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Danis Tanovic's Academy Award®-winning satire of the war in the Balkans is an astounding balancing act, an acidic black comedy grounded in the brutality and horror of war. Stuck in an abandoned trench between enemy lines, a Serb and a Bosnian play the blame game in a comic tit-for-tat struggle while a wounded Bosnian soldier lies helplessly on a land mine. A French tank unit of the U.N.'s humanitarian force (known locally as "the Smurfs"), a scheming British TV reporter, a German mine defuser, and the U.N. high command (led by a bombastically ineffectual Simon Callow) all become tangled in the chaotic rescue as the tenuous cease-fire is only a spark away from detonation. Tanovic directs with a ferocious, angry eloquence and makes his points with vivid metaphors and a savage humor as harrowing as it is hilarious. Searing and smart, this satire carries an emotional recoil. --Sean Axmaker ... Read more

Reviews (67)

Best of 2001 --No Man's Land
It's hard to believe this perfectly balanced very funny, dark war satire is the debut feature of writer-director Danis Tanovic. The film has been winning various Festival awards and took the best screenplay prize at Cannes.

I'll keep quiet about the too much of the plot because the film
is full of small moments that work best if they surprise you.

If you have the idea that this film is only about two guys in a trench who do some decent contemporary updated variation of Waiting for Godot you're in for a big surprise. There's a lot that transpires in the course of the film and characters do not just include a Serbian and Bosnian Soldier but others as well including a female t.v. reporter, several French members of a U.N. peacekeeping unit, a British commander (played by the only face some will recognize in the film: Simon Callow), a German bomb expert and others.

This is a sharp witty clever satire that is closer in spirit to
Preston Sturges and Duck Soup, than to Stanley Kubrick but isn't any less poignant in what it has to say about war, particularly the kind of wars fought throughout the middle east.

The film-maker is neutral and refuses to take sides, but the message of the film is clearly that remaining neutral in a conflict allows more killing and brutality to occur.

The film consistently surprises you. You literally aren't sure what will happen from moment to moment. Sometimes nothing, sometimes a great deal. Sometimes it's cruel, sometimes it's
laugh out loud funny, often it's both. Why are we looking at this beautiful shot of clouds and blue sky at one point in the film? Because it's what that guy on his back sees. But we don't realize that right away.

The film isn't flawless. The main problem that's set up surely isn't quite the un-solvable problem it is portrayed to be, but that is also the point about how absurd conflicts often can be.
With every scene the film opens up. The tension increases and then we get to laugh a little more than we should and tension is relieved as the the conflict grows and gets less personal, but then the film comes full circle and delivers what it must--what we expected but almost forgot. It leaves us with a haunting image that reminds us what the stakes have always been. It's not exactly a surprise ending, but it's an ending that has been arrived at without the kind of crass trickery and pretenses we normally get in war films and particularly films that are war satires. There are so many way this film could have and probably should have failed, but instead It's not only successful it also feels fresh and sharp.

No Man's Land is a superb film, it's smart, funny and has something to say. Put it at the top of your list and see it very soon.

Christopher Jarmick, is the author of The Glass Cocoon with
Serena F. Holder a critically acclaimed, steamy suspense thriller.

Meaningful rather than just skillful.
Equal parts humor and horror, Danis Tanovic displays superior directorial ability in "No Man's Land," which goes against the normal traditional war films, and takes a stand against its subject matter. Through the use of extremely dark and satirical humor, the film is a testament to the various absurdities of war, from the hatred those who fight it continually manufacture, to the senselessness of everything that goes on around its characters.

The story is filled with many characters, all of which play important roles in bringing forth the central message. The three men at the center of the mayhem are Bosnian soldiers Chiki (Branko Djuric) and his longtime pal Cera (Filip Sovagovic), both of whom are part of a relief team that becomes massacred by Serbian soldiers. After the bloodshed, Chiki finds himself in a trench between enemy lines, his entire team murdered before him.

Soon after, the Serbs send two men to search for survivors of the onslaught to take as prisoners. One of these men is Nino (Rene Bitorajac), a new addition to the front lines, and a nameless man who is killed when Chiki open fires on the two intruders. Nino is wounded, and taken prisoner, while Cera, who was wounded but not killed, regains consciousness only to discover that Nino and his comrad placed a bouncing mine underneath his "dead" body moments before they were taken down.

