Amazon.com

At the heart of the first years of Joss Whedon's Buffy the Vampire Slayer was the romance between Buffy (Sarah Michelle Gellar), slayer of all things evil, and hunky Angel (David Boreanaz), the tortured vampire destined to walk the earth with a soul. The second season of Buffy took the Buffy-Angel pas de deux from ecstasy to agony in a now-classic plot arc that catapulted the show from WB teen drama to true TV greatness. You see, if the cursed Angel ever experiences true happiness for a moment, he'll revert to being an evil vampire again. And guess what happens after Buffy and Angel finally declare their love for one another and consummate their relationship...

Buffy found its true momentum during the second season, as geeky Xander (Nicholas Brendon) fell in love with popular girl Cordelia (Charisma Carpenter), Willow (Alyson Hannigan) gave up her crush on Xander in favor of werewolf boy Oz (Seth Green), and watcher Giles (Anthony Stewart Head) began a sweetly tentative relationship with computer teacher (and witch) Jenny Calendar (Robia LaMorte). Mayhem came to Sunnydale, though, in the form of evil vampires Drusilla (Juliet Landau) and Spike (drolly wicked James Marsters), who were more than ready to aid and abet Angel as he turned bad. It all sounds like horror-action mayhem (and there are great fight scenes), but Buffy took on its plotlines with amazing depth, intelligence, and humor. And oh, man, the love story! Buffy and Angel's tragic relationship is one of the most heartbreaking you'll ever find. Buffy's final dilemma finds her having to save the world at Angel's expense, and Gellar (who deserves a passel of Emmys for her work) is phenomenal at telegraphing Buffy's swirling conflicts between love and duty. This is some of the best TV ever made, period. --Mark Englehart ... Read more

Reviews (362)

Incredible (spoilers below)
The second season continued one what was successfully started in the first season. The second season is a lot more ambitious (remember, the first season only had twelve episodes, unlike the rest which had 22).

The story arcs in the second season are brilliant. The romance between Angel and Buffy reached gothic heights with Surprise/Innocence (Surprise is astonishing). When Angel turns bad, David Boreanaz manages to do a sensational job of acting the transition (the episodes "Passion" and "I Only Have Eyes For You" are incredible in detailing this, and Buffy's reaction). Willow's romance with Oz is wonderful, and Giles attachment to Jenny Calendar a welcome addition.

This show still manages to be surprisingly funny (as seen in Halloween, and Bewitched Bothered and Bewildered) and packs a wallop (the two part season ender, Becoming I & II, are essential viewing for any Buffy fans. They are incredibly moving). Yes, there are some clunkers (Killed by Death, Bad Eggs), but they are more than redeemed.

My favourites are: Becoming I & II, Surprise/Innocence, I Only Have Eyes for You, Passion, School Hard, When She Was Bad, and Lie To Me

For a show set in high school, the writers have neatly side-stepped making a caricature of Anthony Stewart Head's librarian/Watcher Giles. His befuddled sexiness is immensely appealing. Alyson Hannigan's performance as wallflower Willow blooming into a witch (her growing powers are smartly charted by writers all the way through season six) is strong, and having the animosity between Xander and Cordelia boil over into lust was a masterstroke. Finally, we have to give the star her due. Sarah Michelle Gellar proved with this season that she's actually a capable actress, both with comic timing (Halloween) and pathos (Surprise/Innocence).

The second season was an immense improvement over the first season (a solid debut) and the quality continues. In my mind, the second and third season need to be bought together (or at least both bought). Story arcs introduced in the second season are wrapped up in the third season. Buy this set, you won't be disappointed.

Not the best season, but really well done!
A great season, episode breakdown:

When She Was Bad: 8.5/10 Great episode involving Buffy's nightmares about the master.

Some Assembly Required: 9.5/10 Two students try to assemble an ideal woman, using different body parts of girls they know, the head is Cordelia.

School Hard: 10/10 The best one to date, watchout, the number one vampire is in town, Spike! He's so cool in this season.

Inca Mummy Girl: 8.5/10 Good episode, where an old Inca princess is woken.

Reptile Boy: 9/10 Buffy and Cordelia attend a frat party and are being offered by reptile-like creature as human sacrifices. It's a good one!

Halloween: 9.5/10 Buffy gets turned into a 18th century woman, 1775 to be exact, Xander turns into a soldier, Willow is a ghost and the only one that remembers who they really are, who bought her costume from Ethan. Cordelia got somewhere else, so she's fine, as well as Angel and Giles. Funny episode!!

Lie To Me: 9/10 Vampire wannabes offer Spike the Slayer, but turns into a disaster! Buffy rules!!

The Dark Age: 9.5/10 An old demon that Giles and Ethan created, comes after the watchers and eliminates 3 of them. Giles and Ethan are next! Scary!

What's My Line Part 1: 8/10 Cordelia and Xander kiss for the 1st time. Buffy is being chased by 3 bounty hunters that Spike hired! Great episode!!

What's My Line Part 2: 9.5/10 In comes Kendra, the next Slayer! Great episode, which puts Angel in danger, haha!!

Ted: 9/10 John Ritter guest stars as a mysterious person that only Buffy hates. Everyone else is suckered into his personality(mostly Xander and Joyce). Great episode!

Bad Eggs: 9.5/10 Starts out as a health class egg experiment. Something in the eggs pops out and takes control of their bodies, to bring out an ancient beast! And guess who pops in here, our favourite Jonathan(Danny Strong)! Everyone but Buffy and Xander is controlled by this bug! Oh yah, Angel, but he's no help here!

Surprise: 10/10 Angel, you're going to lose your soul, when Buffy and Angel have sex, Angel experiences his one true moment of happiness, which therefore, loses his soul!

Innocence: 10/10 Without Angel's soul, he becomes all nuts and heads out for Spike and Cordelia. The Judge is awoken and Buffy must battle both The Judge and Angel! Getting better here!

Phases: 9.5/10 It's revealed, the werewolf who we all know is Ozz is hunted here and found, by Buffy, Willow and Giles, and a hunter. A few spoilers here, on Passion, and Becoming(1&2)

Bewitched, Bothered And Bewildered: 10/10 Great episode. Cordelia breaks up with Xander and then he gets Amy to cast a spell which makes every girl and woman in town love him, except the one he wants, Cordelia! Funny

Passion: 10/10 Jenny Calender finds a spell to restore Angel's soul, but gets killed in the process.

Killed By death: 9/10 This one's scary as a crazy demon starts killing off children and the only way you can see it, is if you have a fever.

I Only Have Eyes For You: 9/10 The ghosts of a former student and a teacher take passion to a different level. Death! Angel regains his soul for about 2 minutes during the process!

Go Fish: 8.5/10 Xander joins the swimming team, a team full of monsters!

Becoming Part 1: 10/10 Part one where Angel aims to destroy the world! Kendra comes back, and get caught in a trap. Drusila joins and kills her, which brings up Faith!

Becoming Part 2: 10/10 Spike joins Buffy to defeat Angel in his brutal plan. Spike escapes with Drusila and Buffy is too late! Angel opens up the demon, Willow is in the hospital casts the spell to restore Angel's soul. It works, but the demon has already been released. The only way for it to go back, is to kill Angel!

Special Features: 5/10 The 1st season had much more of them!

Great season, buy it!

Truly magnificent
Season one of Buffy was amazing on its own. We were introduced to Buffy, Willow, Xander, Giles, and Cordelia. It was a great season that ended with an awesome season finale. Now Buffy's back in Sunnydale after spending the summer with her father in LA. Still suffering from the trauma of drowning & facing the master, Buffy returns...different. It's "When She Was Bad" & she didn't know how to deal. After a while of settling back into her slayer duties, Buffy is finally back to her old self. Season two is packed with halarious, sad, and action filled episodes that took the show to a whole other level. Buffy and Angel sleep together for the first time which causes Angel to lose his soul & become Angelus again ("Surprise", "Innocence"), we get to meet Oz & discover that he is a werewolf ("Halloween", "Phases"), and tons more. Each episode in season two is a gem, a classic. Season two also features the simply heartbreaking two part season finale "Becoming". Buffy faces off with Angel, and right before she's going to send him to hell to stop the world from ending, Angel regains his soul. Thus, as Buffy states in season three, she kissed him, he held her, and then she killed him. Buffy loses everything & leaves Sunnydale. There are so many amazing moments in season two, and this boxset is just perfect. Not only do you get all 22 episode, there's tons of special features like commentaries (very informative), fun featurette, episode interviews with creator Joss Whedon (the genius), and a photo gallery. Make sure you add this to your Buffy collection!

