Description

Hong Kong, 1962: Chow Mo-wan and Su Li-zhen move into neighboring apartments on the same day. Their encounters are polite and formal-until a discovery about their respective spouses sparks an intimate bond. At once delicately mannered and visually stunning, Wong Kar-wai's In the Mood for Love is a masterful evocation of romantic longing and fleeting moments in time. ... Read more

Reviews (83)

Wong Kar-Wai's Masterpiece
If you were to find a fault in Wong's film it would be the pace: slow, methodical, but inspite and because of that pace "In the Mood for Love" is an utterly engrossing tale; a tale of a man who suspects his wife of cheating and a women who suspects her husband of the same. As they secretly share their pains and suspiscions they fall in love, a love which, due to guilt and the society they live in, cannot blossom.

"In the Mood for Love" is a period piece, taking place in 1962 Hong Kong, and it captures the period wonderfully with small details like the snippets of Shanghainese speech and Nat King Cole's melodic voice floating in an American-style diner.

In this movie Wong Kar-Wai achieved brilliance on every level. Not only does he create a perfect mood with his methodical pace, dark yet beautiful camera work, but he tops it off with excellent performances by Tony Leung and Maggie Cheung and an enthralling soundtrack that ties it all together. I have been a fan of Wong Kar-wai for some time, but in all of his films I felt something was missing. Here he has captured it all. With "In the Mood for Love" Wong leaves the label "a good director" behind and becomes "a great director".

The DVD is full of fascinating extras: interviews with the cast, Wong Kar-wai; descriptions of the music used in the film; trailers, posters, images. You can spend hours not even looking at everything but the movie!

Best movie of the year
It's only a shame that this wasn't released several months ago in the U.S. as it was in the U.K. or else it would have been nominated for some major awards. It's actually really hard to fault anything in this movie: the acting, directing, music and cinematography are all world-class.

The story centers around a woman and a man who live next to each other in a Hong Kong apartment complex in 1962. They both suspect their spouses of having an affair with each other, and begin to fall in love themselves. Being in such tight surroundings they obviously cannot show very much affection to each other in public and rely on subtle glances and very little actual physical contact: it is a testimony to the superb acting skills of the two main leads, Maggie Cheung and Tony Leung, that the relationship is believable. The director Wong Kar-Wai is also brilliant at mixing in slow-motion shots (perhaps to emphasize how slowly their relationship develops) and Spanish music, which fits the mood of the movie amazingly well.

To add to the atmosphere, the movie is almost completely shot indoors except for some shots outside at night and in the rain and the haunting last scene. You really get a sense of clautrophobia after a while, not only of the living space but how confined the characters' marriages and even lives are as well. Futhermore, the movie also has a political overtone which is, like everything else here, subtle, but suffice to say its setting in 1962 is not accidental.

Finally, the lack of a huge amount of dialogue means that those who don't like subtitles won't have to suffer through so many. For those of you like me who were disappointed with most of the junk nominated for Academy Awards this year, finally here's a movie that lives up to its reputation.

An unforgettable journey.
'In the Mood for Love' is a touching, engrossing meditation on, you guessed it, love: what it is, what creates it, what ends it, what keeps it sewn strong together. All of these aspects are collected into a clever, lovely, sometimes devastating piece of artistry directed by the fabulous Wong-Kar Wai. Those of you who love romantic comedies or grand, epic love sagas will be immensely disappointed with his latest film. It is not either. Rather, it is a gem of cinema that strives for emotional truth and absolute realism. Inside of cramped apartments and old diners, that, too, is what the main characters of 'In the Mood for Love' yearn for.

The film takes place in Hong Kong during the year 1962. Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) have just moved into neighboring apartments and have met each other rather casually. But the two progressively realize a secret about their respective spouses and a profound relationship develops almost instantly. From there, the film sets a tone that is cislunar, seeming to float in its own world situated between reality and a sense of disconnection. Kar-Wai perfectly evokes this mood with fleeting slow-motion sequences accompanied by Christopher Doyle and Mark Li Ping-bin's delicately visceral cinematography. What ensues throughout the rest of the film (both plot-wise and technically) masterfully conveys romantic yearning.

The lead performances were breathtaking, namely Maggie Cheung as Su Li-zhen. From scenes of obvious hurt to moments of hidden despair, she ceaselessly astonishes. I'm surprised she did not receive the massive encomium she deserved from 2001 year-end awards groups, let alone the Oscars. But credit must also be given to Tony Leung as Chow Mo-wan, who managed to maintain a quiet, tired loneliness throughout the film. Leung also understood that it was only with Su Li-zhen that Chow Mo-wan felt truly alive with passion.

Another character worth mentioning are the breath-taking sets by production designer William Chang Suk-ping. The claustrophobic atmosphere offered by Suk-ping's dated, tight hallways was as much a part of the emotion and story line as each lead. Collectively, each part of the movie-making process (screenwriting, directing, designing, acting) achieved an assured concinnity; and in the end, what was already a personal, accessible study is lifted by Kar-Wai to a universal level using epic shots of Mayan temples and mysterious landscapes. As the credits role, it becomes apparent that 'In the Mood for Love' is arguably a masterpiece worthy of the all-time lists.

For me personally, the constant flashbacks of wind sifting past vinaceous curtains and artful conversations about love at its core only underscore 'Love's greatness. It is an unforgettably personal journey not to be missed.

Tertiary Love Film at its Highest Form
98 minutes of excellence. I am never a big fan for romantic films. Especially with the current scene filled with countless teen-or-chick flicks, I have become very picky on this category. I watched it with skepticism. 98 mins later, I switch off the TV in great relief, and also with understanding of why a few people do not enjoy it.

Generally, people who dislike this film have the following reasons:
1. Simple plot and no plot twist
2. Repetitive scenes
3. Few and confusing dialogues
4. No significant signs of intimacy or eroticism. Can it even be categorized into "Romance"?

One thing I have learnt from "In the Mood for Love" is also the same thing I wish romantic film directors would learn for a long time: Character Study and Development are often more important than unnecessary plot twist. There are pretty much only two characters in the movie, but by middle the audience could feel as if we know them for real. Thus we do feel the characters' happiness, pain and suffering. Yes, even if the time is set in 1962, Hong Kong.

The repetitive scenes do not represent lack of creativity. In fact it is one of the hardest tricks in my opinion. Although some actions are very similar, each scene has a subtle change in intimacy and impact for future relationship. Not one of the scenes can be taken away because they're all crucial links. As for the dialogue, it is few but every line is to the point. Each word is polished to sharpest and kept to minimum. Every word is a keyword.

Intimacy and eroticism are indications and eye-candy. Audience would understand immediately two people are in love. In my opinion this is director's point of view to choose it or not. Wong Kar Wai deliberately wanted to create a longing relationship without obvious physical contact to add up the sadness. In fact, the film has at least once "Implied Intimacy". ***SPOILER*** When Su told Chow she did not want to go back home in the cab, that "Implies"they would probably spend the night together ***SPOILER***

It could be artistic whether sex scenes are included or not. It just happens that WKW wants to present us a unique experience. I highly appreciate this effot. In the Mood for Love is a ten-level-upped romantic film and I definitely recommend it to every viewer, tertiary or not.