As the men begin bickering, Tanovic makes good use of the opportunity he is given, instilling the characters with black humor that is both humorous and meaningful when pondered. During an artillery storm, Chiki and Nino bicker over whose side it was that started the war; Chiki later ends the argument by pointing a gun at his enemy and forcing an admission of guilt from him, which Nino later uses against him once the power changes hands.

Moments such as these provide a hearty dose of laughs, but they go much further than that. The unusual relationship between Chiki and Nino takes many turns; at one point, they make the discovery of a mutual friend between the two of them, and they share a happy moment. In another time and place, these two men would be the best of friends; in this time and place, they hate each other because they are told to. This juxtaposition of different moments of friendship and angst brings home the feeling of senselessness and frustration that accompanies wars, and the unending search for answers as to its purpose.

Tanovic also chooses to instill much more into the film through various other well-drawn characters. A striving female reporter played by Katrin Cartlidge is a halting reminder of the exploitation of war through the media, while the U.N. high official, played by Simon Callow, is a provocative display of the indifference of other countries in such trying times. As the leader of a French unit in the humanitarian forces of the U.N., Marchand, played by Georges Siatidis, seems to have the clearest understanding of the events going on around him ("You can't be neutral facing murder. Doing nothing to stop it is taking sides.").

The beauty of a film like "No Man's Land" is its complexity: every subplot, every character and their hidden themes, all relates back to Cera, lying on his back with a mine underneath him. Each complex character, whether it be out of friendship, remorse for the placement of the mine, hunger for a breaking news story, or the yearning to make an impact on the ongoing battle in hopes of bringing it to an end, all of these messages are interconnected in a way that makes the film meaningful rather than just skillful.

A Film about Human Nature & War
A satire not only on the Balkan war, but also on human frailties and the follies of human institutions as a whole: Once the dark side of human nature is triggered, destruction is a River of No Return.

Where does truth lie: with those holding the gun wielding power? Was the United Nations, vested with the greatest power in this matter, in fact taking side by literaly taking no side? Wasn't the Commander General of the UN army (a British) who wouldn't like to get involved, wise after all: Wasn't the result much the same despite all the efforts? Were the media, exposing the inertia of UN army, doing anybody any service other than themselves? Was the French troop necessarily more helpful by being warm hearted than the British? If so, where did it lead us to?

The film is more like a play than a movie, but we don't need much settings anyway. There is bloodshed but never too bloody, only sadness and definitely not a boredom. You can easily finish it, so to speak, within one breath. However, note that the photos on the box of the DVD are not equally attractive. It may even be misleading at least until you have finished watching the film.

Three Men and a Buried Mine in a Trench
"No Man's Land," starring Branko Djuric as Ciki (pronounced Tcheeky) and Rene Bitorajac as Nino shows the pragmatics of war. These two men represent each side of the Serbian-Bosnian conflict.

Both are convinced that the other side started it, and later, both are convinced the other side is bombing them directly. Both learn of the injustices done in the name of war done by their own side.

The tension of the story is not the war, but the survival of three men, Ciki, Nino, and Cera (pronounced Tsera, played by Filip Sovagovic).

Ciki, a Bosnian, and Nino, a Serb, end up in a foxhole. Neither wants to be there, and both need the other to get out alive. They don't care about the other, even as they find some common ground like a former lover they each had. The war and its wage of death is the vault between them truly acknowledging the other's humanity, but they lean on each other awkwardly, but effectively to persuade the UN to save them, and Cera, also a Bosnian.

The trouble is that Cera lays upon a mine that will detonate when he moves. Naturally, then, he stays still. The fear of the mine blowing up provides the need for them to work toward a solution. With no obvious fix, they attract the UN, who are a mix of competent and incompetent, passive and intentional leaders. The UN's indecisiveness jeopardizes the soldiers, and their philosophical unwillingness to resolve the problem only exacerbates the anger between the soldiers.

It carefully stands away from the divisive, bitter fight, indicating that the both sides aren't pure in motivation. Each character is so far removed from whatever started the conflict, that any ending becomes a tragedy.

There are two sides to any war: those who are governing it, and those who are fighting in it. Within that war, among those fighting in it, are two more sides: those who believe in the fight, and those conscripted to be there. All are part of this movie.