The World of the Scooby-Gang
Buffy's second season is an exceptional one! If you love the Buffy/Angel relationship then this is the season for you. We've seen over the past yaer the connection between Buffy and Angel strenghten, but never like this. Buffy comes back to Sunnydale, from a much needed vacation, with a much NOT needed attitude problem. Who can blame her, though? After facing the Master and having an untimely death Buffy has the right to be a little pissy. This attitude plays off of the doomed relationship of our blonde heroine and her handsome vampire love. However they continue on their path of endearing, finally climaxing in the act of a night of sex. After that we learn that the one moment that Angel needed to have his soul taken away was found when he and Buffy proclaimed their undieing love for one another. Perhaps though, love isn't enough. Without a soul, Angel becomes an cold-hearted killer, out to exact revenge on the thing that mae him feel most human, Buffy. We see an entirly different side of Angel and are just as shocked as the characters. This season is a real tear-jerker, especially the end, when Buffy is forced to send her lover to Hell, even though his lovable personality has been magically restored. If it's Angel you want, it's Angel you get, but beware...love alone isn't enough in this doomed relationship...But who cares?!

It's overrated - but still a great season
After the first season of Buffy the Vampire Slayer, fans knew that the show could only get better, and season two definately brought the show to a whole new level. Season two had so many things working for it, from the introduction of my favorite character Spike and Buffy's relationship with Angel heating up, to the introduction of Angel's darkside Angelus who turned out to be one of the show's greatest villans. Now season two is very good and I definately enjoyed it. However, I also feel that the season is overrated because many fans of the show think that season two is the show's best season, when seasons three, five, and six were much better overall. I mean, let's be honest here. There were some really bad episodes in this season like - "Some Assembly Required", "Ted", "Reptile Boy", "Inca Mummy Girl", "Bad Eggs", and "Go Fish". In order for a season to be worthy of a five star rating, it needs to be great from start to finish, with a minimum number of bad episodes.

The second season of Buffy the Vampire Slayer does feature some wonderful episodes however that manage to make up for season two's shortcomings. "School Hard" is one of my all time favorite episodes because it introduced my favorite character Spike. The bad ass leather clad vampire proved to be so popular, that the writers ended up keeping him around for the rest of the show. The classic episode "Halloween" has everyone turn into whatever they dressed up as for Halloween. "Bewitched, Bothered And Bewildered" is another one of my all time favorites and is definately a candidate for funniest episode ever. When Cordelia dumps Xander on Valentine's Day, he seeks help in a witch at Suunydale High named Amy to cast a spell on Cordelia to make her fall in love with him. Unfortunately, Xander ends up becoming the object of every woman's affection in Sunnydale. The two best Buffy/Angel episodes of the entire show are "Suprise" and "Innocence" in which their relationship ascends to a new level, and we are introduced to Angel's darkside Angelus who turns out to be one of the best villans ever. Season two comes to an amazing conclusion in "Becoming" parts 1&2. Other episodes worth mentioning are "What's My Line" parts 1&2, "Passion", "Phases", and "I Only Have Eyes of You".

Even though season two is not quite as good as a lot of people claim, it is still a highly enjoyable and definately worth owning. What really makes the season two DVD set special is the bonus features. The set has many featurettes and interviews, as well as commentary on several episodes.

A solid 4 stars... ... Read more

Amazon.com

Writer/director Pedro Almodóvar's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic Ángel (Gael García Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice actor, Ángel pitches a semi-autobiographical screenplay in which he's determined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almodóvar the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. --Steve Wiecking ... Read more

Reviews (37)

'¡Eh!' '¡Despierta!'
This film is incredible. I'm relatively fluent in Spanish and had to make do without subtitles which always tend to detract from the full experience of a film. It took me a couple a viewings to fully understand everything that was said but when I finally twigged, the hairs on the back of my neck stood up.
We start off with Enrique, an up and coming movie producer. He's on the look out for a good story and one comes walking right through his door. Turns out his old school friend, Ignacio, who now wants to be known adamantly as Angel, has the perfect solution. He's written a screen play depicting certain points of their lives with added fiction, naturally, and hopes Enrique will consider producing it, with him staring as the principle character Zahra, a transvestite. Sound unusual? We haven't even scratched the surface. When Ignacio and Enrique were boys, they attended a strict catholic boarding school. The two of them were in love, much to the distress of El Padre Manolo, who wanted Ignacio all to himself. One poignant scene is during a field trip. We see the school boys frolicking happily in a lake while hearing a beautiful coir boy rendition of `Moon River'. All of a sudden the song is cut short with Ignacio running out from behind a bush with El Padre in pursuit. Ignacio falls, a rock cutting his forehead. As the blood slides down the centre of his face, we here him remark `I knew that ever since that moment, my life would for ever be divided in two'. After a little mis-hap in the boys bathroom after lights out, El padre Manolo expels Enrique and continues his advances on Ignacio, which is left to the viewers' imagination. The years go by, and they never meet again, until now, back to the present day. Enrique is delighted to have been reunited with his lost love but Ignacio or `Angel' is behaving rather strangely. Not remembering their favourite song from their school days and indeed turning a rather horny Enrique down in a risqué pool sequence (¡calienta poyas!), something's definitely not right. Angel leaves in a huff and forgets his lighter which conveniently has his hometown address on the side. Enrique journeys to Valencia only to find that *his* Ignacio died 4 years ago and his brother Juan, Stage name Angel, took it quite hard. Part devastated part intrigued, Enrique decides to play along, giving Angel the part and taking him as a lover, all in the desire to find out what makes Juan tick, he's an impenetrable mystery. The story, aptly named `La Visita' has its ending rewritten and as the final dramatic shoot comes to an end Enrique is still at a loss, that is, until he receives a visit of his own!
I'll leave the rest to you; this movie has many intricate threads woven in. A story within a story as they say. The actors are spectacular and Gael García Bernal manages to come off as childish, sensual, innocent, conniving and in the end quite chilling, he also makes a stunning drag queen. I recommend this move to anyone that likes a good mystery. I'm on the hunt for the soundtrack. ¡Cómpralo ya!

Intense & Provocative but not how you'd think
This exceptional film is entirely unique in its intensity and depth, but not how I expected. The priestly molestation is rather matter-of-fact, and not dramatized to the extreme as so many movies have done of late. The sex & nudity is very carefully placed, not at all gratuitous (unfortunately-more would have been welcomed albeit unnecessary for the story). In fact I can not tell why this version is NC-17, have Americans really become That Victorian?
Much has been written about the story, what I didn't know prior to viewing was the intensity of plot twists and turns. I won't spoil any secrets here, but suffice it to say that it isn't even the secrets that are so intense, it is the masterful way in which things are revealed. This is really a film about sex as power, and all of the power plays which don't make anyone happy.
Almodovar's direction and cinematography are stunning, erotic, and intensley emotional. He tells so much of the story visually without dialogue. What a treat.
The film ends on a realistic note. There are no firey car crashes, no earth-shattering explosions, no full-frontal nudity, none of the usual supects, but this film sneaks up on you, shakes you to your being, and as you are drawn in by the sensuality and drama, the film demonstrates that life isn't fair, kind, or even very pretty sometimes.

all stars
After watching many of Almodovar's films in a Spanish cinema class at UNC-Chapel Hill, I must say this one is the most accessible so far.Gael Garcia Bernal does one of the best acting jobs I've ever seen in a film- ever.If you can stomach the subject matter it's worth watching.

Almodovar's attention to detail is amazing, just watch Sr. Serrano cut stories out of the newspaper and you'll see what I mean... Amazing.And Almodovar messes with your mind by the way he does the casting.. don't want to spoil it for anyone, just see for yourself.

