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Masterful Hong Kong action director John Woo (The Killer, Face/Off) turns in this exciting and pyrotechnic tale of warring gangsters and shifting loyalties. Chow Yun-fat (The Replacement Killers) plays a take-no-prisoners cop on the trail of the triad, the Hong Kong Mafia, when his partner is killed during a gun battle. His guilt propels him into an all-out war against the gang, including an up-and-coming soldier in the mob (Tony Leung) who turns out to be an undercover cop. The two men must come to terms with their allegiance to the force and their loyalty to each other as they try to take down the gangsters. A stunning feast of hyperbolic action sequences (including a climactic sequence in an entire hospital taken hostage), Hard-Boiled is a rare treat for fans of the action genre, with sequences as thrilling and intense as any ever committed to film. --Robert Lane ... Read more

Reviews (125)

Superior action sequences; inferior structure.
Though one of director John Woo's cult favourites, Hard Boiled actually ranks on my list as his worst post-1986 Hong Kong film, even after the farcical Once a Thief.

Overlength is Hard Boiled's chief weakness. After spending over an hour in that hospital with flames all around and innumberable men in suits getting shot, it starts to get tiring. Chow Yun-fat is impeccable in the lead and Tony Leung Chiu-wai is excellent, though versatile actress Teresa Mo is wasted in a skin-deep supporting role.

The biggest thing to commend on this video release, however, is the dubbing. I speak both Cantonese and English, personally, and I can tell American viewers that the dubbed script is even better than the original, which sounded stilted (Philip Chan Yan-kin's lines were especially forced in the original). The dubbed voices were acting, not just translating (as in dubbed Jackie Chan movies such as the U.S. release Operation Condor, for example). This was one marvelous dubbing job, and a rare instance in which I would almost prefer the dubbed version to the subtitled. Kudos to Orion for doing the movie justice.

Woo's "other" classic
While not quite as tightly plotted or emotionally compelling as John Woo and Chow Yun-Fat's magnum opus "The Killer," "Hard Boiled" is still sure to please fans of that movie. Much of what made "The Killer" such a great film is to be found here: flawed heroes, murky allegiances, and ambiguous morals are once again the order of the day in this tale of cops and criminals living on the edge. At the same time, "Hard Boiled" manages to ratchet up the violence even further from its "sister" film, resulting in the most prolonged and intense action scenes I've ever witnessed, all filmed in Woo's signature frenetic style. A tea house, a warehouse, and ultimately a hospital all become battlegrounds in all-out war as the cops face an enemy that makes the Mafia look like a group of middle-school bullies.

Once again, Chow takes the lead in the protagonist's role, this time portraying relentless Hong Kong inspector "Tequila" Yuen. In true Woo-hero fashion, Tequila can shelter a baby with one arm while shooting up a small army of bad guys with the other. Joining him in his fight against the triads is Tony (Tony Leung) an undercover cop who's spent so much time working among gangsters that the line between the right side of the law and the wrong one is becoming blurred. However, Tony looks like a choirboy compared to the cartoonishly villanous Johnny Wong, an up-and-coming Triad boss who would probably kill his own mother if she got in his way. Johnny also has himself an extremely menacing sidekick in the form of a glowering, nameless enforcer who spends much of the film with a patch on one eye and still manages to give Tequila and Tony a few runs for their money.

It all comes to a head in the climactic showdown in the hospital-turned-arsenal, with the scene gradually evolving from tense standoff to full-scale shootout as the lives of hundreds of hostages hang in the balance. As most of Hong Kong's police force provides support, the two detectives lead the way against Johnny, his cycloptic colleague, and dozens of other gun-wielding menaces. And did I mention they have to make sure no harm comes to the adorable newborn babies in the nearby maternity ward? Yeah, Tony and Tequila sure have their work cut out for them as they fly through the air and unleash zillions of bullets, but it makes for some scintillating watching.

On the whole, "Hard Boiled" is definitely an engaging experience that's more than worth the money I shelled out for it. Much like "The Killer," this movie manages to pack much more psychological depth than the typical Hollywood shoot-'em-up with its portrayals of compromised heroes in harrowing circumstances. And of course, it goes without saying that Woo is nearly unparelelled when it comes to putting together action set pieces. Woo has made some moderately entertaining movies here in the States, but he hasn't managed to reach the level of his twin Hong Kong masterpieces. So check them out, if you dare.

FOX LORBER EDITION IS TERRIBLE!
You are looking at an edition by Fox Lorber Films. I love this movie but this particular transfer onto DVD is TERRIBLE. The picture looks horrible and the audio is the WORST I've EVER seen on a DVD. Will SOMEBODY please issue a decent edition of Hard-Boiled or The Killer on DVD (yes I know about the criterion collection but I don't have $250.00 to spend on it now that they are out of print!).

great film, horrible transfer
This is simply a great action-packed, incredibly violent film. Woo is a master of the shoot-out scene and there are plenty of them in this flick. The camera work is amazing. It's smooth, it's poetic. Its influence on The Matrix is very clear. However, this DVD is one of the worst film transfers I have ever seen. The quality image is almost unwatchable, at least for my taste. Dirt, scratches, burn marks are everywhere. The film looks like it was dragged across the floor, stepped on, dumped on, then left to sit a few days for the rats, cockroaches, racoons, and other wildlife to trample all over it before it was transfered onto the DVD. Do not buy this DVD. Rent it, or if you can afford it (and find it), buy the Criterion Collection edition instead.

One of the greatest action movies ever?
I think so. It's violent, over the top and you'll feel satisfied. John Woo won me over with this one. The gun fights are crazy and Chow-Yun Fat proves to be a badass. Not a no-budget movie, but by no means is it a big-production film. It's gritty and fast paced and well... violent. ... Read more

Reviews (195)

An all-around superb film
For some reason, people who see this movie either completely adore it or completely despise it. I will never understand those who despise it, because Emma is one of the most well-made movies I have seen. The entire cast is wonderful, with almost all of the actors accurately portraying the characters from Jane Austen's novel (which I believe everyone must read before they can fairly judge this movie). The score was excellent (apparently the Academy agreed) and the costumes were beautiful. Considering that Austen's novel is more than 400 pages long, I would have to say that the director did a fabulous job of turning it into a two hour movie. Gwyneth Paltrow is the exact Emma I envisioned when I read the novel for the first time, and Jeremy Northam is absolutely adorable as Mr. Knightley. The humor is subtle, but that is characteristic of most of Austen's novels. Despite the quality of this film, it's probably not for everyone. The language may be hard for some to take for two hours, and it is a period piece, which not everyone enjoys. However, I would still recommend this movie to anyone.

Brilliant in so many ways
Being a die-hard Austen fan, I couldn't resist watching this movie. Emma Woodhouse's story has always been my favorite of
Austen's efforts, and I am always glad to see her work brought to the screen. I was VERY pleased with this film.

Casting was well done. Northam provides a sturdy, but not overly-stern, Knightley, and Paltrow does an amazing job of convincing us that she is, indeed, British in her portrayal of Emma. Her accent is nearly flawless, and I felt that she truly captured the personality of Austen's most spoiled heroine. The sets and lighting are bright, airy, and perfectly suited to the comedic approach taken by this particular director. The scenes are edited just brilliantly. Each scene flows seamlessly from one to another, and the pace of the plot runs along just perfectly. It moves fast enough to keep everyone interested and slowly enough to make sure that everyone has enough time to absorb what's going on.

The criticism I've heard most often is that the film really only touches on the Jane Fairfax/Frank Churchill subplot for the briefest of moments. I did not find that to be injurious to the film. It's plain, while watching this version, that the director wanted to keep the story light and funny. Adding Jane and Frank's saga would have done two things: First, it would have seriously darkened and dramatized the bouncy and bright atmosphere of the entire film. Second, it would have taken the spotlight off of Emma Woodhouse as the focus of the story. I felt that, given the abbreviated length of time that a movie has in which to communicate a story...the omission of Frank & Jane's affair was a wise choice.

The second criticism I've heard of the film is that it's just too clean and "pretty" to be accurately representative of Regency England. Again...this didn't bother me. The focus of this film is NOT to be true to history. It is not a Regency documentary. It is a fun and aesthetically pleasing depiction of Emma Woodhouse and her friends. It's romantic, funny, charming, and very very pretty to look at.