A Masterpiece, flawless, perfect, beautiful!
Simply put, it is one of the more ravishingly beautiful films ever made! Every now and then, a director and his collaborators are so in-tune with each other, so opperating at the height of their powers, that as a viewer watching it, you are aware of watching greatness yet an air of disbelief pervades. Such feelings you get with (to name a few flawless masterpieces) Tarkovsky's ANDREI RUBLEV, Bergman's CRIES & WHISPERS, Fellini's LA DOLCE VITA, Lee's DO THE RIGHT THING, Scorsese's TAXI DRIVER, and Hitchcock's VERTIGO. All of the aforementioned films are flawless works which use everything the cinema can do...such films are perfect; IN THE MOOD FOR LOVE is such a film. It is a masterpiece and a must own! ... Read more

Amazon.com essential video

Few directors polarize audiences like Peter Greenaway, a filmmaker asinfluenced by Jacobean revenge tragedy and 17th century painting as by theFrench New Wave. The Cook, the Thief, His Wife and Her Lover isboth adored and detested for its combination of sumptuous beauty andrevolting decadence. A vile, gluttonous thief (Michael Gambon, TheSinging Detective) spews hate and abuse at a restaurant run by a stoicFrench cook (Richard Bohringer, Diva), but under the thief's nosehis wife (the ever-sensuous Helen Mirren, Prime Suspect) conductsan affair with a bookish lover (Alan Howard, Strapless). Clothing(by avant-garde designer Jean-Paul Gaultier) changes color as thecharacters move from room to room. Nudity, torture, rotting meat, and TimRoth (Reservoir Dogs) at his sleaziest all contribute theatmosphere of decay and excess. Not for everyone, but for some, essential.--Bret Fetzer ... Read more

Reviews (74)

Even Worse Than Gummo
I cannot fathom how this horrendous onslaught of depravity masquerading as a film has received such good reviews. There is no plot so I'll sum up what "went on": a classy lady is inexplicably married to a grotesque, low-class criminal, and she goes with him and his gang of thugs nightly to this restaurant that, if I have deciphered the terse grunts serving as exposition correctly, he owns, where he wreaks havoc on the staff and other patrons. The wife endures this for awhile and then decides to have an affair with some guy who also goes there every single night.

Throughout the entire film there are gratuitous disgusting images which never ever let up. The characters are like a child's set of Fisher Price dolls: "Nice Guy," "Nice Lady," "Innocent Little Boy," and we are expected to care what happens to them. The villain comes out looking the best because he is the only one who's not a doormat, and the lead actress (Helen Mirren) is completely unsympathetic. They could have stuck a cardboard cut-out in any of her scenes and achieved the same effect. Not only does the whole movie look like gangrene, but the actors are also purposely made unattractive, so the viewer doesn't even have that to chalk up as a redeeming quality.

I know it's supposed to be challenging and contraversial and blabla...it fails. The two stars are for Gaultier's costumes. Go buy Un Chien Andalou.

Oh my goodness!
I went into Peter Greenaway's "The Cook, the Thief, His Wife, and Her Lover" with blinders on. I had absolutely no idea what to expect as the movie started, none whatsoever. I slightly suspected the director made "art" films due to a faint recollection of a discussion I saw on a bulletin board years ago, but that was all I could remember. Heck, I thought Uma Thurman was in this film for some reason! Obviously, this was my first experience with Greenaway, a director I have since learned is noted for creating disturbing films designed to upset audiences. I'll bet this masterpiece had arty types fleeing for the doors! Boy, I wish I'd seen this in an art house when it came out. I'm used to seeing films dealing with subject matter far worse than this one, but viewers who spend their time watching pictures about relationships and strolls through a park on a sunny day aren't. Yes, Greenaway's film deals with abhorrent themes expressed in undeniably grotesque forms. Yes, the picture has ugly scenes of violence. Yes, relationships of a decidedly revealing nature play a big part in the plot. What did you expect from a NC-17 rated picture? Don't worry-you can handle it. Actually, you'll probably be glad that you sat through it because this is a marvelous movie.

"The Cook, the Thief, His Wife, and Her Lover" starts on a particularly memorable note. Big time gangster and thief Albert Spica (Michael Gambon), his wife Georgina (Helen Mirren), and his entourage pull up to the back door of a fancy restaurant run by the fabulous French chef Richard Borst (Richard Bohringer), ready for a night of fine dining and obnoxious behavior. Spica is a notorious brute, a beefy, sadistic thug who enjoys tormenting everyone around him, especially his wife Georgina. Greenaway sets the tone immediately by having a pack of dogs snap and snarl outside the restaurant as Spica presides over the humiliation of an underling. The bad behavior continues inside as Spica and his miscreants throw food, insult the staff and fellow customers, and generally make fools out of themselves. Night after night, Spica and his band of dangerous ruffians return to the restaurant, tormenting Borst and his staff as the restaurant's business drains away. No one, it seems, wants to spend an evening eating next to a guy like Spica.

One gentleman seems relatively unbothered by the ruckus a couple of tables over. Michael (Alan Howard), a scholarly looking librarian who always reads a book while he eats, simply ignores Spica's loud theatrics. When he makes eye contact with the gorgeous Georgina, however, sparks fly. Within minutes the two are in the bathroom madly pawing away at each other. The clandestine affair continues night after night, with both Michael and Georgina continually aware that Albert Spica or one of his goons could discover the tryst at any moment. Eventually, the staff of the restaurant plays a part in helping the two lovebirds meet, allowing them to use the nooks and crannies in the cavernous kitchen and deflecting any suspicions posed by Albert. Georgina uses Michael as a respite from her vicious husband, a chance to escape his obnoxious behaviors if even for a few precious minutes. Spica's wife soon finds the strength to flee from Albert, moving in with Michael in his library. The thuggish Albert flies into a rage over his wife's disappearance. It's not that he cares for her in any way (he definitely doesn't), but his massive ego cannot stand the idea of her being with another man. Spica tracks down Michael and has him murdered by stuffing pages from a book about the French Revolution down his throat. The conclusion to the film is one of the most memorable in recent film history.

After I watched Greenaway's film, I looked a few things up. Some bright film critics in England see this picture as a critique of the Thatcher years, with Spica standing in for the right wing, Georgina as England, and her lover as the hapless political left. Maybe, but I didn't see any of that in the film. I spent too much time chuckling over the coarse behavior of Spica and his goons-one played by Tim Roth in an early role, by the way-and enjoying the stunning Helen Mirren. She's so beautiful here that your heart aches over the indignities she suffers at the hands of Albert. She's also not afraid to do some daring scenes, a lesson she probably learned from her role in the Tinto Brass and Bob Guccione classic "Caligula," made some ten years before this film. If you still need to a reason to watch the movie, if the political symbolism and charged situations leave you cold, check out the great musical score by Michael Nyman and the sumptuous atmosphere of the restaurant. The colors and décor of the dining establishment take your breath away, and Greenaway further uses color by having people's outfits change hue as they walk from room to room. What does it all mean? Who knows, but it's fun to watch.

The DVD version of the film I saw didn't have much in the way of extras besides a trailer and a widescreen picture transfer. No matter, though. The movie is challenging enough to make you forget all about commentaries, stills, and any other of the usual extras. After watching "The Cook, the Thief, His Wife, and Her Lover," I would like to see other Peter Greenaway films. Unfortunately, most of them have not received a reissue on DVD. If the subject matter is as disturbing as this film, no wonder! I recommend renting this movie and then inviting some friends over to watch it. Don't tell them anything about it beforehand, though. Just sit back and watch the jaws drop.

Great Film; has it aged well?
Remember seeing this film when it first came out and loving every aspect about it - from the artistic direction, sets, costumes, music to the story line. Now, more than ten years later, after watching the DVD, I've noticed that the movie isn't as shocking as it was the first time around. I still wish the DVD version had subtitles in order to fully understand the thick, heavy British accent. Still, the movie can be enjoyed without even understanding the dialogue - almost as if it were a Silent movie.
And after ten years the only thing about the movie that looks aged are the trendy costumes that Gaultier designed.
The film's visual imagery continues to be its strongest asset with allusions to the Flemish and Spanish Masters of the Baroque Era

disgusting trash
Yuk! How do I give this a negative 5 star rating?

i got a question.
i want to buy "the cook,the thief,his wife & her lover",but i
want to know if there's an audio french version,or subtitles;if
it is,i'll buy it right now. ... Read more

Description

A wave of unexplainable suicides sweeps across Tokyo after 54 smiling high school girls join hands and throwthemselves from a subway platform into an oncoming train.Are the jumpers part of a cult? What is the connection tothe website that chronicles suicides...before they happen? And, what is the connection to the Japanese all-girl pop group "Desert?" Suicide Club is a stylish, bizarre thriller that examines pop culture and disaffected youth. ... Read more

Reviews (46)

A Hellish Nightmare You Soon Won't Forget
I never knew about this whole subculture of Asian "shock' cinema only until I happened to have stumbled on the film "Audition" and ever since I've been hooked. This whole line of films from the Orient has to be the most original, bizarre, violent and intriguing films on the market today which for the most part, unfortunately, will probably never be seen by the public. That is until its Americanized and bastardized, which is unfortunate. Well, enough of my ramblings. Let me tell you about my latest delve into this underground market, the "Suicide Club", which is a pretty sick and twisted look at today's youth. There are a few scenes that don't particularly work well and some will leave you wondering, "what the hell?", but overall this is one helluva ride that's pretty dark and disturbing.