Almodóvar Illustrates the Aftermath of Bad Education...
To see is to believe, some say, yet what one sees in Bad Education should not be trusted, as everything has a sinister characteristic.All of the characters are ominously sleazy, even the protagonist of the film offers an element of darkness around him, which seems to stem from a criminal background.This dark theme suggests that the story offers a film noir experience.However, even the concept of film noir does not give this film justice, as it goes beyond the known borders of this genre while venturing into a new territory.Pedro Almodóvar creates a refreshing cinematic experience that takes sudden turns when least expected while traveling into a dubious world.Many of Almodóvar's previous films offer laughter and contemplation, yet most of them deal with a dubious theme, as does Bad Education. His personal insignia with colorful photography still leaves traces throughout the film, even though it is slightly subdued.

Enrique Goded (Fele Martínez), who some might have seen in the bloodcurdling Thesis (1996), or in the mesmerizing Open Your Eyes (1997), is on the rise in the Spanish world of cinema as he has recently made a successful film.Nonetheless, he is now struggling to come up with an equal or better idea for his next film when Ignacio Rodriguez (Gael García Bernal), from Amores perros (2000), Y tu mamá también (2001), and the recent Motorcycle Diaries (2004), appears from out of the blue.Together Enrique and Ignacio used to attend a private catholic school where sexual and physical abuse was predominantly common while the Spanish dictator Francisco Franco heavily tainted the school regulations.They were close friends, but they also discovered their first love in one another in the unforgiving school run by Catholic priests.Now years later they reunite, as Ignacio offers him a film script that he has written based on their time at the Catholic School.

At first, the film seems to focus on the Catholic School where Ignacio was a victim of severe sexual abuse, which is told through the screenplay.This is a clever curveball that Almodóvar throws at the audience, but it is necessary to understand what happens as the development of the story rests in the past of Ignacio and Enrique.However, this review will not elaborate on the notion of what happens next, as it would skew the initial experience with the film.Nonetheless, the script that Ignacio gives to Enrique portrays a world where Ignacio seeks a way to have an operation to reach what he desires the most - to be a woman.Cleverly, Almodóvar throws out the gender boundaries of film noir, as he exchanges his femme fatale for a man that seeks womanhood through modern technology.This displays Almodóvar's ingenious way of telling a captivating story, as it does not follow the conventional rules that often make films one of dozens.

As mentioned previously, the film does not concentrate on the Catholic Church, but instead the aftermath of Ignacio's education.Through several turns the film illustrates what happen to Ignacio.Much of this goes back to his years when the head priest sought him out for his own pleasure, which continues to trouble Ignacio well into adulthood.This seems to be the reason why Ignacio wrote the script in the first place, as he tried to exorcise his demons while trying to find an existence that fits with his upbringing and education.The story drifts between Enrique reading the script to the present time with occasional flashbacks that provide additional information in regards to the story.Initially, it might seem a little confusing, however, Almodóvar has been nice enough to add a couple of side bars whenever there is a flashback or a scene from the script that Enrique reads.Eventually, the audience will have gone through a very troubling, yet spellbinding tale that makes All About Eve (1950) seem like a Cinderella story.

Excellent acting from Bernal
García Bernal is not only doing one, but three roles in the same movie, and he plays them all convincingly. Seeing dressed in drag is quite an experience. However, the movie is darker than previous Almodovar works, because of the nature of the plot: church, sex and homosexuality. Those are touchy subjects, but Almodovar makes us watch by using a well played game of role reversals and twists. It's and enjoyable film, I recommend it. ... Read more

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From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's The Aviator celebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime (played by Leonardo DiCaprio in his)--and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era. Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes (including one of the most spectacular crashes ever filmed), Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's 20-year span (late 1920s to late '40s), he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion. Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, The Aviator is easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish. --Jeff Shannon

DVD Features
In his commentary track, director Martin Scorsese offers his own impressions of Howard Hughes and rattles off his memories of experiencing Hughes's films.He mentions how he made Cate Blanchett watch every Katharine Hepburn film from the '30s on the big screen, and observes that Kate Beckinsale had "a real sense of the stature of a Hollywood goddess."But in general he doesn't talk much about the craft of making the film.That area is covered better by editor Thelma Schoonmaker, who also appears on the commentary track, and producer Michael Mann makes a few appearances (all were recorded separately).The picture is brilliant, but the 5.1 sound is not as aggressive in the rear speakers and subwoofer as one might expect, other than some nice surround effects in the Hell's Angels flying sequence.

The second disc collects almost three hours of features.There's one unnecessary deleted scene, and an 11-minute making-of featurette that's basically the cast and director heaping praise on each other.More interesting are the short featurettes on visual effects (including the XF-11 scene, of course), production design, costumes, hair and makeup, and score, and Loudon Wainwright discusses his and his children's musical performances.Historical perspective is provided by spotlights on Hughes's role in aviation and his obsessive-compulsive disorder, and a 43-minute Hughes documentary from the History Channel (part of the Modern Marvels series, it focuses on his mechanical innovations and spends less than a minute on his movies).More unusual are DiCaprio and Scorsese's appearance on an OCD panel, and a half-hour interview segment DiCaprio did with Alan Alda.--David Horiuchi

The Personalities ofThe Aviator

Click the links to explore more movies by these stars.

Leonardo DiCaprio as Howard Hughes "Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind."

Cate Blanchett as Katharine Hepburn Howard Hughes: "You're the tallest woman I have ever met." Katharine Hepburn: "And all sharp elbows and knees. Beware."

	Kate Beckinsale as Ava Gardner Howard Hughes: "Does that look clean to you?" Ava Gardner: "Nothing's clean, Howard. But we do our best, right?"

Gwen Stefani as Jean Harlow Jean Harlow in Hell's Angels: "Would you be shocked if I put on something more comfortable?"

Jude Law as Errol Flynn Errol Flynn in Captain Blood: "Up the riggings, you monkeys! Break out those sails and watch them fill with the wind that's carrying us all to freedom!"

Director Martin Scorsese "You get a sense of Howard Hughes being Icarus with the wax wings. Those wings were great for a while, but he flies too close to the sun." --Martin Scorsese

Other Movies by The Aviator's Oscar® Winners

Production Designer Dante Ferretti
Film Editor Thelma Schoonmaker
Costume Designer Sandy Powell
Cinematographer Robert Richardson
See all the Oscar® winners atOscar Central

The Aviator at Amazon.com

The Aviator soundtrack

The Screenplay

Howard Hughes: The Real Aviator

Howard Hughes movies

Great movies of the 1930s

The films of Martin Scorsese

Reviews (148)

Hughes at His Peak But Epic Biopic Not Quite a Masterpiece
This is an audacious, surprisingly amusing piece of Hollywood filmmaking by a veteran craftsman of the first magnitude, yet for a number of reasons, not necessarily of Martin Scorsese's sole doing, the movie does not resonate as much as you wish it would. In staying true to the spirit of multimillionaire magnate Howard Hughes between the late 1920's and the late 40's, Scorsese and screenwriter John Logan are stuck with the facts as they happened, and consequently, the film feels episodic with a great, sometimes dazzling story in the first 2/3 of its epic 166-minute running time and a pedantic, only occasionally involving last hour.

You need to have some familiarity with Hughes' life to understand his halcyon years proving himself as a Hollywood tycoon worthy of respect, and his legendary excess during the three-year production of the now-forgotten "Hell's Angels" is captured perfectly here with truly thrilling aviation sequences. Scorsese then focuses on Hughes' romance with Katharine Hepburn and captures the oddball chemistry of burgeoning eccentrics amid the frenzied environment of studio-owned Hollywood, in particular, the Cocoanut Grove nightclub. These sequences remind me a lot of Scorsese's failed musical, "New York, New York", but this time he seems far more assured. Ava Gardner enters the picture in the forties, as Hughes builds luxury airplanes that can't fly and his obsessions and paranoia start to take over. There's a magnificently filmed sequence of Hughes crashing his XF-11 plane in the middle of Beverly Hills.

Once he recovers from this incident, the film starts to drag, as the story focuses on his power struggles of positioning Hughes' airline TWA against the European-route monopoly of Pan Am and the machinations of Pan Am CEO Juan Trippe and the corrupt Maine senator Owen Brewster who investigates Hughes' WWII government contracts. Even the legendary mini-flight of the Spruce Goose fails to excite this late in the story. Only Scorsese's famous "Taxi Driver"-like, mind-bending touch brings off the surrealism of the sequences where Hughes locks himself up in his room. The film ends rather anticlimactically with Hughes' successful 1947 appearance before Brewster's committee before he drowns in his obsessive compulsive disorder (OCD).