"No Man's Land" shows that the Big Muddy, as Pete Seeger once sang of WWII, is not just in 1942 or Vietnam. In the trenches, as a force of war's reality, evil occurs. It is the default of war that men are asked to kill, and it is the default of man that the living will die.

I fully recommend "No Man's Land." For a look at a similarly powerful movie about the Irish conflict, see Daniel Day-Lewis and Emma Thompson in 1994's "In the Name of the Father."

Anthony Trendl

Heartbreaking
This was an extremley disturbing movie but a brilliant work. It took a week for me to get over the movie.

This was the oscar winner when an indian film called Lagaan was nominated, and i wondered what could be better than a brilliantly made film like Lagaan. But after watching No mans Land, i think Lagaan really did not have even the slightest chance of winning the covetted oscars

Watch it people, it taught me to be more humble and humane in life ... Read more

Amazon.com

The impossibly adorable Audrey Tautou (Amelie, Dirty PrettyThings) stars in this remarkably vivid portrait of a relationship.Michelle (Tautou), a fashion model, sets off on a spiritual quest in thehope of finding emotional balance. What she finds is a veterinarian namedFrancois (Edouard Baer, Alias Betty), whose ambivalence about beingJewish leads Michelle to study the faith and consider conversion. The plotsounds heavy, but God Is Great (And I'm Not) is actually a light,fluid movie that's as alert to the thousand tiny ways in which men andwomen miscommunicate and defeat their best intentions. Michelle'sspiritual yearnings are questionable, yet Tautou captures her hunger forsomething more and makes it real, even if it may also be shallow. Themovie stutters, slips sideways and back, and circles around--and in theend, says more about modern romance than a dozen Hollywood romanticcomedies. --Bret Fetzer ... Read more

Reviews (7)

Funny, great art house film
Audrey Tatou is exceptional!

'God is Great' shows Tatou, once again, in the shoes of an exquisitely quirky, young woman seeking enlightenment. Her on again - off again boyfriend, Francois, is a non-practicing Jew. Tatou decides to convert herself in order to convert him, more or less.

In the story's journey, Michelle (Tatou) and Francois break up and get back together several times, and show that some things are just beyond the reaches of faith. Sometimes, people need each other despite their differences. You can't live with them, but you most definitely can't live without them, either.

Overall, 'God is Great' was a beautiful film with deeper sentiment.

God is great, this movie isnt.
This movie is advertized as a comedy, but there's nothing funny about it. It's long, and a pure melodrama. I was totally disappointed

the confused seek enlightenment
Adurey Tatou stars as Michelle, a "top model" (as she verbatim defines her profession) who decides to start finding spirituality. Except she seems to think she can learn it from books and then by forcing others to teach her, rather than looking within. In this manner, she tries out Catholicism, Buddhism and Judaism the way others try on shoes.

Francois is her love interest and he is also Jewish. Michelle decides to infiltrate Francois' family and life after a one night stand that ends in her (failed) suicide attempt. In order to do this, she tries to impress them with all that she has learned about Judaism, taking classes with Francois.

At times, this movie seems as confused and misguided as Michelle, but it is still a good little flick.

Spirit Light
"God Is Great & I'm Not" appears flavored by French skepticism toward religion. Audrey Tautou who charmed us in the international hit "Amelie" again teams with director Jean-Pierre Jeunet, but the results are not quite as satisfying, although still worthy of one night's viewing.

Her character Michelle searches for spirituality the way one might try to find the right cut of meat in the supermarket. She flits from Catholicism to Buddhism to Judaism. All of this would be tremendously interesting if the religions seemed to saturate her with the best of their teachings. We could have seen a character similar to Amelie who went about trying to do good; now trying to do good as a Catholic, then as a Buddhist, then as a Jew. Instead, we are relegated to the details of Buddhist meditation and the Jewish Shabbat while missing any larger connection of spiritual thought. Meantime, Michelle is also a model. The film is punctuated by her shooting various styles of dress and posing seductively for the camera.

Edouard Baer as boyfriend Francois gives the film a reality in his performance, bothered by details of a series of romantic attachments and concerned with a young-30s male perspective of not wanting responsibilities of fatherhood. However, as wonderful as he is, he's not funny, which makes the lighthearted comedy sink a bit.