"Suicide Club" opens right away with a bang and never lets up right up until the very end. It begins as 54 school girls waiting on the subway platform all clasp hands, count down to three, and then jump in front of an oncoming subway car!
Even as the boxcover told me this I really didn't know what to expect and it still came as a complete shock as blood and body parts are strewn across the train, passengers, and onlookers. Gruesome to say the least. This though is only the beginning as more teens begin throwing themselves off buildings, sticking their heads into ovens, and just a frenzy of various suicides. As the suicides mount the police are drawn in, especially after finding a carry-on bag with the contents I'll leave up to your imagination. The police are led then led to a mysterious website, by an unknown caller, where it has been keeping track of the deaths by colored dots and nothing more.

Thrown into the entire mix of this is a pre-teen pop group that seems to be popping up all over and on everyone's tv's! This madness continues to spiral out of control and then in a slight twist midway we are introduced to a bizarre cult, led by an even more bizarre leader. This part of the film took a turn that just didn't quite fit in but it was still dark and edgy as this cult leader was one of the sickest villains I've seen in quite a while. I won't give away any details but let's just say that his victims are kept tied up in oversized cloth bags on the floor in an abandoned bowling alley! Sounds bizarre? It is and its even worse then that!

The suicides mount until the ending culminates to what you would think would be a clean and tidy ending but kudos to Shion Sono who takes us onto this dark journey only to leave us in the "middle of the road". You'll know what I mean after seeing it. This film is totally not for everyone, the faint of hear, or those with a weak stomach. I found it fascinating, intriguing and couldn't wait to see where I was going to be led next. Bravo for yet another Asian horror film that dares to overstep the boundaries and take the viewer on a hellish nightmare or a ride! I read where this film was a response by the director to bring Japan's rising teen suicide rate to the forefront but whether it was or not I'm not sure. It surely doesn't voice an opinion but rather uses that as a stepping stone for its decline into madness. If you like graphic, violent, twisted films check this out, its one you won't soon forget!

Gory but half-hearted social commentary
Beneath the surface, Suicide Club is more than just another stylized blood bath. The director Sion Sono's vision of a bleak satire/commentary on the state of modern Japanese culture is apparent throughout the film. However, the underlying themes are so poorly executed and unstructured that they are eventually lost among the bits and pieces of plot/characters/limbs scattered throughout the film.

As far as gore and shock value goes, Suicide Club won't disappoint fans of Audition or Battle Royale. The first 5 minutes of the movie inside Sinjuku station set a reverberating macabre tone throughout the movie with promises of wall-covering blood, strewn limbs and human-skin rolls (wink wink) to come. Director Sion Sono (also a noted gay porn director and experimental poet) does an excellent job creating and maintaining the creepy and sinister undercurrent throughout the movie. The problem is, the undercurrent simmers and simmers but never boils. The plot is at best non-linear and mostly illogical, peppered with characters with unclear motives, an out-of-nowhere Rocky Horror-esque musical number, and existential soliloquies that fans of Neo Genesis Evangelion would instantly identify. There are plenty of impressive moments throughout Suicide Club, but it is unclear whether they serve to enhance or befuddle the main mystery of the suicides.

It's really a shame because Suicide Club is really a social commentary with underlying themes that cut deep into the Japanese psyche. The suicides baffle police detectives partially because the truth is hidden somewhere in bubble gum pop music, internet message boards and instant messaging, phenomena on the other side of the generation gap. The suicidal slogan "To connect yourself to yourself" while trite to us Americans post-teens, is nevertheless an important commentary on the Japanese society that is historically obsessed with community and nationalism at the cost of individual liberty and identity. Perhaps the real horror of Suicide Club is that the premise of the movie, in the eyes of all the over-studied students, over-worked salaryman, and over-disconnected families of Japan, is not really that far fetched.

Unfortunately, all its earnest intentions at social satire are mostly drowned in the blood of Suicide Club.

Genesis is hotter than YOU!
there were a few times during this movie that i had to walk out with my friends and smoke a cigarette just to chill out a bit. i know alot of people can just watch wave after wave of psyche-defying mutilation and giggle, and i thought i could, but i really can't. honestly, people say the message this movie offers has nothing to give to an american public. i disagree. i find the message all too relevant.

i liked the movie. not so much for the particulars of cinematography or linear plotline, but for the awesome GEEK moments. i hope that if i ever jump off a building and land on my wife on the way down, she'd go and get a cup of coffee afterwards. that and if for nothing else, you must see the character called GENESIS. HE IS HOTTER THAN YOU!

Don't take it so seriously
I had a great time with this flick. It didn't change my life or say anything profound. I don't watch films for my social commentary/satire, I watch them to be entertained. If they accomplish that, so what if you have no idea what's going on.

The tone is set within 2 minutes. Around the 30 minute mark the huh? factor takes over.

Look past the lack of character development and holes in the plot. Who says you need those elements anyways? I watched SC with my wife, and we both ran the gauntlet from shock/disgust to laughing histerically. We sang "Mail Me" for 2 days. That song is too funny. And that really bad music isn't accidentally put as a backdrop to the horrible acts you're watching. You could say that it's used to numb the viewer to the seriousness of the suicides, just as the growing MTV culture and "Dessart" always puts on their happy face. Different people will see different things. Thats not the point.

The point is: watch it, don't take it too seriously, and you might have a good time. Then buy the soundtrack.

5 stars -- one of the 10 best films of the year

What the hell was that?
This could have been a pretty good movie. It started with a bloodbath, that didn't at first seem to be obligatory. As the number of suicides mounted and the collective tension of the detective squad got worse.. this movie does a swan dive with the introduction of a fey, mincing rockstar-wanna-be character that ultimately has nothing to do with the plot.

Did I say "plot"? It's shortly after this point in the film when the whole thing runs out of steam. There's no more plot advancement. Characters disappear for no reason. And instead of coming to a climax, the movie just stops, as if the filmmaker ran out of film. Real stories have a beginning, middle and an end.

I rented this thing for $2.99. Someone owes me $2.99!!!! ... Read more

Reviews (53)

Opposites attract in this wonderful love story
"Desert Hearts," directed by Donna Deitch, opens in Reno, Nevada in 1959. The film, which is based on a novel by Jane Rule, tells the story of Vivian (played by Helen Shaver), a prim-and-proper college professor who has come to Nevada to get a divorce. There she meets Cay (Patricia Charbonneau), a lusty, free-spirited casino worker. The relationship between these two beautiful women is the focus of the film.

"Desert Hearts" is a wonderful film. It's very erotic, tender, and moving. The women's story is complemented by excellent production values and effective use of period music. The performances are superb all around. The leads are backed by a great supporting cast; Audra Lindley is particularly good in a zesty, touching performance as Cay's stepmother. But it's the powerful chemistry between Shaver and Charbonneau which ultimately drives the film. Every scene between them is one to be savored.

The DVD version of the film includes a fascinating feature-length commentary track by director Deitch. She discusses the original novel, her own relationship with novelist Rule, the casting process, the music of the film, key scenes, and much more. Particularly fascinating is the window she offers into the financial realities of independent filmmaking.