Leonardo DiCaprio's chief asset as an actor is his intensity of purpose, and as Hughes, he has plenty of opportunities to display this attribute with his character's obsessions with aviation, moviemaking, glamorous movie stars and ultimately germs. What he is missing is a level of gravitas that would have made his character's increasing eccentricities more bearable to watch. Even though the reed-thin Texas-tinged voice is accurate, there is something perpetually juvenile about DiCaprio's appearance regardless of the twenty-year span of the story. This unfortunately compromises the chemistry between him and the obviously more mature Cate Blanchett, who initially seems to be crossing the border into parody as Hepburn. She displays the familiar brusque manner without caution and even affecting the even more familiar voice but with an inaccurate throatiness that belies the legendary actress' high, fluttery pitch at the time. But she eventually finds her grounding, especially as she recognizes their too-similar personalities and softens during the Hepburn family gathering scene.

With less to do, the too-patrician Kate Beckinsale is in over her head as Ava Gardner, unable to convey the real actress' palpable sultriness or predatory voraciousness without posturing. On the other hand, Alec Baldwin is becoming a strong character actor with every new film, and he plays Trippe with disquieting authority. John C. Reilly plays assistant Noah Dietrich in his typically hangdog fashion as he subsists more in the shadows. Alan Alda plays Brewster with Hawkeye's familiar mannerisms unafraid to show the underlying sliminess of his character. All the externals are impressive - Thelma Schoonmaker's sharp editing (the pacing never drags...just the story), Robert Richardson's cinematography, Dante Ferretti's production design, Sandy Powell's costumes. Yet for all of this, the movie fall short as a masterwork in Scorsese's filmography.

The first disc has an excellent commentary track by Scorsese, Schoonover and producer Michael Mann - all full of insights without being pedantic. The number of extras on the second disc of the two-DVD set is staggering, really too much for anyone except for those deeply interested in Hughes. There is one deleted scene and twelve separate featurettes and documentaries covering everything from the production to Hughes' role in aviation to OCD to the music. Beyond the sheer number, my complaint about the set is that it's hard to maneuver around the decidedly viewer-unfriendly menus.

"Bring in the milk!"
Let me state a few facts about myself and, in doing so, set up a very sincere question about "The Aviator."

1) I'm a huge fan of Howard Hughes, an absolute buff on the guy.I've read two biographies of him and have to say he's one of the most interesting historical figures of the past century: His brilliance, his wealth, his flaws, his successes, his peculiarities and the periods in which he lived all combine to create a fascinating figure.

2) I'm a tremendous fan of Martin Scorsese.He's made some of my favorite movies and I think he's probably one of the top five greatest directors working today.There's just something about the way he photographs images and people that makes even his worst movies worthwhile.

3) I also think Leonardo DiCaprio is a really good actor, a fact that has been publicly obscurred (but not hampered) by the "Titanic" hype and by some poor choices (or lack of choices, in recent years).

4) And I think "The Aviator" was probably the best produced movie of 2004.The cast is excellent, the sets and costumes and designs are fabulous, the cinematography is exquisite.

So, THAT SAID, why didn't I like the movie more?It's an impressive achievement but I seem to appreciate the parts more than the whole.And as good as DiCaprio is, I think he may have been miscast.Only a star of his level could've gotten this kind of budget, but he simply doesn't look right in the part.It's not until after he grows a moustache that he really start to resemble Hughes.Most of the time, Hughes looked like a guy who was quietly trying very hard not to leap out of his skin but DiCaprio seems more intent on burrowing deeply *into* his body.
He just doesn't have the same kind of intrinsic uncomfortability.

Still, it's an impossible movie not to recommend.There are long stretches of space but every so often, there's a brilliant explosion.

The opulance and scope. Brought to you by Scorsese.
This film is entertaining, and much more effective than any one biography of Howard Hughes. The pace of the movie, coupled with the fantastic acting by Leonardo DiCaprio as the livid Howard Hughes, gives an aura of 3hrs much in the way of inspiration. For underachievers this is a shockingly, unbelievable film. You can feel the energy pulse out of the life of Howard. Sharing his passions for aviation. Revealing the breadth of his contributions to air america. The esprit de corp is flavorful, in symbolisms of the fastest jet planes and the hardest hitting reality at zero hour. A much more breaking of the usual norm of film. It is so wonderful to think that movies such as these aren't being overlooked by the latest craze. When will Scorsese win a *(**( academy award for best director!

IT WAS OKAY!
THE AVIATOR WAS OKAY I REALLY DIDN'T CARE TOO MUCH ABOUT IT IT WAS TOO LONG!

FROM KIRSTEN

Another Oscar-worthy epic from Martin Scorsese.
Director Martin Scorsese makes filmmaking look so easy sometimes.With "The Aviator" he once again breaks from the Gangland themes of his more famous films such as "Mean Streets" and "Goodfellas" and journeys off on yet another unexpected road (e.g. "The Age of Innocence," "Kundun," "The Last Temptation of Christ").Yes, he recently directed "Gangs of New York," but he followed that with yet another left turn by doing a biography on the intensely eccentric Howard Hughes, "The Aviator."Leonardo DiCaprio owns his role here of the off-center genius who has frequent and exponential mental breakdowns, leaving all around him wide-eyed and wondering why he keeps repeating himself as if a record in his brain is skipping.This is easily the best work he has done in years.There are two other actors here that match him.One is Cate Blanchett who nails her characature of the late, great Katherine Hepburn and her short-lived romance with Howard Hughes.Her performance is a breath of fresh air amid all the seriousness of the story.The other is a diabolical and utterly slimy turn from veteran actor Alan Alda.It doesn't hurt that he has some of the best lines in the script, but his scenes with Leonardo DiCaprio have some of the best ebb-and-flow, subtelty acting that I've seen in a very long time.The two pros are butting heads and enjoying every minute of it!There are many solid acting performances from a stellar cast of name actors, though it would have been nice to see the character of Ava Gardner, played competently here by Kate Beckinsale, in depth and her more substantial connection to Howard Hughes.But the movie was long enough, anyway.The visual effects and overall production value are excellent, and the scope of the picture is epic and professionally done.This is top-notch filmmaking in every respect, and is easy to recommend. ... Read more

Reviews (117)

Surprising! Amazing! Better then what I thought it would be.
I normally don't write reviews. Mainly because I don't watch enough movies and such to consider myself someone who has enough knowledge to be able to write them. This time it's different though. This time I had to put my one penny worth of information in.

I was walking around a video store, not to long ago, trying to decide what to get myself with my not so hard earned Christmas money. I saw this nice little box seat of DVD's entitled "Felicity." I looked over it and, to be honest, I wasn't very impressed. I started to sit it back on the shelf when the manager of the store came by and smiled. "Ah, Felicity..." he said to me. "My family and I have spent many hours watching that show. It's one of the best family show's I've ever seen. Highly recommended. Just be warned, the first season, the one your holding in your hand, is the best season. It all goes downhill from there on." Thanking the man I bought the DVD set just to satisfy my curiosity. I had known Keri from my younger Mickey Mouse Club Days and figured at the least I could see how she has matured as an actress over time. Besides, if I happened to not like it I could always sell it.

When I got home and popped that first DVD into my DVD player. That folks was all it took. I ended up watching dang near 4 hours worth of episodes (that's right around 4 of the 22) and my viewing habits of it didn't decrease either. Within a week I had finished viewing the series and I was uetterly amazed at how engrossed I had become in it.

To start with, the characters are VERY realistic and the situations that happen are EXTREMELY realistic. It's about college life, and perhaps one of the best shows that I've ever seen that has ever truly represented what college life can be like. Though it does contain a love story (quite a love triangle actually), the story unfolds step by step nicely and in a very even flow and you never feel like things are being rushed or are happening just to act as a filler. Every episode brings out more character and advances the major plot lines.

The viewing quality for the most part is excellent as is the sound. There was one episode, I believe, that was a little dark, but that didn't bother me in the least little bit

Overall, I give this two thumbs up and an easy five. Many great hours of family viewing with this one and many life lessons to learn from it as well.

All I can say is, I'm looking forward to season two should it ever arrive.

