure out who's who. It wasn't until the guy that took heroin and accidently got on a plane that took him to the war in bosnia instead of holland did the movie really [draw] me in. By the end of it you feel like you're a part of everyone's life. It's truly a very good film. The only reason it gets 4 stars is because of the slow start.

Title can be misleading!
The film is about the beauty found in all people, regardless of race, gender or class

A contrairy viewpoint
The only reason that I rated this film one star is because zero stars was not an option.
I did not like this motion picture at all! I thought that it was long, boring, and pointless.
I caution you not to watch this movie unless you have nothing to do and want to waste your time.
But like it is in life. Some like this movie and others do not. That is why they make chocolate and vanilla. Everyone does not like the same thing.

This film will never feel so pertinent as now.
I ordered this movie just before the attack on America - and received it just after. I feel everyone should watch this movie right now. It really moved me, an inspiring story for us all. A united message that we can all be beautiful people, and we can all be heroes. ... Read more

Reviews (13)

An Undiscovered MODern Classic
If you love slapstick films or anything from the 1960s, this DVD is for you. This obscure film deserves to be seen and enjoyed by all lovers of the Swinging Sixties.

Rita Tushingham and Lynn Redgrave (Mollie Sugden from "Are You Being Served?" probably got the idea for her character's wigs after seeing Redgrave here) are two girls who decide to make their mark in Swinging London. This film was shot entirely on location and is filled with wonderful shots of Carnaby Street and 1960's London.

Tushingham, who appeared so vulnerable in "The Knack...and How to Get It", really shines in this comedic roll, especially in a scene where she sneaks into the apartment of the man who is trying to seduce a drunk Redgrave. The resulting sabotage is a pleasure to watch.

Anchor Bay released this in widesceen but there are no additional extras on it. After viewers see this, they'll not only wish that there had been some extras, they'll also wish that additional movies about these characters had been made.

Bloody brilliant! A lot of laughs!
You have to see this, if only to see a very young Lynn Redgrave! She and the always-talented Rita Tushingham are hilarious as a couple of young northern English lasses who decide to move to Swinging London in the middle of the 60's! Redgrave is a riot as a bossy over-bearing ego-maniac of a best friend, whose self-centeredness earns her all the bad karma she gets. Likewise, Tushingham plays to perfection the down-trodden buddy, the "plain jane" of the two who winds up, as all good underdogs do, well and truly on top! Best remembered as that weird 60's movie that ends in a meltdown at London's epitome of the swinging 60's - the Post Office tower - Smashing Time is fabulous, and I'm thrilled to find it on video in the U.S. Buy it!

Very groovy
For anyone fascinated by the London take on the swinging sixties circa 1966 to 67, this is the one to watch. Actually, there's not that much competition; The Knack is overrated and handicapped by being black and white (this was NOT the time to be black and white), Help! is outrageously cooky and more about the Beatles than the 60s. Darling, and Alfie also spring to mind, but they are less interested in the "scene" than this film is.

The plot is essentially a string of semi-independent set pieces strung together, some more successful than others, but for the 60s connoisseur the great thing is how they all set out to capture the mood and action of the time. Therefore, we have in the front line a hip photographer, a Northern girl manufactured into an overnight pop star, a wild party in the Post Office Tower revolving restaurant (that dates it, doesn't it? Before the bombs...), a far-out boutique named