Jeunet's quick cuts give a cinema verite feel to the film and an episodic structure. However, "GISGBIN" seems to end abruptly rather than building to a climax. Equally puzzling is the "to be continued" moniker at the end. Continue what? Why? Did we care enough to want a second film? Despite all that the film is not, Tautou is captivating. Enjoy, if only for one night!

Audrey Tautou is great!
This is a quirky film about a rather annoying character, Michelle, played by Audrey Tautou ("Amelie.") Michelle is on a spiritual quest, fueled by her totally absent past ("What was my father like?" she askes her terminally nervous mother. "The past is past" replies Mom, and that's all Michelle ever learns.) As a result, she annoys her friends and alienates her lovers on a spiritual search that ranges from Catholicism, Buddhism and comically, Judaism, inspired by a Jewish boyfriend whose parents live in Israel but is about as Jewish as Brie cheese.

The character played by Tautou is irritating and yet there is a bit of Michelle in all of us, searching when young to find out who we really are. The film is amusing and sad all at the same time. While I did not like Tautou's character, her portrayal was fantastic, and the supporting cast was excellent. A fine little film that would appeal to young and old alike. ... Read more

Reviews (18)

TIMELESS FILM OF OUR TIME
A rough hewn, not quite middle aged man arrives by train in Helsinki, Finland, and while resting on a lonely public bench three street thugs intent on beating him to death steal his belongings. The man is left for dead by the gang who cover his face with a welder's mask, a clue to the victim's identity. In the hospital, an unsympathetic doctor and assistant try to revive the badly beaten man. But as the heart monitor flatlines (perhaps the only weak moment in the entire film), the doctor comments to his assistant before rushing off, "He's better off that way rather than living like a vegetable." The assistant dutifully covers up the "dead" man and she leaves.

Like the classic horror movie character the Mummy, his head and arm swaddled in bandages, the man suddenly rises from the "dead," and escapes to the desolate waterfront where he collapses next to the harbor. The man is rescued and taken in by the floatsam and jetsam of Finnish society who live in discarded steel cargo containers strewn along the waterfront. Thus begins this film by one of Finland's most distinguished producer-director Aki Kaurismaki. This is a poor but strangely light hearted world where a dinner invitation to "eat out" means standing in the Salvation Army soup line. It's a place where a local residentwho lives in a dumpster complains, "If the garbage strike continues, I'll have to go on a diet, or move."

The hero's Salvation Army love interest Irma, as played by Kati Outinen, is especially good. She portrays a repressed worker who falls in love with the amnesiac. Outinen won the Grand Jury Prize as Best Actress at the 2002 Cannes Film Festival for her stellar performance.

All of the funny scenes are done deadpan, melting together the comic and melancholic into a big hobo's stew that could puzzle some viewers. But if you can get used to the low-affect approach, you'll be charmed by the film's gentle, affectionate portrayals. There are many hugely funny scenes, such as the one in which the Man teaches the staid and joyless Salvation Army quartet to play rhythm 'n blues and rock-and-roll, complete with a huge, aging female singer. There are poignant scenes as well, treated with gentle whimsy by Kaurismäki.

In THE MAN WITHOUT A PAST, Kaurismaki has created for us a simple, mesmerizing story of a working stiff who stoically engages life's abrasions without complaint after having suffered total amnesia. The movie had won a best actress Jury Prize at the 2002 Cannes film festival and was nominated for but did not win a 2003 Academy Award. It should have won an Oscar.

See this film with the original Finnish sound track and English subtitles (which sometimes get illegibly washed out). The sounds and innuendoes are important. No doubt Kaurismaki's masterpiece will go on to become a classic much like those of Luis Bunuel, Ingemar Bergmann, and Akira Kurosawa.

Quiet, Quirky and a Little Sly
This Finnish film may not be for everyone. Though nominated in 2002 for an Oscar for best foreign film, I don't think it got much play here. It's a quiet movie about a guy who is beaten in a park in Helsinki right after getting off a train. The hospital thinks he's dead, but he staggers out, gradually recovers, and can't remember a thing. He meets a number of people, most of whom help him in some way or another. He meets a Salvation Army woman and a relationship developes.