"Desert Hearts" is about romantic love between two women. It's also about a mother-daughter relationship and about friendship between women. The beautiful scenes of the land and horses as well as the casino scenes give added appeal to the story of these interconnected relationships. I highly recommend this enjoyable and touching film.

Stole My Heart
I loved this movie! It is my all-time, favorite lesbian love story. More recent films have touted themselves as having eclipsed this story, but frankly, I have not yet seen a lesbian film that is better than this one. Yeah, this film has some hokey parts. I do not like the way that director, Donna Deitch suddenly fades to black as a transitioning technique. I do, however, like the 1950's vocal music in the background. The music mirrors the mood of the film and of the characters. I also liked the authenticity of the film in terms its 1950's setting. I liked the old cars and the old clothes and the old slot machines. Even the leather couch and the cowboy-patterned dishes hasten back to the 1950's. I especially liked the performance of Helen Shaver as Vivian Bell, the uptight eastern professor who comes to Reno for a quickie divorce. I had seen her in movies before but it took this movie for me to recognize the depth of her talent. Audra Lindley (AKA, TV's Mrs. Roper from Three's Company) is also excellent. I never really knew where the Audra Lindley character was coming from, even though I have probably seen the film at least ten times. I think that not understanding the character's full motivation is part of the intrigue of her performance; you're never really sure where her true affections lie. The interplay between the two main characters is awesome. It is wonderful to see the attraction grow and to see the younger character's boldness and both character's vulnerability. I give credit to the writer, director and actresses for the authenticity with which they recreated the awkward and often tentative moments of new love. If you never buy or see another lesbian film, buy and see this one.

I Liked Jane Rule's Novel MUCH Better, But . . .
This film contains what may well be the most powerful & well-done love scene I have ever seen on film. If only everyone's "first time" with his or her lover could be this beautiful! Ah, well. Actors can rehearse, as Shaver & Charbonneau did, according to director Dietch. But ordinary real-life lovers have no such luxury . . .

My main problem with the film was its portrayal of Frances Packer. Don't get me wrong--Audra Lindley's performance is terrific (& such a pleasant surprise after only having seen her in __Three's Company__!). But Dietch & Cooper made Mrs. Packer out to be a venomously lonely & alcoholic homophobe. Rule's portrayal of her in the novel is much more sympathetic & broad-minded.

I believe at least one other reviewer made similar objections, but I just had to put my 2 cents in.

In the end, I applaud Ms. Dietch & everyone involved in Desert Hearts for working so hard to bring this groundbreaking film into being!

love story
This movie was the first lesbain movie I truly fell in love with. I felt my self in the movie through each sceen.I would love to have seen the stars go into more detailed sex sceens. But you can still feel the love. It was a very good love story. It would please me to see a part 2 to this movie.

can't miss
This is a wonderful movie of two gorgeous women who make love and one drops her water onto the other while they're at it. I watch that part over and over. And I'm a girl. ... Read more

Amazon.com

Star-crossed lovers, feuding family, royal plots, noble destinies,and salt-of-the-earth heroes. No wonder R.D. Blackmore's romantic classichas been a perennial favorite. Amelia Warner (Michael Caine's innocentchild bride in Quills) is Lorna, the beautiful young brunette"queen" of the feral Doone clan in this latest adaptation, a handsome 2.5-hourco-production between the BBC and A&E. Theonce noble line now lives out of a swamp fortress and preys off the localfarmers and tradesmen, but the family patriarch (Peter Vaughan) has hatched a plot to win back his title and his land. Handsome John Ridd (RichardCoyle) swears vengeance against the Doones when they murder his father, but he falls for Lorna, and the rakish, ruthless Doone scion (Aiden Gillen, whoswaggers through the drama with a perpetual sneer) refuses to give up hisclaim on the girl without a fight.

This is the kind of British romanticadventure that decries the tradition of nobility and privilege while rewardingits heroes with those very privileges, all within a grand framework ofmelodramatic twists, thrilling battles, and chivalrous heroics. Director MikeBarker creates an appropriately larger-than-life world at once pastoral andsavage for his little epic--shot in the verdant British countryside, where alush forest green permeates every outdoor scene, while the dusky interiors glowwith candlelight--giving in completely to the sweeping emotional melodrama atthe core of the story. --Sean Axmaker ... Read more

Reviews (22)

A Promise to Keep
Fortunately I was able to catch this originally when it ran on A&E and was so captivated I pre-ordered both the video and DVD. The video version differs only slightly from the DVD; the color is not as good. That's it. Overall it's a very good purchase at a reasonable price for such an excellent film.

Fans of A&E's lush romances like Pride & Prejudice, Victoria & Albert, and Emma will enjoy Lorna Doone. It's a blend of romance, adventure, mystery, and something of the sinister, with a Romeo & Julietish twist. The acting is stellar, particularly in the casting of Aidan Gillen as Carver Doone. He completely overpowers the screne whenever present and makes a loathable and yet empathetic villain. Richard Coyle is doubly good as the heroic John Ridd, and Amelia Warner proves she can play leads effortly as the spirited but puzzling Lorna.

It's a film my entire family enjoyed... there was enough romance for the girls, some action scenes for the guys, and enough lush English countryside and magnificent costuming for one and all. Rent it, buy it, borrow it -- see it.

Romantic Predictability...
A & E's production of R.D. Blackmore's novel of forbidden love between two hostile families is lushly filmed, action-filled, and surprisingly dull. Yes, there are a few surprises here and there; however, the story runs into predictable territory come the last hour and a half, and the characters become too melodramatic to be considered real.

The star-crossed lovers do play off each other well, embracing the invisible struggle surrounding their union. Amelia Warner (Lorna Doone) gives the right amount of innocence against ambition, creating a lovely, yearning picture of a woman finding her way into the world. Her love (John Ridd), played by the ravishing Richard Coyle, battles endlessly for her deliverance from a power-hungry family. Scenes of swordplay, gun fighting, and warring words dominate the film, along with the green and black tones of the Doone's aura. Their home and demeanor is cold and dark, in stark contrast to that of the Ridd's. Yet despite these dynamic action and aesthetic backdrops, I found myself jumping ahead at various points simply because I was already ahead of the film itself. The characters, though well played, were standard stock-acting fare. Aidan Gillen's performance of Lorna's rejected suitor was extremely cartoonish. Each time he was told he should give up his pursuit of Lorna, he would restate his devotion to her then stomp away like a child. I kept expecting him to grab a skateboard along the way, riding off to his pouting place.

I will say that the romantic standard of hero/villain/heroine is not an easy foundation upon which to build an unpredictable storyline, especially when given a rather caricature-esque setting. Yet director Mike Barker does his best with Adrian Hodges screenplay, and makes a film for inspired romantics. Although it is predictable at most points, the tale does give the audience the desire to rise in hopeful bliss for two souls so like their own. Lorna and John may be of a different time, yet love burns deep in all of us, no matter the age or circumstances. If it is to be, there is no death for love. Lorna and John teach us this, as we rise.

A Weak Link
I got this DVD as part of the A&E Literary Classics Romance Collection, and it's one of the few weak links in that otherwise superb box set (a must for lovers of period films and literary adaptations). Lorna Doone is a fun little romp through 17th-century England if you're willing to lower your standards for a few hours, but in all honesty it's really just a clumsy, formulaic Romeo and Juliet tale.

The main villain is a sneering cardboard cutout. The central romance is unbelievable: Lorna is never fleshed out (and is no great beauty, either, to be frank), so you never see why John falls in love with her--unless it's just simple infatuation because of the "forbidden fruit" factor. You just have to take the whole relationship on faith since it rarely feels real or compelling. On top of that, the clumsy direction makes a total mess of the fight scenes: there's no sense of focus, pacing, momentum, or drama. (There are little historical anachronisms, too, like John's sister wearing the kind of modern eyeglasses with side bows that hadn't been invented in the West at that time--no big problem, obviously, but sloppy and distracting nonetheless.)