I loved it.

Misguided, but somehow pleasing.
There's no reason this should work as well as it does. This is a very broad adaptation and the performances in general are unsubtle and broad as well. Ms. Paltrow's accent is heinous, and Ms. Collette's work is frankly annoying (though that is in part as written.) As the movie moves from set piece to set piece, lingering endlessly on the beautiful design, one can't help but think that if Ms. Austen's Emma had actually had so much to do, she'd have been little bored enough to spend so much time meddling in her friends' affairs. But in the end, the good will evinced by all involved somehow makes a film that charms very much in spite of several and severe flaws. The BBC version of Emma is much superior in adherence to the Austen story, and Clueless certainly has the edge for humor, but this is a fair adaptation that ultimately is more success than failure.

Love this movie!
Beautiful people, clothes, quirky characters and a flawed Emma make this movie enjoyable time after time. There aren't a lot of movies I can watch multiple times, but this is one I always enjoy!

Paltrow and Northam light up the screen!
Whether you've read the novel or not, this movie adaptation is enjoyable to watch. The characters are so vividly brought to life that it's impossible not to feel their joys and their sorrows. Paltrow is adorable as the young Emma and her scenes with Mr. Knightly (Jeremy Northam) spark with romantic chemistry. Mr. Knightly comes off as charming and very handsome thanks to Northam's own charm and classy good looks. Miss Bates makes you laugh but at the same time, she breaks your heart. Great sets, scenery, and acting by entire cast. Highly recommended! ... Read more

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Quite simply a great movie, one whose implacable portrait of ruthless greed and insane ambition becomes more pertinent every year. The astonishing Klaus Kinski plays Don Lope de Aguirre, a brutal conquistador who leads his soldiers into the Amazon jungle in an obsessive quest for gold. The story is of the expedition's relentless degeneration into brutality and despair, but the movie is much more than its plot. Director Werner Herzog strove, whenever possible, to replicate the historical circumstances of the conquistadors, and the sheer human effort of traveling through the dense mountains and valleys of Brazil in armor creates a palpable sense of struggle and derangement. This sense of reality, combined with Kinski's intensely furious performance, makes Aguirre, the Wrath of God a riveting film. Its unique emotional power is matched only by other Herzog-Kinski collaborations like Fitzcarraldo and Woyzek. --Bret Fetzer ... Read more

Reviews (76)

Herzog's visionary film is one of the greats!!
Werner Herzog's Aguirre, The Wrath of God is one of the great achievements of the incredible New German Cinema movement of the 1970's. The film's "story" has been discussed elsewhere on this page so I won't bother to repeat it. But really, this is no plot to speak of. This is a mood piece, a dream of a film. It is a study of power and delusions and if that sounds boring, believe me its NOT. The visuals are extraordinary (typical of a Herzog film). From the films incredible opening shot of a long line of men as they snake thier way down a mountain to the final shot, which is one of the most memorable in cinema, of a mad Aguirre on a raft surrounded by corpses and small monkeys floating down the river. Adding to the dreamlike effect is the eerie music of Popol Vuh. Aguirre is a memorable film experience that you should'nt miss. I commend Anchor Bay for releasing Herzog's entire output on DVD, this a definitely one for your personal library at home. Very highly recommeded!

Entertaining but eerie.
This film has always been a sentimental favorite of mine, although it is definitely not a mainstream movie with mass appeal. It chronicles the eerie, haunting, and morbid journey of a group of fifteenth century Spanish conquistadores who break off from Pizzaro's group and head into the deepest parts of the Amazon jungle in search of gold. They are swallowed up, one by one, by unseen natural forces in the jungle, and also by the paranoia and insanity of their leader Aguirre (Kinski). It is well deserving of its reputation as a cult classic, and it is one of Kinski's signature pieces. Showcasing his ability to create a bizzare, twisted and disturbing persona. Since the conquistadores are eventually lead to destruction by Aguirres lust for power and riches it is almost a metaphore of the entire history of the Spanish conquests of South America. The film is actually shot in several languages (including English), then DUBBED into GERMAN, and then SUBTITLED back into English again; which gives the whole thing a rather strange appearance. Kinski's daughter Nastashia is also in the film, playing Aguirre's daughter. Her character is not well developed, and she is only there to show that there IS actually something in the world that Aguirre cares about besides gold. Nevertheless, it is a novelty to see her in her movie debut, before she became famous in her own right. I recommend the movie to those who like offbeat 'artistic' films, and cult classics, but not to those who are looking for light entertainment or an adventure movie.

The doomed quest for El Dorado
I am new to Warner Herzog, and "Aguirre: The Wrath of God" is the 2nd of his films that I have seen. Like many directors with strong artistic visions, I have found his style a bit hard to adapt to but I am appreciating it more and more. The grotesque colors he uses are particularly noteworthy, lending a feeling of unreality that contrasts with the naked realism of his films. The visual images are haunting, and linger after the film is over. The Wrath of God and 400 little monkeys...

"Aguirre: The Wrath of God" is by no means an easy film to get into. The characters are brutal and uninviting, and it is impossible to sympathize with their plight, the conquest of the native peoples. Like the river they travel on, the armored conquistadors move slowly but relentlessly forward, pieces of their humanity and sanity falling off along the way. At one scene in particular, the soldiers dispassionately watch their fellows trapped in a river eddy, discussion whether or not they should attempt a rescue with no more urgency or care than wondering if they should have coffee or tea. The peruvian natives are equally unsympathetic, picking off the soldiers slowly from the jungle, invisible and dangerous. One can see the influence it must have had on"Apocalypse Now."

People call this film dreamlike, and that maybe, but it is also brutally realistic, dirty and harsh. There is a sense that this is exactly what it would be like. There is a definite sense that animals were harmed during the filming, and that people were harmed as well. No camera trickery or artistic license is taken. All deaths are ignoble. Klaus Kinski, as Aguirre, is an uncharismatic Richard III,. slightly hunchbacked and ugly, leading his followers down a mad path that can have only one destination.

Herzog and Kinski's Vision of Manifested Madness
On the eastern slopes of the Andes during the Spanish expedition , Gonzalo Pizarro urges his men to continue through the thick Amazon forests despite the dangers within the dark and humid jungle. The tale of Pizarro's venture begins with an ominous warning as it is revealed to the audience that the only surviving evidence of the expedition is a journal kept by Brother Gaspar de Carvajal, a monk who travels to spread the gospel of Christianity. This bleak foreshadowing induces an inching uneasiness into the mind of the audience. This is enhanced by further looming incidents such as native slaves dying like flies from simple colds and food shortage. The low supply of food leads to a decision to split the group where one group should return for provisions and the other should continue searching for a gold shimmering city. This tale then follows the ill-fated who continue the journey for the legendary city as they are drawn deeper into the cruel world of the Amazon. Deaths of several men forebode the grim future of the expedition, which the leadership wants to call off and return to the safety of civilization. However, Aguirre (Klaus Kinski), a high ranking soldier, commands a rise against the leadership based on a proud vision of greatness and worldly riches beyond imagination that drives him to thrust deeper into the unexplored rainforest. Aguirre's vision draws the expedition into a personal realm of madness and destruction, which leads to only one certain fate.

Aguirre: The Wrath of God has a lingering effect on the audience as the eerie atmosphere created by Herzog persists from the initial shot to the final scene. There are several components that generate this bizarre ambiance of the story such as cinematography, idiosyncrasies, mise-en-scene, and performances by the cast. The cinematography is simple and sometimes documentary-like, which produces a real feeling. This real feeling together with the uncanny knowledge of the unavoidable doom enhances the extraordinary atmosphere of the venture. The complete portrait of the character Aguirre by Klaus Kinski is nothing but spectacular. Herzog's choice of mise-en-scene is delicately chosen as all the items had to be transported by the expedition. Each item within each frame displays a significant symbolism such as the horse and raft, which adds new layers to the unnatural atmosphere. Lastly, the performances by the cast are outstanding as it is not the dialogue that drives the story forward, but the visual manifestation of their being that elevates the outlandish impression of each scene. When Herzog combined all the aspects of film-making in Aguirre: The Wrath of God he left the world a brilliantly eerie cinematic experience that will leave several notions in reflecting minds.