It's hard to describe this movie. The dialoque is often funny, but delivered absolutely deadpan. There is no excitement, but a rich development of story and relationships through incidents that happen to the lead character or that he causes to happen. The two leads, Markku Peltoa and Kati Outinen, are adults and look it. There's no Hollywood handsomeness about either of them. The structure of the movie is a gem of economy. One scene ends and the film moves briskly on to the next scene. No extended, unnecessary character development. No superfluous dialoque. It may sound pompous, but this movie creates at the end a nice feeling of mature contentment.

The DVD of the film is crisp and strong; an excellent transfer. There are no significant extras.

True Love travels on a gravel road -- Beautiful!
In the impoverished slum area on the outskirts of a bigger city in Finland, a middle-aged working man is brutally attacked, robbed and left for dead by a pair of ruthless thugs. Taken to a hospital, the man is pronounced dead, but miraculously emerges from his trauma and literally walks away.

Suffering from amnesia, the man meets many well-meaning people who help him back on his feet. A scene where a waitress offers the penniless man a plate of food, saying "better you eat it than we throw it away", is reminiscent of the days of the Great Depression, where many able-bodied men would starve for lack of work.

The film spins beautifully to an unexpected, thus even more satisfying conclusion. A contender at many International Film Festivals, "The Man Without A Past" is testimony to the triumph of the human spirit. A rare gem among recent World Cinema. Highly recommended!*****

Time Travel Starved of Myths
I'm not from Finland myself, but I have to say that this movie does not realistically describe Finnish society. Finland is probably the most "modern" country in the world when it comes to instrumentalities. Instead it is an exaggurated picture of a country that for 50 years has been balancing between East and West and landed on the West. It could easily been the other way around. And 99 minutes on a boat lies the grim reminder.

Everyone I have spoken to about this film disagree with me, but I think this film is playing with time or epochs from 1945 until now. Back and forth, back and forth, like a bottle of Kosken being passed among friends.

On a deeper level, this is about Stalin and his refusal to let Finland accept any Marshall aid. This is history gone awry and dreams postponed. How can you keep your dignity when your neighbours are prospering while yourself is left outside the feast? How can you keep yourself sane between the birch and the wood? Give up! Be yourself and have the last word with style. Anyways, for me film is about entertainment, not for intricate BS analysis. This movie is highly entertaining.

It all starts with a brutal mugging
The beginning of this movie, a brutal and random mugging, makes you wonder if you really want to watch the rest of it. Stick around anyway. It's a good one.
Once the victim awakens from his coma, his memory has been erased. Still swathed in bandages, he skips from the hospital and wanders the outlying neighborhoods of Helsinki till he stumbles into a sort of hobo encampment. He makes a new life for himself in an abandoned railroad car or container box or some such thing - and then makes a friend of a Salvation Army worker, who helps him land a job with the organization. He plants a few potatoes, manages a small pick-up band, sticks to his job, and carefully moves forward with his odd life, still not knowing who he is. Then he happens upon a construction site and gravitates like a magnet to the welders. His obvious facility with the welding art leads to his eventual identity, but by then, who cares? You've become caught up in his successful attempts to get on with the business of living.
Great little sleeper of a movie. ... Read more

Amazon.com essential video

Perhaps only Pedro Almodóvar could come up with a story about a mental patient who stalks and kidnaps an ex-porn star--and turn it into a tender love story. But that's exactly what happens in Tie Me Up! Tie Me Down!, a lively installment from the Spanish director's wacky middle period (after the scruffy early films, and before his mature melodramas). Two of Almodóvar's sexiest stars, Antonio Banderas and Victoria Abril, play the leads:a cracked young man with dreams of bourgeois domesticity, and an actress who used to specialize in porno and heroin. Despite that fact that he binds her limbs with cord when he leaves the house, he always returns with a cheerful "I'm home!" For all Almodóvar's outrageousness, there's a touch of classical Hollywood in his construction. And while this movie is not for the politically correct, it does play by its own warped rules. --Robert Horton ... Read more

Reviews (25)

Antonio Banderas Was Better When Euro Film Star
I watched Banderas in his European movies before he became an American movie star. I really liked all of his work then whereas now his work is very uneven in quality. "Evita" is the only work of his I've admired since his "conversion." This film was his very best prior to his coming to America. I'll confess that director Pedro Aldomovar's 2 most commerical films, of which this is one, appeal to me more than his other films. The other is "Woman On The Verge of A Nervous Breakdown." Perhaps this is because these two works involve heterosexual love affairs and are also comedic and satiric. They're broadly played but enjoyable for a bigger audience than Aldomovar's work normally gets. Banderas is incredibly sexy in this film as the patient fresh from a mental hospital who wants a regular married life and seeks to find it with a porno star woman. Bringing these two together for a black comedy was a stroke of genius. The Tie Me Up, Tie Me Down in the title refers to the woman's liking kinky stuff and Banderas's literally tying her up and down to the bed. This is a very sexy, romantic even, film and for those who feel Aldomovar's films typically are aimed to please only gays and not straights, this film should convert them to becoming fans of his considerable talent. It will also make them sad that Banderas decided to become an American movie star.