On the bright side, this version of Lorna Doone (many have been filmed over the years) features a few memorable performances, like the droll Michael Kitchen as Judge Jeffreys. Plus, there aren't a whole lot of period pieces focusing on 17th-century England; most choose the Middle Ages or the 18th or 19th centuries. So, at least the time period is refreshing.

2.5 stars.

A disappointing departure from A&E's high standards.
We are fans of period films and have enjoyed many A&E and BBC productions. Instead of getting swept up in the drama of Lorna Doone, however, we spent our time mocking the film. I think that poor directing is to blame. Why were we forced to see the same cheesy "vertigo" shot of water in the canyon below every time a character walked on the narrow ledge by the waterfall? Why were all scenes shot in the Doone valley incredibly dark and hard to see, even when the action was taking place in the middle of the day? Why were the Doones and the people of the adjacent town so unfamiliar with one another when it seemed to take approximately 15 minutes to walk from one settlement to the other? Why was Lorna always clean and neatly-dressed, while every other resident of the Doone Valley appeared to have minimal acquaintance with bathing facilities? Why did John and Lorna fall madly in love after exactly two encounters twelve years apart?

The film tried valiantly to fit many of the book's plot points into a two hour movie, but the gaps in character development made for awkward leaps. The actors did a fairly good job with tough material, but even good actors can't overcome strange sequencing of events and cheesy, predictable dialogue.

Exciting the whole way through
John Ridd's father was killed by the Doones-a band of ruthless outlaws who had threatened and stolen from the townspeople. John (Richard Coyle) watched his father die, and vowed he would get revenge for their evil deeds. He falls in love with a sweet and beautiful maiden, only to learn that she's a Doone. Lorna (Amelia Warner) is a granddaughter of the Doone's leader, and she is expected to marry the future leader of the Doones-her cousin Carver Doone (Aiden Gillen). John finds himself in a difficult situation-he not only loves a girl that his family will hate, but he must fight Carver, who is just as determined to marry Lorna. The characters find themselves battling with issues of loyalty. This is a great story based off R.D. Blackmore's classic novel. I would highly recommend it. ... Read more

Description

In a riot of color and music, master animator Bruno Bozzetto offers his irreverent tribute to Disney’s Fantasia.Transcending parody, this erotic, satiric, and delirious animated feature represents Bozzetto’s vision of the world.In six distinct episodes, fantastic cartoon creatures march, slither, and bounce to the classical rhythms of Debussy, Dvorak, Ravel, Sibelius, Vivaldi, and Stravinsky.Perhaps most entrancing is the visualization of Ravel’s "Bolero," in which the dregs of a Coke® bottle set forth a frenzied animal evolution across a surreal landscape.Maurizio Nichetti (The Icicle Thief, Volere Volare) stars in the equally wild live-action sequences that introduce each piece.For many critics, Allegro non troppo matches or surpasses the imagination and technique of Disney’s masterpiece. ... Read more

Reviews (22)

Finally,..to be released on DVD
I have the laserdisc of Allegro Non Troppo, and it's good to see that it's finally going to be released on DVD. As most readers of this already know, ANT is Bruno Bozzetto's Fantasia-styled movie. ANT has a beautiful sense of humor that no Disney animated movie has had. Some of the animation in some of the scenes is "primitive" compared to Fantasia, but the simple animation works very well with the humorous scenes. My favorite animated scenes? Slavonic Dance and the Finale. Very funny stuff (and very simply drawn, too.) This is a great movie and I hope it gets proper treatment for DVD. One thing that appears to be missing from the DVD is the English-dubbed track for the live-action scenes between the animated scenes. It will be nice to hear the original Italian dialog, but I will not be able to understand it and have to rely on the subtitles. It's sad that the English dubbing has not been included. (Why hasn't it been included?) Especially in comedies like ANT, dubbing into other languages can be used for comedic effect. (An extreme example of this is What's Up, Tiger Lily?) For this reason, I'm giving 4 stars for the DVD. Despite the lack of the English track, I'm eagerly awaiting the DVD's release...but I will still hang on to my laserdisc.

Brilliant animation, pretty good satire
It's okay to like Fantasia and Allegro non troppo too. But they're not the same, which makes the satire of Disney so funny, especially after 20 years of massive Disney expansionism.

Animating music, which is inherently abstract, is always a risk. However, if you aren't too worried about everything being pretty (like in Fantasia), this film will work for you. How can you tell? If you're still dry-eyed after watching the Sibelius Walse triste sequence, there's something wrong with you.

Highly Entertaining
I'd seen this in college (about 1979?) as required for a music course. There were no Italian translations, and I mostly found it confusing. The DVD release has subtitles, and is most enjoyable. I especially found the "Best of" additional short works funny and mildly political (love/peace/green earth hippie ideals of the 1960's and 1970's). There's enough sexual content and mild nudity that I'd would suggest not for younger than 10 year olds.

Superb!
This really is a wonder to behold. The animation is breath taking and the stories are straight from the heart. Much better than Fantasia. Also, the bonus footage on the DVD is wonderful. Buy this DVD!

Video for Music Class
Allegro Non Troppo is the best animated feature I have ever seen. All the humor and pathos of music are creatively expressed in each segment. I saw this feature in college and have never forgotten it. My favorite part is the "Sad Waltz" (Valse Triste) by Sibelius. ABSOLUTELY STUNNING! I will be using parts of the movie in my music classes. The kids need something new and fresh. ... Read more

Reviews (159)

Packs a big punch
"The Transporter" is by no means a theatrical masterpiece...but that doesn't matter. The stunts are amazing: from the opening car chase to the multiple battles featuring Jason Statham vs. Large Group of Bad Guys. I challenge anyone to watch this movie and not say "Whoa!" at least ten times throughout the duration.
Statham holds his own in his first starring role, sometimes shirtless and covered in oil (a little something for the ladies). He proves to be the right mixture of brood and mystery needed for this type of action hero. And anyone should be impressed with an actor who did a lot of his own stunts (either that or his stuntman is a perfect doppleganger).
Overall, the movie is great fun, but it's not to be taken seriously. There is a plot that attempts to keep the movie going, but it's only a tiny distraction. Corey Yuen's direction and the fight choreography are classy enough to make this a better action movie than some. Need I even mention Steven Seagal's recent debaucles?
I think the best things that are going to emerge from "The Transporter" release are the budding American careers of the main star and director. I'd love to see what either of these two do next.

Holds you and doesn't let go!
Wow, Jason Statham finally made it!. That's what I felt after watching this hugely enjoyable action romp from director Corey Yueng who has collaborated with such as Luc Besson in the past in movies like "Red Dragon". This movie has a distinct European feel, not only in locations, but also direction, and one could be forgiven for thinking this was a Besson movie. This notwithstanding, it is a great roller coaster action flick, with some very well choreographed fight and action sequences. Mr Statham plays retired special forces hardman Frank Martin (why do they always retire so young?) living in the South of France who is a highly paid, feared and reveared professional courier, sporting a customized BMW, and formidable array of weapons (himself included). Regardless of the cargo, he conducts himself with consumate expertise, and deadly force where necessary, but is essentially a morally driven "good guy" who just happens to work as a mercenary. Quickly embroiled in a kidnapping, and attempted murder he stirs up a veritable hornets nest of villians who are not only armed to the teeth, but also ruthlessly led by a sadistic and equally die hard nemesis played by Matt Schulze. You can easily watch this movie over and over again for it's non stop action pace, and very slick direction, but the more discerning viewer, will want to leave the intellect behind, as this is pure adrenaline junky material. I would have given this movie 5 stars, but for a couple of reasons. Some of the fight sequences just cross the line a tad on believabilty (even in this genre of escapism) and the amazing ability of all character (Statham included) to endure taking the kind of punishment that would drop a Rhino, and still bouncing back like new. The only other moan would be the annoying habit it seems today, of multiple scenes and sequences that appear in the trailer, NOT being in the film! - if you check out the extended features on the DVD you'll see.
If you can place your tongue squarely in your cheek for a couple of hours though, you will LOVE this movie.