Herzog and Kinski go Tarkovsky.
Wraith of God was actually made in 1972 in German and got its US debut in 1977 and provided Coppola's Apocalypse Now (1979) with a vision. The film is pure art through and through using the Amazon River as a backdrop for the epic tale of Spanish conquistadors finding themselves abandoned in South America on a quest to find the legendary city of gold 'El Dorado'. Set a few decades after the Inca Empire has fallen in the 16th century, these troops of Spanish explorers have been selected by the head explorer for the region, and founder of Mexico - Pizarro, to find the lost gold. Within a few days of being on the Amazon the conquistadors are split on the rapids. Soon there is a mutiny, murder, revenge and betrayal as the dreams of vast wealth and power drive all of them to their doom.

The combination of Kinski and Herzog is electric. Here, on a shoe-string budget, they make mountains out of nothing as Tarkovsky did on 'Stalker'. The costumes and sets are all obviously mostly made by the actors and whatever film crew that would actually risk hanging around Herzog and Kinski for the gung-ho shoot. This is kino-art's rendition of Hearts of Darkness. The actual suffering of the film crew (and some cruelty to animals - several horse falling scenes, the pillaging of a village with an attack on pigs and a monkey being thrown aside) is clearly visible in the narrative which borders on extreme adlibbing most of the time as well as hard labour (moving a cannon on a small wagon around the jungle, building rafts with a toilet on board and living off the land). The improvisation though is classic in every sense of the word making Herzog and Kinski instant important additions to the world of high profile art film makers. The cinematography is spot on. The majority of it is hand-held but the images of the jungle are striking and the final shots of the circling raft are sublime. Seeing Kinski chasing monkeys around the raft is also some of the most memorising and breathtakingly remarkable scenes in cinema. The film is one of the most unusual you have ever seen and becomes psychotic towards the final stages showing the craziness of our characters search for the gold - a reflection of the exertions of the crew and actors. Kinski is outstanding as the deranged Don Lope de Aguirre who trying to follow in Pizarro's footsteps even manages to take his family into hell with him. There is an excellent plot element involving a mock trial with a monk as a judge and the crowning of a pseudo-king that will have you in disbelief. The film is so lucidly insane that it will captivate you within the first few minutes. By the time the credits role you will have experienced an epic completed with a few actors, a raft, some animals and natives and yet have witness something as grand and epic as 'Spartacus'. Herzog is a crazed genius and the world is his strange colloid laboratory.

'Aguirre' is up there with the ranks of 'Andre Rublev' and 'Apocalypse Now' however Kinski and Herzog did go one better when they made 'Fitzcarraldo'(they tow a steam ship up a mountain... really!). The aspect ratio of this film is 1.37:1 meaning that it is not in widescreen or letterbox, but it was originally filmed as a square almost (fitting television perfectly). The transfer is extremely good although I believe that this is not a new transfer and was probably encoded from a very good master video tape (Beta SP) for German television broadcast and not from a 35mm film print. No one is complaining though because the quality is extremely good. The extras (documentaries, commentaries) are a must. By the way you can get the Kinski/Herzog box set of 6 films for a few quid extra than this stand alone DVD. Go look for it. ... Read more

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It was instantly acclaimed the crowning masterwork of Ingmar Bergman's career, and time has not dimmed the Olympian status of Fanny and Alexander. Bergman drew upon memories of his own childhood for this portrait of the Ekdahls, the upper-class Swedish family whose celebrations and tribulations are seen through the eyes of 10-year-old Alexander (Bertil Guve). The world of the theater, of puppet shows and magic lanterns, does battle in this scenario with the cold realities of the palace of the bishop--a man whose influence over Alexander's mother gives the movie the stark outlines of a fairy tale.

As for the Criterion five-disc DVD:This may be the most beautiful DVD release ever devoted to a single film. The original 188-minute international release is here, of course, in all its original glory. (It won four Oscars:foreign language film, costumes, art direction/set decoration, and cinematography--the last to longtime Bergman collaborator Sven Nykvist.) An audio commentary by Peter Cowie gives useful background.

That film was carved out of Bergman's preferred 312-minute version, telecast on Swedish TV and included here. While the shorter cut remains a wonderful movie, and complete unto itself, the five-hour film is a deep, luxurious expansion. There is more of the Christmas Eve party that begins the film, more of the theater, more of Alexander's imagination. Especially meaningful is a long sequence between Fanny and Alexander and their doomed father, as he demonstrates the nature of storytelling with a simple chair.

Also here is The Making of Fanny and Alexander, Bergman's feature-length self-portrait, and a fascinating look at the rapt attention he bestows on actors and camera. DVD extras include a penetrating hourlong TV interview Bergman gave in 1984, and a 40-minute documentary shot in 2004 with reminiscences from cast and crew (including actors Guve, Pernilla August, and Erland Josephson). A handsome booklet includes essays by Rick Moody and Paul Arthur, and one disc is made up of pithy introductions shot by Bergman in 2003, for 11 of his classics, plus a sampling of trailers. Fanny and Alexander was Bergman's final theatrical film, though he has gone right on making TV movies and writing screenplays. This is a fitting treatment of his triumph. --Robert Horton ... Read more

Reviews (27)

A Universe of Humanity
I agree ... that Fanny and Alexander is not just a great film, but that it is a career retrospective of Bergman's art encompassing a universe of humanity and the artist's concerns and feelings for all of life.
As such, it is imperative that the US DVD release should not only come soon, but that it should be the complete five hour version released in Europe, but never seen here in the US.
With the Oscar winning art direction, costumes and cinematography, this is Bergman's most luxuriant film that sucks you in with a sweep that never drags. In repeated viewings in theaters and on VHS, I never had a moment of distraction, but always wanted more. Now we can have it, in one of the greatest films of all time.

Bergman's Powerful Farewell
Though I give Fanny and Alexander only 4 stars, I can totally understand reviewers who give it 5 stars. I did so only because I prefer more "artsy" or "ambiguous" Bergman such as Persona or Cries and Whispers. But Fanny and Alexander is by far the best mainstream film I've ever seen, and this is Bergman's most accessible. I can't believe how thoughtful and thought-provoking this film and others like it are, in comparison to average Hollywood fodder. Even young Bertil Guve and Pernilla Allwin give stunning performances as the title characters, portraying emotion and expression as genuinely as any of the adult characters. I won't even begin to analyze the plot, the film being over 3 hrs. long; see it for yourself. I will just say that Fanny and Alexander is among filmdom's best. Kudos to the master for going out in style!

Powerful
This ORIGINALLY THREE HOUR LONG film was extended for Swedish Television a couple of years after its release. I've seen both versions and must say that the story makes much more sense in the five hour version, and I hope that's the one we eventually will get. However, some stuff (15 to 20 minutes or so) could have been left out in the extended version without having affected the story line, but all shots are nevertheless enchantingly beautiful. Bergman has said that this film (apparently his last for cinema) sums up all his work as a director, and I have no doubt that his career in film couldn't have ended on a higher note. The movie is flawless and powerful, plus on DVD we'll be able to watch it in the widescreen format!

fanny & alexander
when you release the DVD version of Fanny & Alexander, make sure that it is the 5+ hour uncut epistle
or don't bother to contact me , i won't be shortchanged. you cannot EDIT a masterpiece !!!!

Bergman's finest contribution to the history of cinema...
The upper-class Ekdahl family is a warm and vibrant family and this shines through in their extravagantly decorated home in which they are about to celebrate Christmas Eve. They have the Christmas feast in the kitchen with the servants, and this is something some servants find inappropriate. However, the family is very close to everyone who is a part of the family or friends of the family. The mother Helena (Gunn Wållgren), who is on the later part of her life, has three mature and married sons, Gustav Adolf, Carl, and Oscar. Gustaf Adolf (Jarl Kulle) is a funny and happy fellow who is constantly cheating on his wife, who is aware of his cheating, but maintains a civil manner and still loves her husband. The family smarts went to Carl, (Börje Ahlstedt) who is a scientist with nihilistic life philosophy. Carl suffers from depression which is frequently expressed toward his loving wife in an emotionally abusive manner. Oscar (Allan Edwall) is the theater director full of love, which he shares as often as he can with his dear children, Fanny and Alexander. However, Oscar does not feel well, and he hides his poor health from the family as he believes that life must go on. Oscar passes out when he is rehearsing Shakespeare's Hamlet and dies a short time after. Fanny deals much better with the death of her father than Alexander, who does not know how to deal with the pain and anguish from his father's death. The warmth and love that the family has keeps the family together, despite many family issues, which all surfaces as the audience is brought to the issues through Bergman's story telling. A year after Oscar's death Emilie (Ewa Fröling), Oscar's wife, is remarrying the Bishop Edvard Vergerus (Jan Malmsjö). The Bishop who asks Emilie to leave all her past, issues, and belongings at home when they move into the Bishop's rustic home. However, Fanny and Alexander cannot leave their past behind them and they often end up being punished by the callous Bishop, who proclaims that his strictness is an act of love from God.