Is it worth it? We'll soon find out...
Where to begin... I started really watching Felicity during the 2nd season, and to be quite honest, the two things that had me crying of frustration and despair during the show were the Buffy-Ben-Noel triangle that never got sorted out, Felicity's phrase "hey", and Ben's favorite insult "di**". But other than this, you've got a fun cast, fun storylines, and diverse characters. For some, it'll be a chance to relive the first year, for others, like me, a chance to find out how it all began. Now, if onlt i could know when it's coming out...
Despite being cancelled by the WB, the show was good, and only suffered because of the way it was split unevenly over the year for its'last 2 seasons. Luckily for the fans, many good souvenirs remain (Javier, Meghan, Richard!).
So, as soon as Felicity starts coming out on DVD, those tapes I've got stashed a bit everywhere are gonna vanish to be replaced with a nice slim box set containing 6 discs, 22 eps and hopefully some nice extras!
A must for fans, and also if you want to get invested in the complex lives of these characters for 60 hours worth of airtime.

How I miss the series!
I love the series and relly do miss it... this dvd collection is a great look back and I have watched it several times!

The Amazing Felicity
Okay, so I never went away to college. I went locally and bunked with the parents. When this show came out in '98 my sister, who did go away to college, told me about it. I was skeptical, thinking that I could and would never enjoy a show that I couldn't possibly relate to or understand. I was wrong. I started watching around episode 7. I was totally hooked. The characters were amazing and the scripts so well written. The acting was flawless. Every Sunday my sister and I would have a date with the TV. I don't think I missed a single episode. But, I was thoroughly bummed when the show ended. (Although, I thought that if they had continued it would be hard to pull off.)
I LOVE that I now can own all the shows and have them forever. I can watch them over and over again. I have a daughter who is three, and I can't wait to watch them all with her someday.
For some reason this show has touched me to the core. I am not sure why, but it has and does. It's worth every penny and hour spent watching.

Wonderful College Years Relived on DVD
I just finished watching my dvd set of season one and it just made me remember how compelled I was to watch this show every week when it debuted in the fall of 98. It was my third year in university and I identified so much with felicity and her longing for someone she wanted so bad. Not having seen the show since the first season years ago, I forgot how much I loved Keri Russell and all the drama surrounding her neuroticism and the ongoing Ben - Noel fiasco. The first season really almost could stand on it's own without continuing the story into the following seasons. Though the season ending cliffhanger means I have to buy season 2 so I can find out how felicity's college years continued to play out. Even though the show ran for only four years, it was a rather appropriate run for a show set in college. Anything more and it would have been a bit contrived. ... Read more

Description

Based on a remarkable true story, "Remember the Titans" follows the explosive dramatic events that took place in Alexandria, Virginia in 1971 when African-American football coach Herman Boone (Academy Award-winner Denzel Washington) was hired to guide an integrated but racially polarized high school team, the T.C. Williams Titans. Angry, stubborn and a rigid task master, Boone faces a cool reception from the team's players as well as an awkward relationship with assistant coach Bill Yoast (Will Patton), a local white coach with seniority and a tradition of winning who was bypassed for the job. As the two men learn to overcome their ignorance and bigotry and realize that they have much in common and integrity, honor and a strong work ethic. They work together to transform a group of angry unfocused players into a dynamic winning team of responsible young men. In the process, they also unite a divided community and ensure that Virginia will always "Remember the Titans." ... Read more

Reviews (209)

You will remember the titans...
No matter whether you're a fan of sports or not, Remember the Titans is an incredibly inspiring film.
Based on a true story, it is set in 1971 at TC Williams High School, a school that is about to intergrate white and balck students for the first time.
The school's football team meet pre-season, and the separate white and balck groups must learn to get along under the guidance of Coach Herman Boon (Denzel Washington).
What follows is a remarkably touching and powerful story, that mixes tragedy and success.
Great acting by all involved, especially the black members of the cast, who are funny and add something else to an already 5-star film.
For movie fans of all genres, Remember the Titans is a great movie that will inspire you and having you watch it again and again. This is the greatest sports film ever made, and it is sure to have watching intently from beginning to end.

A MOVING STORY OF HEROIC DETERMINATION
Denzel Washington is Coach Boone, a black football coach who finds himself in unfamiliar territory when he is appointed head coach of a high school team in its first year of intergration. When the fomer coach Yoast agrees to be his assistant it seems that turmoil and not determination will rule the squad.

Boone's determination to win is only outmatched by his drive for racial harmony within the team and coaching staff. By forcing his players to interact he creates bonds and friendships. Throughout all of this he knows he must win or his tenure as head coach will be short lived. He must not only battle the racial tension in the team, but in the town as well. Only his sheer will can guide his team to the promised land.

The movie is an outstanding piece of cinema. It adresses a social issue with raw emotional power. It teaches a lesson without screaming it in your face. The acting is without a doubt full of some of the best performances of the year to not have been recognized by Oscar and the likes. While Denzel Washington and Will Patton are phenomenal the show is stolen by the members of the team. Watch this film and you will get the point. An emotional five star film worth watching again and again.

Hands down, one of the greatest movies I ever watched.
Believe it or not, I never even heard of this movie until recently. I'm not a big sports fan, or a sport movie fan so when my boyfriend brough this over to watch, I was less than thrilled.

However, once it started, I was captivated by it.

The movie is made even better based on the fact it is based on a true story. The jist of it is this... Herman Boone, played by Denzel Wahsinton perfectly, takes over as new head coach at a high school that has been desegregated. Naturally, the town has mixed reactions.

We watch as Boone, uses tactics that neither the players, the parents, the townsfolk or even his assistant coaches like to force the players to not only become a team but also respect each other as people. We watch as friendships form, and as a team forms.

Eventually we watch as the winning football team, and essentially Boone brings the town together.

This movie brings something to the table for everyone. I laughed, I cried, I even cheered during the games. A must see!

A CLASSIC FOOTBALL MOVIE
this movie is not only very compelling but also has good morals involving racism ,alcohol, and it rele shows how people of different backgrounds can come together when circumstances get rough. this movie is probally for ages 10 -and up because its a lil slow if you are too young to understand the concept of racism and football if you like good drama movies or football movies watch this movie its a legend itself as the titans were in the movie. a small town highschool breaks the color barrior having both whites and blacks on one team some players accept it and others dont and there black coach (denzel washington who plays an excellant part ) gets threats but still coaches his team to victory REMEMBER TO WATCH THIS MOVIE

We need more family movies.
I thought this was a great movie. It was a movie that my kids could watch with me. However, the one thing racism)they are trying to conquer in the movie, still lives on today. I would recommend this movie to anyone. It was a great movie. ... Read more

Amazon.com

The second season of Dawson's Creek finds Dawson (James Van Der Beek) and Joey (Katie Holmes) exploring the newest phase of their lifelong friendship, leaving Jen (Michelle Williams) and Pacey (Joshua Jackson) on the outside.The former enters a downward spiral assisted by bad girl Abby (Monica Keena), but Pacey happens into a "meet cute" with one of Capeside's new residents, the impossibly perky Andie (Meredith Monroe), who turns out to be his perfect foil. The Creek also struck gold with its second major addition, Andie's brother Jack (Kerr Smith), who shows Joey that he's more than just a clumsy waiter.With the siblings' help, Pacey and Joey show the most personal growth during the season's 22 episodes.The constant parent-child crises can be a bit much, but there were numerous other developments, including a two-part sexual whodunnit, Dawson embarking on his second movie (assisted by Rachael Leigh Cook in a sizzling guest appearance), Dawson's birthday party from hell, a vicious rumor that spreads through the high school, and the emotion-wringing finale.