Girl Porn
Jason Statham, shirtless, greased up in a bus station kicking ass. Oh.my.god. This movie has a crappy plot & silly dialogue, but I own in because Mr. Statham is the hottest British guy ever. The action sequences are really good, and he does his own stunts. If Jason Statham & Vin Diesel made a movie together where they get in a fight & accidentally kiss, I would be in heaven.

hahaha soo bad
the first scene was good but it just went downhill from there, a very steep hill. bad acting, bad story line, bad everything

Worth One Viewing & Only One
I made the mistake of watching this more than once. In the theater, on a huge screen in a dark room, the action scenes are incredible and the story reasonable enough. On repeated viewings, numerous mistakes in continuity, logic and possibility become obvious. For our hero to have accomplished a few of his feats, he would have been blessed with either x-ray vision or clairvoyancy. The movie takes great pains to repeatedly tell and show the viewer what an "I" dotting "T" crossing exacting professional our hero is. That Mr. Self Control spends the vast majority of the movie behaving with the self control of a ten year old with ADD seems incongruous. Also, word to the unwise, never establish yourself in an extremely dangerous business and deliberately place yourself in the position of having to trust extremely untrustworthy strangers who might not have your best interests at heart. Rule number three should really be: I always get to know what's in the package because, when I'm out there driving, its my butt on the line, not yours and, after all, it might be a bomb. Luc Besson's fingerprints are all over this movie. Its another one of his damsel in distress vehicles. Both the 5th Element and The Professional are along the same lines and are much better movies. ... Read more

Reviews (216)

At least a comedy that is not only to laugh
The fifth star of this movie is awarded to the DVD itself. It's really enjoyable not only the making off, but the cut scenes and the off-commentaries of the directors. It is interesting to see the real job of editing and making off this excellent film.

I like it very much the way Hugh Grant (Will) and the boy Nicholas Hoult (Marcus) tell the story as it goes for both of them. It seems that complicity of both characters is totally represented by both actors. I have seen Hugh Grant in a huge number of romantic comedies and I didn't expect much of him but THIS IS DIFFERENT. As he says in the extra material he represents 100% a British, rich, handsome, useless bachelor. He is even more irresistible for children than for women.

Some acting parts are beautifully absurd: when Will plays guitar helping Marcus to sing "Killing Me Softly", when he goes to the SPAT to meet all divorced women into therapy, when Marcus tries to conquer the older girl by singing his brand-new rap CD...

And taking in mind the work of the directors, I think now I am even able to go and watch "American Pie".

Great Light Entertainment!
This is a really entertaining if slightly lightweight film. Good story line, wonderful characters, witty dialogue and excellent acting throughout. In fact all the main characters give wonderful performances-none more then Hugh Grant who was an actor I really didn't care much for until recently. He is superb as the spoilt likeable rogue who is the centrepiece of the movie. He's inherited mountains of money from his father who happened to have a fluke Christmas hit in the 50's. The substantial royalty acts as both a blessing and a curse as this journey of discovery takes him from being someone who has brief romances, never has to work, has all the latest gadgets and fashion accessories and of course lives a complete live of leisure. Yet he soon comes to realise that his life is pretty shallow-there's nothing interesting about him, he may as well be a handsome cardboard caracuture. He discovers that single mothers are a great source of romance and it is here he eventually discovers the other lead-the boy Marcus. This boy lives with his closetted, veggie, depressed hippy Mom played by the amazing Toni Colette. Grant pretends to have a son but Marcus discovers his secret and sort of inflicts himself on Grant. You see both characters need each other but obviously in very different ways.
This is a great piece of light entertainment-some of the scenes are hilarious and the dialogue is generally sharp, witty and yet cringe-inducing at the same time. Like another film based on Nick Hornby's writing High Fidelity-some of About A Boy's funniest moments come through the characters expressing their thoughts in a monologue. This film kept me entertained throughout-and even the duller moments you still have the stupendous soundtrack composed by Badly Drawn Boy to enjoy.

A contemporary classic...
First and foremost, I want to state that Hugh Grant, as an actor and screen presence, deserves to be respected more. Some of the abuse this guy has endured, at the hands of the media and general public has been unwarranted and cumulative to the point where one of this generations most unappreciated talents is considering retirement at an early age.

The root of Grant's success and criticism is his championing of the romantic comedy. Once a well respected genre (think It Happened One Night - which swept all major Oscar awards in 1934) the "romcom" is only now reemerging as a force to be reckoned with, due in part by the success of When Harry Met Sally('84), Pretty Woman('90), Sleepless in Seattle('93), Groundhog Day('93), but more in part to the work of Hugh Grant.

The man has almost single-handedly restored the genre to its rightful place as audiences are beginning to appreciate the depth, quality and cathartic power that movies like About a Boy are capable of achieving. But his success has come at a price. Grant is in a unique predicament, not unlike most pop star idols, of being lionized by romcom audiences (largely female) and lambasted by the media and the average Joe six-pack for being too feminine and foppish and (pick your own). When I hear someone make an easy joke about Grant, I have made them myself, it is usually a cheap shot - he is an easy target- but more often than not, everyone who makes them sees a side of themselves in his charming smile and self-depracating humour that we all want to be a part of-this is the appeal of Hugh Grant and the romcom in genral.

So now we have Mr. Grant deliberately seeking out roles with more weight and "steel". Not only is this a step in the right direction for the continued health and success of Grant, but also the logical evolution of the romantic comedy with the drama. This shift is represented by Grant's character Will in About, who at first glance is a carefree, hip thirty-something bachelor with no real worries but finding a nice lay. In reality, however, Hugh, I mean, Will, is vulnerable and afraid and fast approaching a crisis. We watch as he must break his cocoon of complacency or break down and die under its weight. The risks are really quite high: a life is at stake. And we watch this man break his shackles and gain a life of happiness, social connection and ultimately, love.

The story is a timeless one of personal transformation and freedom from mental barriers that we as vulnerable creatures erect to cope with the pressures and anxieties of modern living. About a Boy remembers that at the heart of every good story is a character flawed in some capacity that must engage in battle with his own personal demons before balance and harmony are attained. Through Will's transformation, we as witnesses to his story must embrace his struggle as our own - this is the power of movies - thereby challenging ourselves to grow and improve.

About a Boy is a landmark in cinematic history and is in my personal top-20 list of all-time movie classics. Thank you Mr. Grant (and team) for your excellent work, and continued success.

An Original Feel-Good Movie
I love this movie because it is a sweet story about a jerk (Will) who ends up helping people, with a great girl, and a new look on life, yet it is not sappy or cheesy. Amazing. It's cute, funny, and original. I haven't read the book, but even without reading it, this is a great movie with a wonderful cast and a story that's fun for anyone to enjoy.

movie
I never really liked a hugh grant film until this one. Its very funny and touching about how a boy changed a man's life. The film feels very long but each scene is meant to be there and its worth watching more than once. ... Read more

Reviews (152)

Ignorance is bliss
...Anyone who has done the least bit of research will know that David Lynch has final cut of everything he does. He chose to cut the movie down from its original inception. Please know that this is a fantastic movie, and the DVD IS Lynch-approved. As for the commentary and deleted scenes, Lynch has stated many times that he will NEVER do commentary, and does not agree whole-heartedly with including deleted scenes. He also refuses to use chapter stops (this is good). If you need someone to hold your hand while you watch this movie, and explain how to think for yourself, then I propose you find a different film to watch.