Fanny and Alexander is a film that dissects socially learned morals and values in the shadow of family secrets and issues. These secrets and issues are often the emotional engine behind the human motivation which produces certain manners and behaviors from the Ekdahl family members and those around them. For example, Carl's depression is partially inherited from his financial difficulty that is hampered by his mothers reluctance to give him money, which enhances his nihilistic self-perspective and deepens his negative self-worth. Bergman displays his vast insights into psychology and the human psyche in Fanny and Alexander as he displays the production of numerous emotional states such as happiness, anger, desire, anguish, and many more. These emotional states are clearly acted out by a terrific cast as they face several hurdles throughout the film. In addition, the misé-en-scene is outstanding, since it elevates the understanding for the different emotional states provided in the different homes. A great example is the comparison between the Ekdahl's home which has several strong colors and the art that awakens different emotions, which brings life to the home and the Bishop Vergerus' home that is very sparingly furnished with thick white prison-like walls, which almost suffocates any expression of feelings. The cinematography maximizes the use of the camera in order to enhance the emotional states of each scene. When all aspects of film making are put together in Fanny and Alexander it leaves the audeince with a brilliant cinematic experience. ... Read more

Reviews (73)

A Beautiful Vacation
In this 1996 film, Liv Tyler makes her stunning debut. Set to a soundtrack that is a good mix of quintessentially '90's music (a la Portishead and Liz Phair) and retro classics (like "My Baby Just Cares For Me" and "I'll Be Seeing You,"), this film takes both Liv's character, Lucy, as well as the viewer, on a journey into mystery and enchantment. Lucy embarks on her journey to Italy after the death of her mother, a famous poet and artist. She travels there in search of greater knowledge about her mother, who spent a brief few weeks there one summer. But what Lucy really uncovers in Tuscany are the answers to secrets in her past. And, as the film goes on, she discovers more and more about herself, and the woman she is to become. This film is a great, slowly paced meditation on sex, love, art and self-awareness. When Lucy finds out that she was "conceived" in the olive groves of the artists' villa there, her curiosity deepens and the search for her birth father becomes one of the main goals in her journey. Faced with the loss of a future with her mother, Lucy is looking towards the past for information about those she loves, for knowledge about herself and where she came from, and for hints about where this might lead her as she takes on the life of an adult.

The film begins with shots of Lucy sleeping on the train on her way to Tuscany. There is even one devilish strategic close-up shot of her jeans which is perhaps explained later in the film when it is revealed in a comical exchange between Lucy and Jeremy Irons' character that the beautiful 19 year old Lucy is a virgin. Unbeknownst to Lucy, she was being taped on her journey by a fellow passenger on the train. But he gives her "beauty" back to her in the form of the videotape. Her fate is still in her hands. From there, the film follows several slow, melodic plot lines, one of which is the attempt to find the perfect first sexual partner for the young and much-loved Lucy.

Liv plays a perfect beauty here. She is innocent, touching, bright, curious, and passionate, and as the film goes on, she takes a cue from the artists at the villa and becomes and more free in her expression, more comfortable in her own skin. But she is also careful. She wants her passion to be shared with someone worthy of it, someone who gives as well as takes. It takes a while for her to find out who that perfect catch is, but as in life, the story is what happens while she is waiting for the "pay-off."

Her curious habit of striking a match to each finished poem and burning it up seems to say that she is not yet confident in her artistic abilities, that she wants to keep some things sacred, private. She is cautiously awaiting sharing herself on a deeper level with those whom she grows to love.

Jeremy Irons' character, a man struck by illness in the most beautiful of places, is a nice offset to the virginal beauty of Tyler. Together, they bring the film full circle from youth and glowing health to the natural course of death and dying. The attention they pay to one another is mutual. Lucy in this way is wise as well as youthful.

The countryside in this film is magical. The vineyards of Tuscany, with the glowing sun above, are lovingly captured by Bertolucci. The film is as much an ode to youth and innocence, and the inevitable loss of it (which I think Bertolucci is saying can also be beautiful) as it is to the Italian countryside.

Others in the film who have gone on to receive wide acclaim and appear in such movies as Shakespeare in Love, Elizabeth, Swept From the Sea, and The Mummy are the two British actors Joseph Fiennes and Rachael Weisz.

gorgeous at every turn
If you watch this film for nothing else, soak in the beauty of the setting.
While I enjoy this film for both its plot and its artistic/aesthetic qualities, I have to admit that it is at its most stunning best when it comes to its cinematography. what a gorgeous backdrop for a virgin coming-of-age story! the plot may be a bit tired, and the characters too well known, but the twists that are supplied are enough to make it engaging. Liv Tyler is, of course, gorgeous and mesmorizing. The Italian and British actors that flank her almost eclipse her, but as her debut film, she does truly shine.
There are several scenes that are physically intriguing, but I most enjoyed the entire "party" sequence.... some odd, yet stunning filming.
Let's face it, everyone in this film is beautiful to look at (even Jeremy Irons as a dying man). You begin to lose interest in Lucy's (Tyler) quest at some point, but once the answer is revealed it is still somewhat satisfying.
I can highly reccommend this film to anyone that is into gorgeous scenery, lovely and easy story lines, and has and eye for the pleasing aesthetic so many films lack these days. Nothing earth-moving... but a VERY pleasant movie experience!

it's my favorite, but not for everyone
you may not, but i love this movie. the characters are solidly interesting and well-played, the storyline is simple but itriguing, and it has simply beautiful scenery.

Good movie but needs subtitles in parts
I really like this movie. The scenery is beautiful and the movie's focus on the interactions between a variety of characters in the Italian countryside is interesting. I would rate it higher except for one thing- quite a bit of the movie is in Italian and there are no subtitles for this dialogue. This really doesn't make sense, especially considering the vhs copy that I use to own did have them. The parts in Italian aren't just snippets of dialogue either- some are entire conversations. If you've seen this many times with subtitles (and know what they're saying in Italian) I would definitely buy it. If not, it's still a good purchase but be aware that you're missing quite a bit of the movie.

What about "no stars"?
As an Italian (who teaches Italian in HS and college in the U.S.) I really looked forward to a good film after one of my students recommended this one to me.

As a professor, I can sit through a lot of boring stuff, but this movie was so awful I couldn't even finish it. The scenery is nice but after watching this film for over an hour I found it to be pointless. ... Read more

Reviews (199)

Probably the best movie about loving the movies
Rightfully known as a movie for people who love the movies, "Cinema Paradiso" ("Nuovo cinema Paradiso") is Giuseppe Tornatore's 1988 memoir of growing up in a small Sicilian town. A famous film director returns home for the first time in years to attend the funeral of an old man, but this bit of foreshadowing hardly prepares us for the depth of the tale. For the young Salvatore who is called Toto (Salvatore Cascio), the center of the universe is the local cinema and its projectionist Alfredo (Philippe Noiret). When we first see them together in the projection booth, Alfredo is editing out the kissing and other inappropriate scenes from a new film under the supervision of the local priest, Father Adelfio (Leopoldo Trieste) who rings a bell every time he finds something objectionable. The good father rings the bell a lot, to the dismay of the local citizens who bemoan the fact they have never seen a kiss on screen. Unlike most films featuring the cute kid and the grumpy old man, "Cinema Paradiso" presents the odd couple as kindred spirits from the very start. They both love the same thing: the movies. Even when the adolescent Salvatore (Marco Leonardi) discovers something else to love besides the movies in the form of a young woman named Elena (Agnese Nano), he is equally devote in his new obsession, standing outside her window for days in the pouring rain to impress her. Of course Salvatore loves not only the Cinema house but Alfredo as well, and when tragedy befalls them both he has to take his place in a new world while hanging on to the old. Finally, Alfredo has to kick Salvatore out of the nest and send him off into the world with the warning never to come back, because Salvatore's dreams will never be realized in the town of his birth. "Cinema Paradiso" is a film that captures both the pain as well as the joy of remembering the past. When the grown Salvatore (Jacques Perrin) opens up the gift left to him by the man who was much more than his father figure, we know immediately exactly what he has received. But that knowledge does not attract from the emotional impact of that glorious final montage.