Tie Me Up! Tie Me Down!
Tie Me Up! Tie Me Down! (¡Átame!) is one of the two movies by renown director Pedro Almodóvar (the other being Women on the Verge of a Nervous Breakdown) that got wide attention in the US, albeit in the art house scene. Nothing since Tie Me Up! Tie Me Down! (made in 1990) has gotten nearly as much attention, despite several efforts since than by Almodóvar. Both movies have a similar style, but Tie Me Up! Tie Me Down! is a bit more disturbing as it revolves around a kidnapping.

Marina Osorio (Victoria Abril) is a former porn actor and junkie trying to make a more respectable living as a B movie actor. Ricky (Antonio Banderas), is a troubled youth who has just been released from a mental institution where he had spent the last several years due to his constant running away from orphanages and reform schools. Somehow Ricky has decided that Marina is his future wife and after some very lame attempts to get her attention on the set of her new movie, decides to break into her apartment and "kidnap" her until she is convinced to love him as he does her.

This seems somewhat straightforward, but most would assume that this would be a terror-filled, disturbing film about stalkers and people who's reality is warped. It is disturbing, but not for those reasons, but rather for its very light-hearted atmosphere and slapstick comedy in the face of this rather serious situation. One might call it a black comedy, but the mood is generally so light, that a better term might be "gray comedy." Marina, though occasionally showing some terror, seems more angry and annoyed at being tied up and kept captive than in fear for her life. One thing ran through my mind when watching this - that quote from Die Hard with the expert commentator on the news talking about how kidnapped victims sometimes go through the "Helsinki Syndrom" and start empathizing with their captors. Well, it does not take all that long for Ricky to actually convince Marina to love him. This again, leads to the very light-hearted and surreal nature of the film, and everything in the film seems to have this quality, almost as if what is happening is not real, but being acted on stage. This relates to the film that Marina is acting in at the beginning of this movie, where likewise, everything is pretty fantastic and unreal.

Other than the shear oddity of this film, the main other noteworthy quality seems to be in its steamy sex scenes with Abril and Bandaras. The film actually got an NC-17 rating due to this, which shows the hypocrisy of the MPAA which gives incredibly violent films like Saving Private Ryan an R, but because of a little sexual content will brand a film with NC-17 and make it hard to sell at the box office in most communities.

The DVD is lackluster, containing no special features except for a Trailer. The anamorphic transfer is a good one, very clear with vibrant colors. The audio is the original mono Spanish and is very clear for a mono soundtrack.

If you are a fan of the offbeat, you may enjoy this film for the shear "different" quality it has compared to most mainstream movies, but its light treatment of very disturbing theme may be too much for others.

"You can't be that kinky."
Pedro Almodovar's film "Tie Me Up, Tie Me Down" stars one of the director's favourite leading ladies--Victoria Abril as Marina--a former adult film star with a nasty narcotic habit. Marina is trying to stay clean with the help of her protective, responsible and non-stop talking sister, Lola. Marina has almost finished making a second rate horror film, "the Midnight Phantom." The film's wheelchair bound director, Maximo is obsessed with Marina. There's something about Marina's fragile sensuality that makes men want to protect and possess her. Ricky (Antonio Banderas)--just released from a mental hospital--is also obsessed with Marina. Ricky decides that he will kidnap Marina and keep her tied up until she falls in love with him.

Of course, there's a fundamental flaw in Ricky's plan, but Almodovar's playful script shows how the obstacles to Ricky and Marina's relationship are overcome. Victoria Abril is--as always--splendid, and Banderas is at his best. As with all Almodovar films, "Tie Me Up, Tie Me Down" is full of great, eccentric characters (the pistol-packing pharmacist, for example), and Almodovar's humour, acceptance and generosity towards human flaws always ensures some sort of good outcome.