The only bonus feature is a commentary track on the first and last episodes just as with the first season, though executive producer Paul Stupin is by himself rather than accompanied by creator Kevin Williamson.The interplay is missed, but Stupin enthusiastically offers a lot of information about how the cast had become celebrities by the second season and had to juggle other projects, and random details and trivia.Stupin mentions how carefully he selected different pieces of music, which "would become forever part of our show."That's ironic because for this DVD set Stupin himself picked a lot of new music to replace the selections that originally aired, presumably because of the cost involved in securing the rights (a problem for many television DVD releases).A couple of episodes are unaltered, but others have had almost every song replaced.Newcomers to the series probably won't notice, but serious fans may want not want to tape over their VHS cassettes just yet.--David Horiuchi ... Read more

Reviews (85)

BUY IT!!
I have been a "Creek Freak" since the beginning of the show. I love the season one DVD, althought I was disappointed with the exclusion of an extras, except for two commentaries. I feel the same way about the season two DVD. With all the publicity DC got, seems like there should be more extras. I was also disturbed that the majority of the music has been changed. I could understand some changes, but some songs in key moments of the show where changed (like Heather Nova's beautiful song PAPERCUP & Billie Myers KISS THE RAIN) Some changes where even made to the songs that came right from the Dawson's Creek Sountrack CD. I know that the producers chose to change the songs to try to keep the price point of the DVD as low as possible, but since fans are the ones buying the DVD, seems like they should've included the original content of the show, even if it was going to cost a little more. Die hard fans will surely be a little disappointed by it, but it is nice to have the entire season on DVD. Being from NC (where DC was filmed) I really enjoy remembering the characters and how life was during the time the show aired. I plan on buying more DC DVDs, but I just hope that not too many changes will be made to future releases.

The season which made the show a TV hit!
Fortunately, every single fan of Dawson's Creek can now own the complete second season. This is one of the most important seasons of the show, which made it popular everywhere in the world. On second season, we are introduced to Jack and Andie McPhee, we see Dawson and Joey together, in classical moments, and we watch Jen become more mature and reveal the black sheep side of her.

I think that second season represents a relevant step to Dawson's Creek. By this time, the show starts to deal with serious issues, such as Jack's sexuality and Andie's illness. Also, Abby Morgan leaves the show, in a tragic accident. We can't forget the classic kiss of Joey and Dawson in the rain ("Crossroads" episode), as well as Dawson and Andie performance during a regretable 16th birthday ("Be careful what you wish for" episode). The second season finale ("Parental Discretion Advised" episode) is great and very touching. I really appreciate the dialogues and the fact that Joey had to took part of her father's prision, for dealing with drugs again.

I hope third season is released soon, because I can't wait to watch the whole episodes again! DC forever!

Big disappointment
Dawsons creek has to be one of my all time favorite TV shows, and season 2 was probably my favourite. With that in mind I cannot begin to tell you how awful this set is. What is wrong with you WB? Have you no respect for the fans of the show? No pride in what you put on the shelves? These sets are intended as keepsakes for people to remember the show.
The picture quality is almost as bad as the first season, but the real thing which is going to make me return this dvd is the replaced music. What WB or whoever made the changes obviously does not understand is that the music was a very very important part of the show, and scenes and episodes are connected to certain songs for all the fans. Well not with this DVD.

Why can't Dawsons Creek get the same respect and treatment on DVD that shows like Buffy, or Smallville, or countless other shows get on DVD? Raise the price $10 or $20 - fans will pay it if you make it worthwhile - which its currently is not.

I'm not going to purchase any more seasons of dawson creek until they stop with the cheap crap they are putting out and release a proper DVD set.

Just Love Dawson's Creek!!!
Wow, this is a wonderful season. I only began watching Dawson's Creek in its last few seasons and I am watching these episodes on DVD for the first time. I must say that Season 2 is unbelievably funny and addicting as chocolate. I must have watched 1 dvd a sitting!!! This is as great season, and I'm hoping that Season 3 will be as entertaining and enjoyable as well.

Spectacular
This show is truely remarkable!!! There will never been a drama like it, it was engaging, fresh, exiting, new, and amazing. The acting is truely superb. In comparison to some of the resent shows on TV they are all mere copies of this breathtaking show. I can't say enough about Dawson's Creek.. it's just that good. ... Read more

Reviews (47)

Love & Tumult in 1968 Paris
Once past the excessive, graphic nudity, or perhaps because of it, Bertolucci fashions a jarring glimpse of three fascinating young people against the backdrop of the 1968 French General Strike, which nearly toppled the government. For the three principals, hedonism, narcissism, and intoxication seem to dominate against what appear as lightly held political beliefs - socialism, love, compassion, tolerance. For example, siblings Theo and Isabelle sleep together naked, their sculpted bodies entwined. The All-American Matthew (well played by Michael Pitt) comes upon them sleeping nude (and slowly grows to love them), gathering some deeper yet perplexing knowledge. This learning process for Matthew weaves its way throughout the film: a likable youth from San Diego doing his best to slip into the idiosyncratic lives of these very French '60s eccentrics and their almost invisible, '60s uptight parents.

Bertolucci abruptly intercuts continuously with memorable past film scenes: for example, Garbo's soulful eyes laughing at Gilbert's insipid love from "Queen Christina." There are many of these lovely, thoughtful old film scenes that weld the humanity of these three characters to that of past lovers and haters. I found myself virtually loathing the insouciance of Theo and Isabelle, their adolescent adoration of things kitsch, such as Delacroix's 'Liberty Leading the People" with Liberty's face that of Marilyn Monroe. All this while exchanging drunk, violent words over politics, cinema and ragout when true fighters faced the formidable barricades in the streets of Paris.

But this is a film, I think, that one must settle into. Much of the first half appears about nothing much, perhaps a light titillating comedy. Slowly, we understand it is not that at all. The nudity, arguments, sex, politics, brilliant film cuts, and memorable period scoring give satisfaction to those of us 'lucky' enough to have lived through that tumultuous time. Perhaps younger, less authoritarian generations will view it with more intuition than we boomers. One of the director's realized intentions was to impart with his typical lyricism an inner realization of why love, even silly vacuous sex, is so much preferable to war (the General Strike and Vietnam, here). The ending is doubly startling. But by then, the parts have become the whole, the trivial vital. The significant beauty of this film lies in the director's wise, consummate vision. Well worth seeing. (For an amazingly contrasting view of the same period, see "Fog of War").

An Incisive Criticism of the '60s and Hypocrisy
The Dreamers is a new, primarily English-language film from the Italian king of cinematic controversy, Bernardo Bertolucci. If you've seen his past works, including 1900 and Last Tango in Paris, they provide a fairly clear idea of what to expect in this NC-17 foray into 1960's youth culture in France. The film is an extended analysis, really, of radicalism and some of the hypocrisies seemingly inherent in it. It forces us to confront the question of what truly is revolutionary, or conservative for that matter. The film answers that question in a way many of us will find unexpected.

Matthew (Michael Pitt) is an American student spending time abroad in France. He takes in the student protests with wide eyes, gazing in awe at the pure passion igniting these young people. Though the period is the '60s, Matthew still reflects the tucked-in conservatism of a decade past, wearing a jacket and tie almost as a shield from the craziness surrounding him. He soon meets two French siblings, Isabelle and Theo (Eva Green and Louis Garrel), both of whom are full of the revolutionary spirit. They are new and therefore attractive to Matthew, who shares a mutual love of movies with both. Not long after, he moves into the home of his two new friends, whose parents have gone away on an extended trip.

Now is the time audience members may begin to squirm. In between quoting movies to one another and acting out favorite scenes, Matthew begins to notice an unnaturally clingy relationship exists between Isa and Theo--they sleep and bathe together, and play sexually-laced games that often leave one in some state of undress. But this quasi-incest has a strange effect on Matthew, as slowly, the jacket and tie disappear, he begins to walk around barely dressed, and he starts to take part in the sex games, at first begrudgingly and then yearningly.

But as intoxicated as Matthew becomes with the lifestyle, he also is disturbed when Isa confides in him that she's never been on a date before. Harboring some genuine feelings for the young beauty, Matthew tries to lead her away from a life entirely dependent upon Theo and toward one of independence. In this way, the film draws a very interesting parallel. It really is conservatism--a resistance to change--that is keeping so-called radicals Isa and Theo in their exclusive relationship. The young innocent, Matthew, has become the revolutionary in trying to shatter what has become the comfortable tradition.

The film boasts three good, but not great performances. With stronger leading work, a good film could possibly have reached the next level. Gilbert Adair's screenplay, based on his own novel, is wonderfully subtle in weaving its critique of the radical movement, but is in fact so subtle that in some ways the film feels "small." Nevertheless, the film raises probing questions, particularly in the last scene, as a throng of protesters march down a street, all chanting in unison, not a single one distinguishable from the next. It begs the old question, "If a group of anarchists organize an anarchists' meeting, are they really anarchists anymore?"