One of the Best Films of the Last 20 Years
Guiseppe Tornatore's masterpiece proves for once, and for all, that you can indeed go home again. "Cinema Paradiso" is a timeless tribute to family, friendship and love as seen through the eyes of Toto, a filmmaker, who abandons his small town roots in search of that elusive "something more" in life. In a truly universal manner, Toto experiences success, failure, love and emptiness prior to the film's beautiful finale in which life's true meaning becomes clear to him. The childhood relationship between Toto and his father figure Alfredo, a projectionest at the local cinema, is the centerpiece of the film. Their ensuing lifelong friendship is simply priceless. The legendary Ennio Morricone's unforgettable score provides the perfect emotional backdrop . Overall, "Cinema Paradiso" is a stunning film that works on all levels. A word of warning: even the most macho of all macho will have trouble holding back tears during the film's remarkable final 15 minutes. Not to be missed!

Only one word that pops out when watching this: NOSTALGIA!!!
To make it short, this is the one and only movie that makes me cry every time I watch it. It's the kind of movie that melts your heart and keeps you thinking about it for days ahead. Also, I've never heard a soundtrack as beautiful as the one in this movie. It only helps bring out your tears more easily, especially in the last sequence.

A passion for film and filmmaking
I have not seen the "new Director's cut" version, and based on what the other reviewers have been saying, I'm so very glad. This movie has always had a special place in my film heart.

The theme of love has never really been so subtly and wonderfully dramatized. And the love is on so many levels: love for the opposite sex, love for filmmaking, love for family, love for one's hometown, etc. The plot is deceivingly simple and traditional but there are elements that are very unique. What particularly appeals to me isn't just the developing relationships among the main characters, but the relationships going on among the townsfolk. The extras are not anonymous here: all the patrons of the Cinema Paradiso have a slim storyline that are quite amusing. (In one sequence, a young couple are kissing. Next time we see them they're doing something more than just kissing. By the end of the film, they have a family in tow.)

Anyway, the story aside, CINEMA PARADISO is so gorgeously filmed, it's so pleasing to the eye that it's almost unbearable. This is a film for lovers of film and filmmaking.

Stay away from the director's cut
Cinema Paradiso is one of my favorite movies ever. This review is about the director's cut, it just ruins the whole movie. If you loved the original movie, don't watch this new version.

Cinema Paradiso is mainly a love story. But it's not about the relationship between Toto and Elena, it's about the relationship between Toto and Alfredo. The new version turns the whole move upside down. Not only the plot, but the characters too. Elena becomes the most important part of the story. And the character of Alfredo becomes a completely different person through the eyes of Toto. I don't want to give away anything about the "new" plot. But believe me, the director's cut and it's brand new 51 minutes changes the whole movie into -what a critic said, "mundane soup opera." ... Read more

Amazon.com essential video

A biography of the first czar of Russia was the final movie project of the great Sergei Eisenstein's life. It would be his undoing, as Stalin was not pleased with part II of this epic. But Ivan the Terrible, Part I still stands as a magnificent, rich, and strange achievement. This is a "composed" film to make Hitchcock look slapdash; every frame is arranged with the eye of a painter or choreographer, the mise-en-scène so deliberately artificial that even the actors' bodies become elements of style. (They complained about contorting themselves to fit Eisenstein's designs.) If you don't believe movies can be art, this could be (and has been) dismissed as ludicrous. But Eisenstein's command of light and shadow becomes its own justification, as the fascinating court intrigue plays out in a series of dynamic, eye-filling scenes. This is not a political theorist, but a director drunk on pure cinema.

Part II continues with the struggle for power and the use of secret police, a controversial segment that caused the film to be banned by Stalin in 1946 (the film was not released until 1958). The predominantly black-and-white film features a banquet dance sequence in color. Obviously the two parts must be viewed as a whole to be fully appreciated. Many film historians consider this period in Eisenstein's career less interesting than his silent period because of a sentimental return to archaic forms (characteristic of Soviet society in the '30s and '40s). Perhaps it was just part of his maturity.

Alexander Nevsky (1939), Eisenstein's landmark tale of Russia thwarting the German invasion of the 13th century, was wildly popular and quite intentional, given the prevailing Nazi geopolitical advancement and destruction at the time. It can still be viewed as a masterful use of imagery and music, with the Battle on the Ice sequence as the obvious highlight. Unfortunately, the rest of the film pales in comparison. A great score by Prokofiev was effectively integrated by the Russian filmmaker, but stands on its own merit as well. ... Read more

Reviews (18)

Ivan The Terrible...a bizarre classic
Alexander Nevsky is a lively pro-Soviet propaganda piece partially intended as a warning to Hitler at the time not to invade Russia. The epic battle on the frozen lake is justly famous and the sheer scope of the logistics of filming are impressive. Some of the characters are somewhat cliche stock creations of the time including the two soldiers fighting for the love of one woman who must prove themselves in battle, but overall it's a modest success.

The real prize in this three film Criterion set however is of course Ivan the Terrible parts 1 and 2, a great masterpiece, Eisenstein's most "enjoyable" film(s) and indeed one of the oddest works to emerge from Soviet cinema of the time. Highly expressionistic visuals combine with a melodramatic (and slightly revisionist) take of Ivan's life to create one of the stranger filmic experiences one will see. Eisenstein clearly had a very highly developed visual style and the numerous extreme close-ups of faces are extraordinary as are the sets and costumes. Part 2 doesn't quite live up to the promise of part 1 but nevertheless brings the characters to an appropriate conclusion. Bizarrely humorous (perhaps unintentionally at times) Ivan is nevertheless a film more for afficionados than for the casual viewer looking for another classic in the mould of Casablanca.

Regarding the transfers, they are superb and anyone expecting better prints is simply not being realistic regarding the age of the material and the conditions in which they were kept. While not as pristine looking as other recent releases of 40's films on DVD such as Shadow of a Doubt or Monsieur Hulot's Holiday they are more than adequate considering given the circumstances.

Superb and unusual Eisenstein sound films
Alexander Nevsky:

For those familiar with this classic of the Russian cinema, little need be said. For others, here are the high points: the story is set in medieval Russia and it essentially is about a great warrior who is drawn out of seclusion to lead the fight to defend the homeland against invading barbarians, who are German; there is much bravura acting from the loyal patriots, who deal not only with a vicious enemy from without but also with insidious traitors from within; the hero-warrior who leads them is suitably understated and dignified, striking a memorable portrait of nobility and grandeur. All this is dramatically heightened by some of the best cinematography ever, climaxing in a final battle over the ice which is done entirely with striking visuals and music-only sound. The result is one that rises far beyond the level of a mere costume picture or any cartoon story of battling types. This is a rich treasure from cinematic history, with all talents (including Sergei Eisenstein, one of the greatest directors ever, seen at his best) in brilliant form. Don't miss it.

Ivan the Terrible, Parts I and II:

During World War II, with Russia in the grip of Stalin and with Hitler at its door, the greatest Russian director of his day, and perhaps ever, joined the greatest Russian actor of his day, to depict the dark and brooding story of the rise and fall of a ruthless Russian Tsar who tyrannized Russia during the 1500s. While the story hardly amounts to movie uplift, the joy and fascination here lies in the details. Straightaway, in episode one, there is perhaps the most amazing movie opening ever filmed, in the coronation of Ivan the Terrible. Those familiar with Theodor Dreyer's "Passion of Joan of Arc" in 1928 will appreciate what fascination can lie in watching the camera cut skillfully from one grotesque image to another in endlessly imaginative ways, almost as if the gargoyles themselves were about to speak. The fascinating imagery proceeds non-stop from there, in the hands of master craftsman and director Sergei Eisenstein, like a medieval masterpiece come to life, though part two does not quite rise to the exceptional quality of part one. A taste of the high production standards is gleaned from a musical score composed by the great classicist Sergei Prokofiev. A very, very Russian production -- dark and grim, but full of amazing levels of interest, just the kind of production spoofed by Woody Allen years later in "Love and Death." Not necessarily to everybody's taste, but a great treat for connoisseurs.