Goodbye Cherry Pie
Remember Laura Palmer? She's the one who was into sex, drugs and..., ended up killed by..., wrapped in plastic, and then it all began. Well here is the oft-times lurid, unsettling and sometimes plain scary film about Laura. This is not the eccentric drama/comedy we know as "Twin Peaks:TV series, and it's not for the fair weather Peaks fans. David Lynch lets us know that this is the flip side right at the opening credits when the violent destruction of a television is followed by a bloodcurdling scream. No wonder they hated it! I love it, and thanks to NewLine who in conjunction with none other than the maestro himself have produced a gorgeous digital transfer of this essential work. Forget the deleted scenes fiasco..with this quality sound and picture, and a good price, this is a no brainer for true Twin Peaks fans. I docked a star because the only substantial extra, the "documentary" is quite a disappointment. If you have absorbed the series and permit the Lynchian universe to enfold you, "Fire Walk with Me" will reveal itself as a coherent,disturbing and beautiful adventure. Great performances by Sheryl Lee and Ray Wise, but the real star is the director who gave us something that we never expected, and it gets better at each viewing.Wow Bob Wow!!

The Reason this movie wasn't as good is becuz.....
In the David Lynch "motion pictures" collection, there are 8 films that have been made since 1978. "Eraserhead," "Elephant Man," "Dune," "Blue Velvet," "Wild at Heart," "Fire Walk With Me," "Lost Highway," and his latest, "Straight Story." The four best are Eraserhead, Fire Walk With Me, Blue Velvet and Lost Highway.

David Lynch's vision of "FIRE WALK WITH ME," is not bad because he wanted it to be. The original fire walk with me movie is romoured to be over 3 and a half hours long. There is PROMISED to be a FIRE WALK WITH ME DVD coming out soon. It should be out later this spring with all the cuts that werent originally in the TWIN PEAKS movie. Please.... dont be disappointed with the original though, it is a good movie. You should try this movie, I THINK, before you watch, rent or buy the TWIN PEAKS TV series.

thanks

garmonbozia, all right.
See, this movie is yet another intentional turkey in the David Lynch stinkography. When will you people believe me when I tell you the man simply likes to make bad movies?!? The picture comes off as a demented episode of Northern Exposure with the plot-wiring torn out and the character development up on blocks. Throw in the obligatory sinister midget and sundry unemployed freaks and... Weee're in business! Oh, wait... we need something for the characters to do... well, they can all just take turns going insane, can't they? Problem solved! David Lynch is a modern freak show operator. The freak show has never gone away. It has just been billed as something else.

Prequel sets the stage for series pilot
Shot after the series was cancelled because there was a demand overseas for more "Twin Peaks" material, "Fire Walk with Me" gives us a glimpse of what occurred just prior to Laura Palmer's murder in the pilot. While it spells out some things only hinted at in the pilot and is a bit more literal than the series, "Fire Walk with Me" also has the benefit of being a theatrical film and, as such, we get to dig deeper into the underbelly of the town.

The first thirty minutes of the film are devoted to a murder similar to Palmer's that occurs in another town. A pair of FBI agents are sent in to investigate (Chris Issak and Keifer Sutherland). When they run into resistence from the local law enforcement, they're forced to flex their FBI muscles a bit. While investigating a clue in a trailer park, one of the agents vanishes. Agent Cooper (MacLachlan)is called in to find the missing agent.

Far more surreal than the series with a number of high profile cameos (David Bowie, Harry Dean Stanton), this is a bit more bizarre as well when compared to the series (and even the pilot). The DVD is chapter encoded (unlike the frustrating "Mulholland Drive"), has an original documentary that's shot in a style like Lynch might have used with the original cast (save Piper Laurie, Michael Ontkean, Jack Nance and a couple of other cast members)about the impact of the show.

It's an excellent companion piece of the pilot (available as of now only as a region 0 DVD from Taiwan)and the series (available as a boxed set for the first season only with, reportedly, the second season coming next year some time). Picture quality is exceptionally good with the sound particularly outstanding in its use of 5.1.

A solid cast with a good script that meanders a bit, "Twin Peaks: Fire Walk with Me" plays better than parts of the first season but isn't quite as strong as both the pilot and first 8 episodes of the series. It's still worthwhile for fans of the show. ... Read more

Reviews (20)

Good little German Movie
THE BRIDGE is a fine B&W WWII movie that is set in a village deep in Western Germany. All of the action occurs the last week of April, 1945.
This Movie is unique because of the time, location, and entirely German perspective of this tiny War story.
The eight kids who are assigned to guard, then defend, the bridge are 16 year olds. The climatic battle with the American Armored patrol is very well done (for the most part). What is interesting is that, because this is a German made film, the American soldiers and Sherman Tank gunners are all very bad shots (except for an American sniper with a scoped rifle). Where as in SAVING PRIVATE RYAN (an American made film), the German Wafen SS troops and Tiger Tank gunners who attack the bridge at Ramelle are also very bad shots!
Still the action is riveting for a low budget, foreign film. Unfortunately, the viewer has to wait an hour for the final battle, because most of the picture is character development, and it consists largely of teenagers yelling at their parents, which can be very obnoxious to listen in German dialouge.

A very good German war film
One of the few post-war (1959) German films to depict actual combat against the Americans, "Die Bruecke" (The Bridge) was shot on location in Bavaria in black-and-white with a low budget and mostly local actors. Still, it tells its story well and avoids the blah-blah, angst-ridden, self-psychoanalysis that plagues much German cinema. Set in the last days of World War Two, the film tells the story of a group of teenage schoolmates drafted into the home guard and assigned to defend the bridge into their village against the approaching Americans. Their leaders are middle-aged WW1 veterans (who recall their own combat experiences with bitterness) and die-hard Nazi fanatics (who can't admit the war is already lost). In simple, realistic scenes the director portrays the futility, confusion, terror and waste of all war, and the hopeless anarchy that existed in 1945 Germany. A well-wrought little gem. Too bad it hasn't found a larger American audience. Compares favorably with "A Walk in the Sun," which is at least available on VHS.

Not my favorite
... The one thing that truly upset me was the seemingly obvious attempt to make the Americans look as stupid as possible. The uniforms and equipment they were clad in were truly insulting. There were enough Americans in Germany at the time the movie was made that authentic gear would have been as close as a call to any American base. I realize this was a German film and was not intended to make the Americans look good, but come on. If the intent was to make the Americans look foolish--it worked. An effort to show the boys fighting a well equipped American force would certainly would have honored the boys efforts more effectively than showing them fighting the bunch of oafs portrayed. Save your money.

Excellent Perspective
I won't give a whole summary of the movie, but this movie is amazing.... you can see a completely different side of what we as Americans are used to. It shows sympathetic Amercian soldiers and the way a war and your pride can bring so much courage to a battle not meant for people this young. I don't think it really has anything else to say but PROPAGANDA, they wanted to fight becuase of what they saw and thier innocence is what held them together. Excellent film.

Little to add except...
Others here have already detailed what a fine (anti)war film Die Bruecke is and why. I can only echo those sentiments: this is a gripping film that really makes you think about militarism and war and their costs. I did find one unfortunate problem with this particular release of the film: the subtitles are at times wrong, but more often they cut and simplify the dialogue and seemingly make little attempt to recreate its nuances. On the bright side, this film isn't heavily rooted in dialogue: the plot and images speak louder than words and get the messages across as clear as day. Still, it would be nice to see this film re-released with better subtitling. ... Read more

Description

Jean Renoir's 1939 classic is widely regarded as one of the greatest films ever made, and Criterion is very proud to present the film in a special two-disc edition. Cloaked in a comedy of manners, this scathing critique of corrupt French society is about a weekend hunting party at which amorous escapades abound among the aristocratic guests-which are also mirrored by the activities of the servants downstairs. The refusal of one of the guests to play by society's rules sets off a chain of events that ends in tragedy. ... Read more

Reviews (36)

The Game Rules
"The Rules of the Game" directed by Jean Renoir is now ranked #1 on many film critic lists. Renior built a comedy of manners around old stories. When this film was viewed in Paris in 1939 there was a near riot. The critics hated it for political reasons, but also because characters were walking about the Chateau at amazing speed and angles. If you don't understand the history of the beginnings of WW2, then all will be lost on your Philistine soul. Somehow in an upstairs-downstairs comedy, Renior has described the failed French society. I'll describe the plot concept using English names. Randy, the aviator loves the rich lady, Christine. She's not French; she's Viennese (the only outsider). He's a romantic fool, she's an innocent compared to the Parisian women like Clair, the sophisticated lover of Christine's husband, the Count. Renior plays Alph, a court jester character and friend of Christine from the old days. He's a failed musician. He's also Randy's best friend. The French Count is played by a Jewish actor (which was a scandal in itself considering the anti-Semitism in Europe) So they all leave Paris and go to the country estate of the Count where we meet the servants of the Chateau. Christine's maid, Crystal is playing around with Alph and the newly hired rabbit poacher Jimmy. The gamekeeper, the cuckold Paul chases the amorous Jimmy around the Chateau with a gun for the next forty minutes. All the lovers and friends switch partners amidst declarations of love, slaughter of animals, and fist fights. In the end, noone is in love with anyone and all of society is concerned with the game, which is where he or she were in the first place. Truth is not a concern and the masterpiece is complete.