Finally, credit must be heaped upon Fox Searchlight for not yielding to any suggestion that Bertolucci's vision be compromised by editing the film to achieve an R rating. Even without such censorship, it is disturbing enough that film footage of bare genitals and some sex is considered more damaging by the MPAA than, for example, the wholesale slaughter of recent horror offerings. In any case, when going to see The Dreamers, leave any prudish tendencies (or family members) at home.

Final Grade: B

Bold, brave and inquisitive
Bertolucci displays with this unnecessarily controversial movie more bravery than many other directors half his age. Anyone who is young should see it to observe the contradictions that youth's idealism brings upon the three protagonists. Anyone who is older should watch it to remember the bravery of times gone by, to remember a time when many of us still believed protests could change the world and to acknowledge the validity of both youth's panache and experience's fountain of knowledge.

Not all said up front
There are alot of things that are underneath the serface of this film. You might have to watch the film more than once to get it all. Things that have to obtained from the time and the charecters themselves.(I will not ruin them for you finding them is half the fun) The film is not one that you watch when you are bored with your buddys it is a film that takes all your attention to actually get it.The film ends with no changes in the people only an experience that changed their lives but could not change who they were nomatter how much they tried. I hate movies that charecters change because of an experience this movie seems real in that aspect because the people dont change. It is a little overthe top in certain aspects but it makes you think and is an enjoyable experience.

dreamy
Beautiful, disturbing, erotic, political, comic, thrilling, and thoroughly immersing. One of the most satisfying cinematic experiences I've had in a long time. Not to be missed! Much thanks to Bertolucci, who continues to make exquisite and exciting films! ... Read more

Amazon.com essential video

Ranking No. 21 on the American Film Institute's list of the 100 greatest American films, this 1940 classic is a bit dated in its noble sentimentality, but it remains a luminous example of Hollywood classicism from the peerless director of mythic Americana, John Ford. Adapted by Nunnally Johnson from John Steinbeck's classic novel, the film tells a simple story about Oklahoma farmers leaving the depression-era dustbowl for the promised land of California, but it's the story's emotional resonance and theme of human perseverance that makes the movie so richly and timelessly rewarding. It's all about the humble Joad family's cross-country trek to escape the economic devastation of their ruined farmland, beginning when Tom Joad (Henry Fonda) returns from a four-year prison term to discover that his family home is empty. He's reunited with his family just as they're setting out for the westbound journey, and thus begins an odyssey of saddening losses and strengthening hopes. As Ma Joad, Oscar-winner Jane Darwell is the embodiment of one of America's greatest social tragedies and the "Okie" spirit of pressing forward against all odds (as she says, "because we're the people"). A documentary-styled production for which Ford and cinematographer Gregg Toland demanded painstaking authenticity, The Grapes of Wrath is much more than a classy, old-fashioned history lesson. With dialogue and scenes that rank among the most moving and memorable ever filmed, it's a classic among classics--simply put, one of the finest films ever made. --Jeff Shannon ... Read more

Reviews (45)

Ford and Fonda do justice to Steinbeck
Take John Steinbeck's Pulitzer-Prize-Winning Novel. Turn it into a movie and let John Ford direct it, and get Henry Fonda to star. In 1940 you could hardly find a more certain recipe for a cinema classic.

As good as the film is, it really should be a companion-piece to Steinbeck's original masterpiece, and if you haven't read it I recommend setting aside enough time to read one of the greatest pieces of American literature ever written.

That being said, the medium of the cinema allows for a visual impact that can't be matched with the written word.

The Grapes of Wrath follows the Joad family during the great depression. That period of economic hardship hit the farmers in Oklahoma a little harder than the rest of the world, at the time of the dust bowl the "Okies" were at the end of their ropes, financially speaking.

Thousands of Okies packed up the house after being foreclosed and moved out to California - many winding up around Bakersfield, at the California end of old US Route 66. (Merle Haggard's family did so and the "Okie from Muscogee" wrote about it in songs like "California Cottonfields".)

Anyway, this is the historical context of the movie. The theme of the movie, and of Steinbeck's book, is the ability of the human spirit to remain intact in these worst of times. The Joads suffer terrible humiliations, one after another, most of them because of their desperate financial status. But as the story proceeds we see that they are fundamentally decent, hard-working people, and every time life knocks them down they get back up, brush the dirt off themselves, and keep moving forward. As a national characteristic, this was an important trait because this was the generation that produced the hard-working, high-minded individuals who did important things like win World War II, followed by America's greatest financial flourishing and the Baby Boom. Tom Brokaw called them "America's Greatest Generation".

The cast is picture-perfect, with Henry Fonda as the spirited Tom Joad and John Carradine as the former preacher with a new social consciousness. Jane Darwell won a well-deserved Best Supporting Actress Award as Ma Joad, and the remainder of the cast is in every way equal to the story and the film.

An American Classic
This is a great movie based on a great novel, and I am surprised by how honestly the film captures the raw humanity of the book. Steinbeck weaved social commentary into the story, and the movie makes many points about the human condition and spirit without being heavy-handed. The story of the Joads and their fight for survival rings very true, thanks to the realistic performances and the atmosphere created by director John Ford. Henry Fonda gives one of the best performances I have ever seen him give, and his "I'll be there" speech is one of the great movie moments. Jane Darwell is also very impressive, and her direct, down-to-earth style of acting makes the quiet strength and the suffering of Ma Joad seem very real. The Grapes of Wrath is an American classic, both as a novel and as a film.

"I'll be all aroun' in the dark."
"Mine eyes have seen the glory of the coming of the Lord. He is trampling out the vintage where the grapes of wrath are stored; He hath loos'd the fateful lightning of His terrible swift sword, His truth is marching on." - Battle Hymn of the Republic.

In 1936, John Steinbeck wrote a series of articles about the migrant workers driven to California from the Midwestern states after losing their homes in the throes of the depression: inclement weather, failed crops, land mortgaged to the hilt and finally taken over by banks and large corporations when credit lines ran dry. Lured by promises of work aplenty, the Midwesterners packed their belongings and trekked westward to the Golden State, only to find themselves facing hunger, inhumane conditions, contempt and exploitation instead. "Dignity is all gone, and spirit has turned to sullen anger before it dies," Steinbeck described the result in one of his 1936 articles, collectively published as "The Harvest Gypsies;" and in another piece ("Starvation Under the Orange Trees," 1938) he asked: "Must the hunger become anger and the anger fury before anything will be done?"

By the time he wrote the latter article, Steinbeck had already published one novel addressing the agricultural laborers' struggle against corporate power ("In Dubious Battle," 1936). Shortly thereafter he began to work on "The Grapes of Wrath," which was published roughly a year later. Although the book would win the Pulitzer Prize (1940) and become a cornerstone foundation of Steinbeck's Literature Nobel Prize (1962), it was sharply criticized upon its release - nowhere more so than in the Midwest - and still counts among the 35 books most frequently banned from American school curricula: A raw, brutally direct, yet incredibly poetic masterpiece of fiction, it continues to touch nerves deeply rooted in modern society's fabric; including and particularly in California, where yesterday's Okies are today's undocumented Mexicans - Chicano labor leader Cesar Chavez especially pointed out how well he could empathize with the Joad family, because he and his fellow workers were now living the same life they once had.

Having fought hard with his publisher to maintain the novel's uncompromising approach throughout, Steinbeck was weary to give the film rights to 20th Century Fox, headed by powerful mogul and, more importantly, known conservative Daryl F. Zanuck. Yet, Zanuck and director John Ford largely stayed true to the novel: There is that sense of desperation in farmer Muley's (John Qualen's) expression as he tells Tom and ex-preacher Casy (Henry Fonda and John Carradine) how the "cats" came and bulldozed down everybody's homes, on behalf of a corporate entity too intangible to truly hold accountable. There is Grandpa Joad (Charley Grapewin), literally clinging to his earth and dying of a stroke (or, more likely, a broken heart) when he is made to leave against his will. There is everybody's brief joy upon first seeing Bakersfield's rich plantations - everybody's except Ma Joad's (Jane Darwell's), that is, who alone knows that Grandma (Zeffie Tilbury) died in her arms before they even started to cross the Californian desert the previous night. There is the privately-run labor camps' utter desolation, complete with violent guards, exploitative wages, lack of food and unsanitary conditions; contrasted with the relative security and more humane conditions of the camps run by the State. And there is Tom's crucial development from a man acting alone to one seeing the benefit of joining efforts in a group, following Casy's example, and his parting promise to Ma that she'll find him everywhere she looks - wherever there is injustice, struggle, and people's joint success. In an overall outstanding cast, which also includes Dorris Bowdon (Rose of Sharon), Eddie Quillan (Rose's boyfriend Connie), Frank Darien (Uncle John) and a brief appearance by Ward Bond as a friendly policeman, Henry Fonda truly shines as Tom; despite his smashing good looks fully metamorphosized into Steinbeck's quick-tempered, lanky, reluctant hero.