Excellent box set. Thank you Criterion!
This box set is one of the Criterion Collection's best releases yet. In this set are 3 films.

Alexander Nevsky and Ivan the Terrible (Ivan Grozny) parts 1 and 2.

Alexander Nevsky is based on the true story of 13th century Prince Alexander Nevsky who helped fend off Teutonic (German) soldiers out of what is now Russia.

The film has an excellent score composed for the film by Sergei Prokofiev. The acting in the film is also very good also. The film was very popular and was temporarily banned by Stalin after Germany signed a nonagression pact with the Soviet Union.

The film is on disc 1 and has the following special features.
Restoration demonstration, Production stills and storyboard drawings, a multimedia essay by Russel Merrit on Sergei Eisenstein's work with Sergei Prokofiev on the film's score, an feature length essay on the film by David Bordwell, who wrote a book on Eisenstein's films, and there is also stills and dialog from Eisentein's unfinished film, Bezhin Meadow with photos of the film's set.

Ivan the Terrible parts 1 and 2 are the first two parts of an unfinished trilogy. Several scenes of part 3 were filmed but only one scene is known to survive today.

The film follows the life of Tsar Ivan Vassilivich also known as Ivan the Terrible (Ivan Groznyy). He is credited with uniting the people of Russia into a single nation. The first film covers his coronation and a battle that was fought to reclaim lost territory. The film is also very famous and has music by Prokofiev.

The first part on disc 2 has the folloving special features:
The deleted prologue sequence covering part of Ivan's childhood where he witnesses the poisoning murder of his mother and also contains another deleted scene. It also has the surviving fragment of the unfinished part 3 There are also a slide show of production stills and drawings, and an essay on the history of the film.

Part 2 covers the time where Tsar Ivan roots out the traitors who helped poison his wife and executes them.

The film has an excellent Color sequence cofering much of the last 30 minutes of the film. The Agfacolor film stock was captured from the Germans during WWII and was used for this film. The cinematography is really gpood and there is a flashback sequence from the deleted prologue of part 1

Disc 3 also contains an audio essay by Yuri Tsivian on the stunning cinematography of the film.

The set is well worth the $79 if you are a fan of Russian Cinema like I am. This set remains one of my favorites and it is really worth looking into.

Nevsky DVD
I'm only telling you about the Nevsky DVD here - my local library has a copy of it, and that was all i got to see.

Terrific transfer - firstly. The film's look, like with Ivan, is its greatest attribute - and here it looks incredible. The images are just so clear, i couldn't believe it. You can fully appreciate the brilliance and purity of Eistenstein's cinema.

Sound quality was good.

Special features were particularly good (as usual). Audio commentary and tidbits from film historians and critics. Most interesting was a reconstruction from stills and titlecards of Eistenstein's unfinished/lost pastoral film Bezhin Meadows. This is the only place you'll get to see this. And i was quite impressed by it. There are some striking images in there, similar to some compositions from Nevsky.

Unlike Ivan (which i have seen Part I of, but not on this DVD) in my opinion, Nevsky does not suffer from a creaky plot, but has good unity and good progression to the climax of the battle of the ice. Part love triangle, part battle epic, Nevsky feels wearisome in places for how very much it is soviet propaganda. In both films, the performances are unusual, because they are more like silent performances, which would have been poetic in a silent, but definitely look quirky in a sound movie.

If i had any complaints it would be these:

one for Eisenstein, for his sound engineer, for the terrible job he did of constructing the sound for the battle on the ice. I could hear the foley artist literally clanking a whole lot of swords together rhythmically. Very distracting indeed.

one for Criterion: i would not have subtitled every line of the singing. Nevsky and Ivan are both part Eisenstein movie, part Prokofiev opera. But the lyrics of the songs the people/army are constantly singing in the background of Nevsky get very repetitive, because its the same verse over and over. Continually reinforcing this propagandising message of unity. And i'm sure its the same for Ivan, but the release i saw of Ivan didn't continue to subtitle every line of song, which is why i know this was a much better option.

Otherwise, a beautiful DVD edition (of Nevsky) with an incredible image and good special features.

A Review for Alexander Nevsky
This is a Russian film released in 1938, just before the start of World War II. Although the film features battle sequences between the Germans and Russians, it is not about World War II. It is set in the 13th century cities of Pskov and Novgorod. Alexander Nevsky is the prince and a famous war leader who previously defeated the Swedes when they tried to invade Russia. The film has very strong images (and songs) of Russian patriotism, and is probably one of the reasons it was so popular when it was released. Since the Russians were preparing to fight the Germans once again in WWII, this film was likely a morale-booster for the soldiers and the public alike.

The opening sequences of the film feature beautiful cinematography. Alexander Nevsky and his men are fishing on a lake when a band of Mongols crosses their path. The Russians have just fought a war with the Mongols and so some fighting ensues as the Mongols pass by the Russians. Alexander Nevsky, irritated with this commotion as it is scaring the fish away, breaks up the fight. Some of the Mongol leaders recognize him as the man who defeated the Swedes and invite him to become a general in their army. He replies with an old Russian saying that it is better to die than to leave your homeland, giving yet another shot in the arm to Russian patriotism.

After the Mongols depart, one of Alexander's men comes up to him and warns him that they may have to battle the Mongols yet again. However, Alexander brushes this warning aside and advises that the Germans will have to be defeated before the Mongols.

Next, we move on to the city of Pskov. The Germans have already taken over this city and are holding the surviving Russians captive. The men are tied up in the center of the city while the women and children look on. The site of the German army is actually rather amusing. The Germans are dressed up in sheets, somewhat reminiscent of the garb members of the Ku Klux Klan are famous for wearing. Regular German infantry soldiers have buckets on their heads with cross cutouts allowing for them to see out. The German nobility also have buckets on their heads but they get specials horns and other decorative regalia.

This is probably the most graphic and disturbing scene of the movie as the Germans then proceed to exterminate every surviving Russian, somewhat ominous as this is also what the Germans do in WWII. There are close-ups of a German soldier throwing children into a pit of fire as they are screaming out in fear. Everyone else is either burned to death or hanged. However, at least one man manages to escape Pskov and goes to warn Alexander that the Germans are advancing.

When the escapee relates his message to the famed prince, Alexander is deeply disturbed and begins planning how to seek revenge on the Germans. He forms a company of troops and even orders the peasants to join in. One exceptionally brave female also joins the army. They then march to the city of Novgorod to gather more troops. Although some at Novgorod initially refuse to fight, more patriotic speeches are made and everyone agrees the Germans must be stopped.

Once the battalion is formed, they begin marching towards Pskov and run into some German troops. Although the German troops appear to win this minor battle, Alexander regroups and forms a plan for attack set for the next morning. The attack is staged on an ice-covered lake and while some of the men are worried the ice may give way, Alexander advises them that if it does, the Germans are likely to go in first since their armor is heavier... so, all the better.

The lake battle is really quite spectacular for its time, although it would probably be considered cheesy by today's standards. Some of the more hilarious images involve the German soldiers getting conked on the top of the head with an axe and then their buckets crumple up, presumably squishing their heads. As it is mainly a sword battle, there are images of several soldiers getting played out from swinging their heavy swords and having to lean upon their teammates in order to remain standing. The Russians begin to chase the Germans away, seemingly towards areas of thin ice as the next scene is that of the remaining German troops falling through the ice into the piercing cold lake beneath them.

The rest of the film is rather anti-climatic as the Russians return to Pskov and prove their moral superiority over the Germans by releasing the captured foot soldiers and holding the captive nobility for ransom, rather than executing everyone as the Germans were notorious for doing. Then, some brave soldiers choose wives and Alexander declares that everyone should celebrate. All in all, this is a decent film worth watching. ... Read more

Reviews (50)

Funny, Intentionally-Horrid Camp / Cult Sci-Fi Flick
Jane Fonda may regret opting Barbarella as one of her earlier films, but fans of bad camp and cult sci-fi are happy to see the actress in this horridly funny sixties film.