"Tie Me Up, Tie Me Down" contains a controversial scuba-diving gadget scene, and many Almodovar fans will note a very similar scene in "Talk to Her." (...). I loved the scenes when Maximo's frustration is shown by his endless circling in the wheelchair, and when he dances in his chair with Lola. The film also includes some amazing Spanish music. Almodovar and Abril fans will not be disappointed in this film--displacedhuman

A loving kidnapping drama...
Ricky (Antonio Banderas), a newly released mental patient, enters society with hope of building a family after have convinced the woman in his life that she loves him. This woman is Marina (Victoria Abril), a former heroin addict and porn star, that is filming a horror film with a director who has recently suffered a severe stroke. Ricky enters the film studio and retrieves Marina's keys, which he uses when he breaks into Marina's apartment and kidnaps her. In doing so Ricky wants Marina to get to know him and fall in love with him as they have had a brief affair once before, which changed Ricky's life.

Pedro Almodóvar knows how to make the absurd feel authentic and in this story he does it well as Marina and Ricky get to know each other. The story is planned down to every last detail as both characters have some heavy luggage from their pasts, which serves as a solid foundation for them to relate and understand one another. Almodóvar uses vibrant colors that improves visual representation of the likes and dislikes between Ricky and Marina as it expands on the audience's understanding of what is going on. There are also several interesting shots that are out of the ordinary as they draw attention to the characters and develop the persona around the characters. Tie Me Up! Tie Me Down! fades away from the silver screen with a good cinematic experience, which can be pondered over a glass of sangria.

Subverting types!
When originally writing this film, Pedro Almodovar asked himself the question "Can love be calculated or sketched the same way one could study for an exam?" This is certainly the conviction of the Antonio Banderas character who seeks to capture his former lover and eventually convince her of her love for him. Although one could initially interpret the theme of the film as overtly misogynist - man tries to physically force woman to love him - gender stereotypes are typically subverted in true Almodovarian fashion.

It would seem that the women are the figures of power in this film and both Ricky and wheelchair-bound film director Maximo are at a loss in trying to seduce the object of their desire in any conventional sense. They are both addicted to Marina, but the only thing she's ever been addicted to is heroin. By the end of the film the Antonio Banderas character is almost totally domesticated, making food, cleaning the appartment, making sure Marina has enough drugs etc.

There's also the reference to the Sacred Heart at the beginning of the film and masochism has often been perceived in some of the more archaic rituals of our Roman church.

None of these subtleties were apparantly noticed by the American classification board who initially wanted to give this film an 'X' rating because of playing with toys in the bath! (?) ... Read more

Description

Documentary filmmakers André and Rémy have found an ideal subject in Ben. He is witty, sophisticated, intelligent, well liked-and a serial killer. As André and Rémy document Ben's routines, they become increasingly entwined in his vicious program, sacrificing their objectivity and their morality. Controversial winner of the International Critics' Prize at the 1992 Cannes Film Festival, Man Bites Dog stunned audiences worldwide with its unflinching imagery and biting satire of media violence. ... Read more

Reviews (64)

Brutal rape does not an art film make
While I appreciated some of the points made in this film, and its harsh criticism of sensationalist 'real TV', I have a major caveat: this film contains THE MOST BRUTAL RAPE SCENE I HAVE EVER SEEN (ONSCREEN) IN MY LIFE. I think that, while obviously it serves to demonstrate the complete immorality and viciousness of the protagonist/murderer, it is also gratuitous and extremely hazardous to the health of anyone who has gone through sexual violence. I wish I could say that it would bother every human being, but men often seem to go untouched by the cruelties inflicted on women. So. Compelling premise, but stomach-turning content that I don't think anyone should have to see without being aware that it's in there. I saw this movie 5 years ago and it still gives me nightmares. In a bad way.