The DVD of the Year.
On its surface, "The Rules of the Game" is a light farce involving the couplings - and decouplings - of an assortment of weekend guests staying at the chateau of the Comte de la Cheyniest (Marcel Dalio). Without knowing any other context, the film can be enjoyed on this level: Renoir's writing (he co-scripted) is witty and his direction is elegant and sublime. His fluid long-shots make you feel like you're gliding along in this rarified - though topsy-turvy - world; and his open approach to the actors is suffused with generosity. He never allows us to focus on one particular person, or couple, because, in this social world, "everyone has their reasons" and everyone's actions bounce and intertwine with everyone else's.

As a homage and updating of a classic French farce, "Rules" is flawless; it is, however, as a commentary on the decline of a social order that makes this more than a cinematic souffle. Shot in 1939, "between Munich and the War" as Renoir says, the film is portrait of the European aristocracy where ethical codes (conjugal fidelity above all) are not only violated, but are even dismissed as irrelevant. Human relationships collapse and reform with sudden ease (witness the gameskeeper and the poacher) and those who cling to outmoded notions of love and faithfulness set themselves up for disaster (such as the aviator). This is the domestic complement to Renoir's war drama, "La Grande Illusion", where the mournful French and German artistocratic officers, having more in common amongst themselves than with the common soldiers of their respective nationalities, lament that mechanized warfare has rendered their class irrelevant.

Both "Illusion" and "Rules" may seem irrelevant themselves in the US, which did not have a traditional feudal aristocracy. Yet both films fascinate by showing individuals attempting to survive, and thrive, in worlds where the old, comfortable standards no longer apply. If the aristocrats in "Rules" openly, and rather disinterestedly, conduct affairs with each others' spouses, why shouldn't a humble poacher poach a gameskeeper's wife too? If "everyone has their reasons", the famous quote from the film, then, who's to decide which "reasons" are justified or unjust, legitimate or scandalous?

The Criterion double-disc sets its own standards. The extras are plentiful and fascinating, including interviews from the few remaining cast and crew members, the essay booklet intelligent and penetrating, and the transfer quality of the film is superb considering the film's history (having been cut at its premiere, banned, its original negative destroyed in WWII, and finally reassembled in the late 1950's). This disc was clearly a labor of love and the effort shows throughout: this disc is worth Criterion's asking price.

One of the greatest movie ever. Hardly.
Let's see. We have an aldulterer, a cheat, a liar, a slut & a guy with anger management issues. They all exist in this ultra chic, super rich sub-culture. If such a time (the 30's) & place ever existed it is easy to see why the French lost to the Germans, one year after this movie was actually made.
It is of course a satire & a pretty good one at that. The host, of a weekend hunting party has a mistress. He is afraid his wife is going have an affair with the another guest a hero flyer a la Charles Lindberg. But she has other admirers as well. My favorite character is the slut, the maid whose new husband take exception to her behavior. The whole mess is overseen by Jean Renoir, the director, who is also a major player in the movie itself. Eventually there is a murder. I won't tell who is murdered or who the murderer is here. On the dvd there is an alternate ending. A shorter version of the last scenes came out in 1959. This imparts a totally different context from the original which was banned in 1939. It is well done & gives different meanings to the motives of all involved. The major drawback is it is in French with English subtitles. But you'd want to pay strict attention to this one in any case.

The Rules of the Game - Criterion Collection
When affluent Marquis Robert de la Chesnaye (Marcel Dalio) hosts a party at his sprawling property, emotions run high. Guests include Robert's mistress Genevieve (Mila Parely) and pilot Andre Jurieu (Roland Toutain), who fancies Robert's wife, Christine (Nora Gregor). Meanwhile, Schumacher (Gaston Modot) is trying to keep Marceau (Julien Carette) from hitting on his wife (Paulette Dubost). All the while, the servants watch with great interest.

I again can not think of a title
Corruption of the French aristocracy and their "Rules of the game" that they abide by in order to remain where they are, it revolves around a central plot of this pilot who flies to France for the woman he loved but she is marries and the husband is trying to end the affair and they are all with a bunch of members of the aristocracy, it is truly a great film. Criterion collection is growing to my liking quite a lot, the picture and sound are great for a movie made in 1939. Good movie, watch it you fiend. ... Read more

Reviews (17)

The artistic dance of death
What a find! This is the kind of samurai movie that I've been searching for! This film is a samurai bloodfest along with bits of black comedy and some beautifully poetic scenery. The story of a self-proclaimed "evil" man and child. Even though it is obvious the "Lone Wolf" loves his "cub" even over his thoughts of revenge. The "Wolfs" fighting abilities are absolutely jaw-dropping, and will have you reaching for your slow-motion control button. Yeah, the bood fountains are a little over the top, but I believe it conveys the actual horror of being sliced and/or diced up with any assortment of weapons. I really can appreciate Ogamis (Wolfs) superb swordsmanship and especially like the little flourish he does with his katana before he sheathes it. Samurai buffs: this series is the answer to your dreams.

Best of The Samurai Flicks
Based on a classice Japanese comic of over 7000 pages, Lone Wolf and Cub is an essential Samurai film series. In America it achieves at best a matinee status. The International Channel once aired the entire series- A huge Japanese franchise of nine films- in the format seen here to lackluster success. The story is simple: The shogun's private executioner, Itto Ogami, enjoys a post envied by all of his retainers. One night the assassin clan destroys all of the Ogami clan save Itto and his infant son, Daigoro. The father and son both swear revenge, following the assassin's road to hell. What happens after is a long list of assassin's campaigns highlighting the background of this period of Japan's history, known as the Meiji era, right before the fall of the feudal system. The films are simplified, but contain all the striking elements of the comic. The action is straight from the best exploitation films of this era; bloody and to the point. For those who have only sampled modern films like Kill Bill, this will really satisfy the jones for blood and lightning fast samurai action. THis DVD is a must own!

freaky fountains of blood!
If you only buy one Samurai-action slash-fest blood-gushing film this year, this is the one to get. My favorite in the Lone Wolf series- I first saw it years ago in S.F. on poor quality VHS- It's wonderful to see it released on DVD! It has the prerequisite quick editing, tension, action, and wanton severing of limbs, i.e. the fantastic opening battle with the wicker-masked assassins. I especially like the 1970's style photography and psychedelic effects- i.e. when the female ninja team is trying to freak out our hero with their swirling colored fabric. See where Tarantino got his ideas from!

Dan's review
Baby cart at the river styx is the second installment of the baby cart series,and is landmark film making at it's best.The realistic ballets of violence set the tone for an almost artistic angle for the film.Lone wolf proceeds to roam around with his son(Diagoro)in a baby cart,while slashing his way through enemies that attack him,and also collecting payments for requested killings.He comes up against three body gaurds that happen to be brothers,'The god's of death',and follows them into the desert for the last sho