Fonda plays the title role of a spaice vixen / astronaut in the exceptionally distant yet sixties-fied future. When genius but mad scientist Dr. Duran Duran (presumably from whom the band took their name) disappears, Barbarella is sent to track him down and given weapons she has no clue how to use (war has been outlawed for ages) and little warning of the planet she'll be landing on.

Pursued by evil children with cannibalistic dolls and rescued by a tough man in furs, Barbarella finds out about real sex (thankfully not pictured) when she offers to use a mood-linking pill, the 41st century method of copulation. From there she's off to a city of evil, avarice, and sin, to be caught by the demented Dr. Duran and put through such tortures as a cage of pecking budgies to the doctor's notorious and sensual machine for execution by sheer pleasure to a lake of liquid evil whose effects look to have been done by lava lamp. Along the way she meets various helpers (most of whom she ends up sleeping with), including a blind angel named Pygar.

Barbarella's costumes vary with each scene, all skin-tight and definitely satirizing the garb of women of golden-age science fiction. On the whole, the movie pokes fun at the field of early science fiction rather well with a heaping helping of sixties hippie culture thrown in for good measure. The DVD doesn't include any exceptional special features.

Barbarella is by no means a good movie, but it is excellent fare for fans of campy sci-fi that would be right at home on MST:3K and quite humorous when taken with a grain of salt.

The hottest hottie ever?
Okay, so these days Jane Fonda is weird, which is entirely understandable given that she is married to Ted Turner, who can often be found snoozing during Braves games, wearing a cap 3 sizes too big for his head. But in "Barbarella," Jane Fonda is unbelievably hot, to the point where I questioned whether this movie was real or a mere figment of my fantastical imaginations. Well, it's real, people, and you need to see it. Not only is Jane utterly flawless (which can be easily seen by comparing her to today's "hot" stars like Britney Speers, Jennifer Love Hewitt, and Denise Richards), she also invites every male character in the film to basically have his way with her. Um, waiter, check please? But seriously, we cannot be supporting this type of wanton behavior (primarily for the reason that the women who act this way in the real world look more like George Forman than Jane Fonda), so this type of vision is best left to the campy comedy known as "Barbarella." I am 21, mind you, so I am not biased towards the 60's, but I am telling you not to miss out on the world's perfect female--watch it.

A trip
This movie is a trip. In spite of what agenda-driven, right-wingers have to say about it, based on their personal dislike for Jane Fonda and her oppinions of the Vietnam war, this movie is a true classic. It's campy to a point that it makes you think how serious, pragmatic and booring people have become over the past decades. It's a total groovie trip. It doesn't take itself seriously at any moment. And best of all, it actually has lines to read between.

Hanoi Jane in her best role
The only movie she ever made that I can sit through.

Ban Jane Fonda
Read up about her role in the Vietnam War before giving her your patronage. ... Read more

Reviews (322)

It's been a long time...
This is truly a lovely movie, and it has been a long time since a romantic comedy has been this enjoyable. This movie may remind you of "When Harry Met Sally" or "Sleepless in Seattle", where the couples are clearly meant for each other, yet have obstacles they must overcome. The acting and dialogue are superb! Hugh Grant, a world-famous actor, is completely convincing as an average bloke, while Julia Roberts goes by Anna Scott and plays herself, a "heavenly" movie star.

One review of this movie called it "pure fairy tale." As long as you can believe that it is possible for an actress to truly be a "good person," that she may actually want to live a relatively "normal" life outside of her acting career and may want to start a family of her own, then this statement is false. One specific scene mentioned as difficult to believe was the initial kiss that takes place quite soon after they meet. However, there are two reasons why this scene is believable. First, it is quite obvious that she is impressed from the start with his wit, sensitivity, and honesty, especially compared to the other men who are falling over themselves when they meet her. Secondly, this kiss may be a sort of test. In a city filled with reporters trying to get a story and her pictures plastered everywhere, her life has to be secretive as much as possible. Perhaps she wanted to see if she would be reading about the incident in the next day's paper before she allowed herself to get too close. She gave him quite the opportunity to brag to his friends or family, but he does not.

This movie is quite entertaining to watch the first, second and even fifth time.

Quirky, funny and totally sentimental...what more is there?
This is a feel good movie for everyone who has ever loved or been loved. Hugh Grant and Julia Roberts are great as the mismatched couple who meet one day and strike up the most unlikeliest of friendships. Julia Roberts plays "the most famous film star in the world", whilst Hugh Grant is a bumbling bookstore owner with a failing business. Their love affair is a fairy tale come true, but like most fairy tales there are a few hurdles to overcome before true love and happiness can finally be theirs. Grant and Roberts are ably supported by an excellent cast, including the Emma Chambers better known as Alice Tinker from "The Vicar of Dibley", and Rhys Ifans who brilliantly portrays Grant's nutty Welsh flatmate. Notting Hill doesn't tax the brain cells. There are many hilarious moments, one of the funniest being the car scene when Grant tries to get to Robert's press evening, it's a laugh a minute and the same can be said for the rest of the film. So if you want a gentle love story, a surprisingly good comedy combined with witty dialogue and a cast of great actors then rent or buy this movie. You won't regret it.

zzzzzzzz Oh Okay I'm awake.......zzzzzzzzzzz Yeah Ok...zzz
I would like to say that I agree with some of the previous reviewers on this forum that Julia Roberts is not much of an actress. Just a pretty face. I rented this and went into it with a open mind. I haven't seen Julia Roberts in any other movies. This is the first. Julia Roberts did not add anything to the part. Hugh Grant was okay. I haven't seen him in any other movies either. So this was a first for me to see him. Now, as for the film. The story was pretty much bland and it was difficult to hold my interest. The film is very much a boy meets girl/ boy loses girl etc.... and you're basic light, fluff love story. The only humorous portion was Hugh Grant's slob/eccentric roommate and even that was only mildly funny. From what I understand, this is the formula film that Roberts generally is in and she does not change much from that formula. There is not any pretty scenery, vistas or even witty/clever dialogue. I think women would enjoy this film more than men. After watching it, you come away from it feeling like you haven't watched anything of substance. The film does touch on the difficulties that Roberts (who plays a famous movie star) has being famous and contending with the press and gossip in the London newspapers. I think most people would be satisfied to watch this film once and leave it at that. Others might really find it a waste of their time, while I know some people will turn it off after 15 minutes. It's not the worst film I have seen, but it is far, far below the standards of a really good film. I wouldn't recommend this as a film to keep in your DVD library. It is a toss away film. Not bad, just sub-standard all the way around. (I don't see what all the fuss is about regarding Julia Roberts as an actress. I see just a pretty face. There's a lot of prettier women out there in the real world). Two stars folks.

dissapointed
The movie is ok for watching once.. so rent if you want to see it first.. but not one i'd watch again. nothing really captivating in this movie. why julia in this movie was interested in grants character is beyond me... she barely knew the guy except for a few things... his apartment is a mess and he has some freaky roomate that would have scared me off.. i can sympathize with her situation and sort of see movie stars life in a new light.. but then again being rich and famous has a lot of other pleasures i'm sure! and this movie makes it seem like shes plain miserable. anyway, this movie was slightly boring. i like roberts and grant as actors.. i just didnt see the real attraction between them no matter how hard they tried... there was no moments in this movie that would have made them very close therefore not moving to me.. this one isnt a keeper in my opinion.

Well- at least this time she's in the right role
I've been waiting forever for a critic or reviewer to expose Julia Roberts for what she is- a talentless, over-estimated, freak of nature--- but the culture is so heady with celebrity buzz that it will never happen. So I'll have to take matters into my own hands:

Roberts has been getting away with simply playing variations of herself since the days of Mystic Pizza. Her same shrill laugh (it's actually a barking shout- look for it) can be heard in any one of those forgettable roles from Flatliners to the Pelican Brief, and the academy-award-winning Brokovich character was Roberts again, only this time dressed like a trailer park refugee and spouting a little more anger and sarcasm than she normally does. God help us- Pretty Woman was such a smash that we'll never be rid of her. Unfortunately, when not playing one of those personal variations, she's lost because she honestly can't act. Take a look at her poor attempt in Michael Collins and there you'll find someone out of their depth. The role was not difficult, just not a variation of herself (am I getting redundant?)