Yet, in all its starkness the movie has a more optimistic slant than the novel; due to a structural change which has the Joads moving from bad to acceptable living conditions (instead of vice versa), the toning down of Steinbeck's political references - most importantly, the elimination of a monologue using a land owner's description of "reds" as anybody "that wants thirty cents and hour when we're payin' twenty-five" to show that under the prevalent conditions that definition applies to virtually *every* migrant laborer - and a greater emphasis on Ma Joad's pragmatic, forward-looking way of dealing with their fate; culminating in her closing "we's the people" speech (whose direction, interestingly, Ford, who would have preferred to end the movie with the image of Tom walking up a hill alone in the distance, left to Zanuck himself). Jane Darwell won a much-deserved Academy-Award for her portrayal as Ma; besides John Ford's Best Director award the movie's only winner on Oscar night - none of its other five nominations scored, unfortunately including those in the Best Picture and Best Leading Actor categories, which went to Hitchcock's "Rebecca" and James Stewart ("The Philadelphia Story") instead. Still, despite its critical success - also expressed in a "Best Picture" National Board of Review award - and its marginally optimistic outlook, the movie engendered almost as much controversy as did Steinbeck's book. After the witch hunt setting in not even a decade later, today it stands as one of the last, greatest examples of a movie pulling no punches in the portrayal of society's ailments; a type of film regrettably rare in recent years.

"Ev'rybody might be just one big soul - well it looks that-a way to me. ... Wherever men are fightin' for their rights, that's where I'm gonna be, ma. That's where I'm gonna be." - Woody Guthrie, "The Ballad of Tom Joad."

"The highway is alive tonight, but nobody's kiddin' nobody about where it goes. I'm sittin' down here in the campfire light, with the ghost of old Tom Joad." - Bruce Springsteen, "The Ghost of Tom Joad."

The Grapes--and Apples and Oranges--of Wrath
It's striking how many reviewers here base their comments on a simplisitic comparison between the film version of "The Grapes of Wrath" and the Steinbeck novel on which it was based. For many such a comparison seems to function simply as an excuse to proclaim the inherent superiority of the Steinbeck original--and, by extension, the superiority of their own literary taste values-- when all it really does is highlight the patent silliness of trying to pit different artforms into some sort of evaluative competition. Literature and cinema are two vastly different modes of representation each with their own strengths and limitations, so the framing question shouldn't be which version of "The Grapes of Wrath" is "better"--as if there were a universal yardstick with which to measure such things--but rather how do they perform in terms of their respective mediums? On that count, I think we are extraordinarily fortunate with both the Steinbeck and Ford versions of "The Grapes of Wrath" to have two masterworks that operate consummately at the peak of their respective artforms. What each does well, it does brilliantly. As a verbal medium that unfolds slowly, literature is good at offering rich, layered descriptions of person and place and mapping complicated narrative links and Steinbeck makes the most of this in his novel. Cinema, by contrast, is an expressive medium that works best through registers of visual and aural metaphor, allegory and performance...and it's on this ground that I think the film version of "The Grapes of Wrath" more than merits its classic status. It is a magnificently "cinematic" film that uses the expressive capacities of the medium to produce a richly layered experience that is truly moving and that lingers long afterward, sometimes for years or even a whole lifetime. I first saw "The Grapes of Wrath" on TV one rainy afternoon in my childhood and it left indelible impressions that have impelled me to go back to the film time and again: The haunted eyes of Jane Darwell's Ma Joad as she sits in the truck cabin, lit from beneath, driving into an uncertain future, the winds of history howling oustside; the terrifying collision montage as the monstrous "cats" move in to destroy the Okies' homes; the soulless gas station attendants, standing together in uniforms like corporatized automata, muttering that the Joads are too miserable to be human. It's a film dense with iconic richness and an enduring testament both to the artistry of the many workers that created it, and to the democratic spirit of popular cinema at its very best.

As good a restoration as possible
This DVD restoration is probably as good as possible given that the original camera negative was lost. This is the one to get.

By the way, there is NO widescreen version of "The Grapes of Wrath." This DVD release exhibits the full frame aspect ratio of the original (1.33 to 1 ratio). Essentially, films made between 1917 and 1952 were filmed with a full frame aspect ratio. Standard televisions were proportioned 4:3 to copy the standard cinema ratio. Widescreen (Cinemascope, etc) was a gimmick introduced by Hollywood in the 1950s to compete with television. So if a film was made between 1917 and 1952 don't go looking for a widescreen version of it because there isn't any! ... Read more

Amazon.com

When 12-year-old Renato, riding through his small Italian town on his new bicycle, sees the voluptuous Malèna, little does he know he's launching on an infatuation that will carry him through the tumultuous days of World War II. Malèna begins as an enraptured depiction of Renato's adolescent mind--the way he stares, hypnotized, at Malèna's garters pressing through the material of her tight skirt, or his frustrated rebellion against the indignity of wearing short pants--but soon transforms into a portrait of small-town prejudice. Malèna's looks spark lust and envy in the townspeople; when her husband dies in combat, the gossip only intensifies, to the point that Malèna is dragged into court to defend herself against accusations of adultery. When the women of the town refuse to sell her edible food at the market, Malèna has little choice but to become what she's been unjustly accused of being. At the end, a twist of fate turns this tale of longing and jealousy into a heartbreaking love story. Monica Bellucci exudes the can't-help-it eroticism that makes Malèna such a lightning rod for everyone's desires; she's like a more zaftig Isabelle Adjani. The movie seems to wander at times, but the ending has a powerful emotional impact. From the director of Cinema Paradiso. --Bret Fetzer ... Read more

Reviews (79)

One of the best!
Malena is truly a great film. It works on so many levels. I have a relative who doesn't usually like foreign films but had to admit this is a great one. Its funny, its sad and it has a message. The story of the beautiful Malena is one that is heart-breaking. Malena is a beautiful woman whose husband is fighting in World War II and is left alone in this town. She is subjected to constant rumours and harassment by the men and women in their village.

Renato is the young boy obsessed with her. He is also the only person who knows the truth about her and knows she doesn't do the things people say she does. Malena wasn't dating everyone, she was sewing for people into the night, carrying her husband's picture and dancing to their favorite music. The sad thing is that Malena has to become what everyone had labeled her once word got back that her husband was killed. Women refused to sell her food and she had to sleep with men to survive. There is a scene towards the end that really upset me. This movie shows how rotten both the men and the women were to her. Malena shows how dangerous lies and assumptions are to a person's standing in their community and their own self-respect.

Malena is a very funny movie at times. There are scenes with Renato that made me laugh out loud. However, its a film that goes deeper than many out there. I would have to say this has become one of my all-time favorites. A beautiful, thought-provoking film.

A Beautiful Film
This lovely and heart-wrenching movie was made even more special by the fact that the two main characters barely speak (well, one of them IS the narrator). I had never heard of the beautiful actress Monica Belluci (Malena) but now look forward to seeing her perform again. She was exquisite and spoke volumes with just her facial expressions.

Giuseppe Sulfaro played Renato, a young boy feeling the first stirring of his sexual awakening who falls in love/lust with the beautiful Malena. His acting was very touching, especially when he goes to the church and lights a candle every day to try to ensure that Malena will come to no harm.

This coming of age film about love, jealousy, ostracism, and hate during four tumultuous years of World War II was filmed on the coast of Sicily - and what beautiful cinematography it was. The score was also magnificent, befitting the gorgeous setting.

ETMR - Malena
1. Humanity: The boy Renato, we learn, is a free spirit. He expresses, out of all the characters in the film, the willingness to step outside his natural, cultural boundaries and grow past his traditional philosophy. This film is not only about the life of Malena, but also about Renato's growth into an adult. What events force Renato to grow into this new kind of thinking?

2. Imp