Now for the review of Nottinghill: The script is witty at points, and the story is at times charming with some entertaining moments. According to a professional reviewer, "True, Roberts doesn't really have to stretch very far to play a big-time actress who makes $15 million per movie . . ." Well, that nails it, doesn't it? For once, Roberts can be forgiven for being herself, because that's what the role calls for: a famous, over-paid, self-consumed, Hollywood celebrity. But as well-cast as Julia is here, even she can't resist going over the top on occasion, as in the scene where one of Grant's friends, who meets her for the first time, discovers she's an actress and comments that it's a tough occupation in which to make a living. Our girl enjoys her response entirely too much when he asks what she got paid for her last work. Then again--- I guess I can see her gloating in the same self-satisfied manner in real life, so it's probably appropriate. In contrast to this kind of affirmation, however, notice how Alec Baldwin's cameo portrayl of the male star counterpart later in the film is more tongue in cheek; Julia, on the other hand, is far too relaxed (and serious) playing the pompous, condescending star. Gee, by Jove, it's her!

As enjoyable as this film can be at times despite the romantic comedy formula which has been so overdone, the real killer is the fairy tale ending. It just wouldn't have happened this way, no matter what we want to believe. If by some strange quirk of fate, Roberts' character was somehow faintly drawn to this guy and married him, it would have been only as a passing diversion, and annulled 2 weeks later (any real life analogies?). Good performances by Grant and most of the supporting cast, and Roberts doing herself (there it is again), but it's not enough. Even though the film is not a disaster, it just doesn't work. Spend your money on the popcorn for another video.

By the way, will someone also please finally admit that Julia Roberts is not attractive? With that mouth, she looks like she could consume a '56 Buick whole in one bite. ... Read more

Reviews (133)

Over the top lesbian melodrama
"Lost and Delirious" is for people who like their melodrama laid on thick and heavy with few subtleties. (Also I'm sure they're are plenty of guys who will enjoy it simply for the tame lesbian love scenes between its two attractive leads.)

The story is simple: young Mary Bradford arrives at an all girls boarding school and there she is used simply as a conduit to tell the audience the story of the doomed romantic relationship between her two roommates: preppy, bosomy "Tori" (Jessica Pare) and wildgirl "Pauly" (Piper Perabo.) When the relationship between Tori and Pauly is discovered, Tori breaks it off out of fear that she'll lose her family and, as a result, Pauly goes insane. In another review someone noted with approval that the school's faculty act with compassion and understanding upon the discovering that Pauly has developed a fixation on Tori and not with stereotypical condemnation. However, that's where this movie lost me.

Pauly is a deeply disturbed character. There is nothing wrong with being a heartbroken young lesbian, but there is something wrong about being a violent, verbally abusive, psychopathic stalker! The school should have forced her to get help or kicked her out. However, "Lost and Delirious" is over-the-top melodrama and so we have sit through the inevitable conclusion of Pauly's emotional collapse. (I would just shake my head in wonder if anyone is surprised by how this movie ends.)

One of the most beautiful and heart- wrenching movies ever!
Lost and Delirious is truly one of the most beautiful movies I have ever seen. When I first rented this movie at the local Blockbuster, I was debating to myself whether or not renting this movie was a great idea or just a waste of money. When I started the movie, I was thrown into a world of confusion and sadness when I met "Mouse" played by Mischa Barton, who was on her way to the Perkins Girls College. I immediately developed an understanding of Mouse's shy, insecure personality when she was reflecting on the image of her dead mother. I was later greeted with Victoria -played by Jessica Pare, and Pauline - who was brilliantly played by Piper Perabo. Tori and "P", Mouse found out, were lovers who had an incredible bond toward one another. Unfortunately the two lovers were doomed because of the ever present homophobia that existed in Tori's parents, and her disgusting little sister. Watching Pauly pledge her undying love to Tory, and watching Tory reject her over and over again, made me feel like my heart was being ripped from my body. I have never felt such an incredible bond to a movie's characters, and I have never felt so sad and crushed about a movie's ending. This movie will leave you weeping, but it will also leave you with a better understanding of true love, how beautiful it is, and how easily it can be hidden by fear.

Lost and Delirious
Lost and Delirious is a haunting and very impressive film. Mischa Barton does an excellent job as the new girl sent to live at an all girl's college. She quickly becomes close friends with her two roommates, Pauline and Tory, who are also lovers. The imagery and cinematography in this film are done brilliantly, some of the best I've ever seen. Great story outstandingly told as well. The acting is occasionally a bit overdramatic, but still quite superb. The ending is a little predictable, but I think most people (the smart ones anyway) would find this film to be quite evocative and most excellent nonetheless... And they would definitely be right :).

Based on the book The Wives of Bath by Susan Swan.

NOT a "lesbian" flick
This is NOT a "lesbian" movie. I keep seeing this movie listed as a "lesbian" movie--as though it's only for a lesbian audience. It's not. It's an amazing piece of art about that deals with universal themes of love, acceptance, betrayal (of the self and of others), friendship, loyalty, honesty, peer pressure, emotional dependance, parenting, prejudice and more.

Mainly, it's about the damage done by labels, as lead Paulie says to Mouse, "I'm not a girl in love with a girl, I'm Paulie in love with Tory." So don't label, watch. And don't think this movie won't move you if you aren't gay. It will.

I'd say it's one of the most quietly powerful movies I've ever watched.

Tender and sad
I thought this was an exceptional movie. Not growing up lesbian, but now an out lesbian, I understood the feelings of rejection and hurt. My partner, however, looked at me with tears in her eyes (not a "crier"), and said to me, "This is why most adult lesbians are f***ed up." It really hit home. The level of devastation, not only to be rejected by your lover, but a denial of ever being involved...whew. We both thought the movie was beautiful, sad, and suprisingly not over the top--not even the ending. I highly recommend this movie. ... Read more

Reviews (69)

Not your typical HK flick....
This movie (directed by Wong Kar-wai) tells two separate stories. In the first one, a lonely cop who has just been left out in the cold by his girl-friend May, buys and eats expired cans of pineapple and meets a woman who turns out to be a ruthless heroin dealer (Brigitte Lin) who wears a blonde wig. In the second story, a cop who has been dumped by his girlfriend is really unhappy, moping round his apartment all day. Then he meets the waitress at the local fast food joint (Faye Wong), who dreams of going to California.

I really liked watching this film. The imagery and camerawork is stunning, and it is amusing and sad in equal parts, telling the story of how lonely the people are. Another striking thing is the inventive use of music within the stories which is used to illustrate certain points - listen out for songs like "What A Difference A Day Makes" and the Mamas and the Papas classic hit "California Dreamin`". I didn`t expect to hear English songs in a Hong Kong movie.

I think it's a nice change to see another type of Asian movie, one which isn`t all shooting or kung-fu. It has an experimental style, lots of energy, and is not afraid to be different.

I highly recommend this tape to people who want to check out a different sort of HK film. If you pass it up, you`re missing out on a gem.

NOT A MARTIAL ARTS/ACTION MOVIE
Great date film.... Urban isolation, bad break ups, and quirky humor characterizes this film, with some great perfomances by Tony Leung, Takeshi Kaneshiro, and "the Madonna of Mandarin," pop star, Faye Wong. Bridgette Lin also has one of her best roles ever, although she's incognito in a blond whig and sunglasses. Told in the two seperate halves that comprise the film, Kaneshiro and Leung both play H.K. cops who have been dumped by their girlfriends, with both coping in different ways. Kaneshiro persistant in his hopes his ex will change her mind, Leung forlorn and down. Almost universally, most people prefer Leungs half of the movie. Leung is so down about his girlfriend's rejection of him, that he's totally unaware that the woman (F. Wong) working at the fast food stand where he eats has fallen for him and is sneaking into and redecorating his appartment. On a more personal note, Valerie Chow, my favorite H.K. Cinema uber-babe and the only one who could possibly eclipse Rosamund Kwan, has a minor role as Leung's airline stewardess ex-girlfriend (I never understood why she was never more prominant in H.K. Cinema-she could make it just on looks alone-she also appears in Tsui Harks The Blade). Very intelligent, thought out, and entertaining.

Wonderful inside view of Hong Kong
Hong Kong is often a study of the absurd, but it always