Sick!! Sadistic!! Art!!
Oh man, my mom hates this movie. That means it's great!! This movie follows the sick, depraved doings of a well dressed, educated, poetic, sadistic serial killer, who gets his kicks from shooting, strangling, beating innocent people. From an old lady, to the mailman, even a five year old kid, nobody's saved from this Edgar Allan Poe-reciting madman. All while a film crew documents his crimes (sort of like the Blair Witch-style documentary). The documentary-style of this film is really great. You can hear the sound go off when the soundman gets killed, then come back when the other crew members picks up the microphone. Plus, it's filmed in black and white, for a rawer, documentary feel. This movie is in French dialogue, but with English subtitles, so all of you who flunked French in High School can understand what's going on. Great movie, definitely worth getting if you're a fan of Natural Born Killers, Resevoir Dogs, or even the Blair Witch. Oh, for all you Punks out there, the box cover art of this movie is used on Rancid's first album cover- Demos from the Pit. Punk Rock!

Slow down there, Killer.
There are no words to describe how sensationally violent this film is. I've heard a lot of critics try to attribute some sort of social commentary to it to justify their love of this movie. In truth, "Man Bites Dog" is only a black comedy. No pertinent social or psychological implications, no lampooning of sacred cows, just a simple comedy that happens to have a serial killer as its protagonist.

Shot in black & white this mocumentary-style comedy treads ground where few others have dared and fewer still have done so with as much intelligence as Belvaux and Poelvoorde. "Man Bites Dog" showcases some of the most genuinely shocking moments ever committed to film and presents them in a very matter-of-fact deadpan style. Some may find this to be the most disturbing part of this film, even more so than the acts themselves.

Along with having the honor of being one of the most unrepentantly brutal films of all time it also provides more than its fair share of hysterically funny moments. A perfect example of this is when Ben's film crew runs into some friends of theirs who happen to be documenting a rival serial killer. It's classically comedic moments like these that make this such an incredible film.

In short, "Man Bites Dog" has the distinction of being one of only a handful of intelligently written films of this sort. For further explorations in this vein try McNaughton's "Henry: Portrait of a Serial Killer" but whatever you do skip Oliver Stone's "Natural Born Killers" unless watching a three hour music video is your idea of a good time.

Shivers on my spine.
He kills people like its nothing at all and i love it! Serial killer with a sense of humor and seems pretty normal like no other. i can't explain it so just watchi it and maiby you'll understand it like i did.

cinema!.........CINEMA!
the documentary of a sadistic killer trying out new methods, sharing his secrets with the camera crew and then going to celebrate by the seaside with a plate mussles. our killer's absolute disregard for human life, other than a thick crew of visually stunning characters, is nothing short of a masterpiece. just be warned that it is the most violent movie of all time and you will be fine.

"first you need a tear, just a tear of gin......and then a river of tonic"

cheers ... Read more

Reviews (90)

A small gem
A heartwarming comedy. The story of a boy age 7, who is confused as to whether he is a boy or a girl. He has a penchant for wearing his sister's dresses and playing with dolls. The boy, played by George Du Fresne is very endearing and radiates innocence, which remains despite hostility towards him from other members of his community due to his unusual dressing habits. The film has a similar type of charm to another French film 'Amelie', The lead characters in both films are quintessentially good and kind. Hollywood rarely, if ever makes films like this. When attempts are made they usually fall into the trap of too much sentimentality, too little understanding of the outsider, the oddball and the quirky.

The film is subtitled, but there is something poetic about the French language and the viewer assimilates the background dialogue as if by osmosis. In fact I could probably watch this without subtitles, despite understanding very little French, simply because the scenes and characters are so visually captivating. The film is topical as well, with the rise of the far right in France comparable to the bigotry that the main character faces from his community, due to their strict conservative values.

( review by Melchizedeck )

Adverse sexuality in society (Ma Vie en Rose)
Ma Vie en Rose is a provocative film about a young boy that urns to be a girl and the struggle that he and his family go through in order for him to find himself.

The young boy, Ludovic, feels so strong that he is a girl that he goes to extreme lengths to prove his sincerity. He wears dresses, make up, and watches a show that is equivalent to America's Barbie. He prefers to play with dolls than army men and dances over playing sports. Though Ludovic is anatomically male, everything he does is expressed as female. He even tries to kiss another boy. This action does not make him gay. Because he believes so sincerely that he is a girl, all of his actions seem normal to him.

The neighbors have a different idea of what Ludovic is. They call him "bent" and ban him from their homes and families. At first, Ludovic's parents are accepting and allow his behavior, but as it intensifies, they begin to worry and send Ludovic to a psychologist, who can offer little help.

Ludovic then goes to stay with his grandmother, the only person that accepts him for him. His parents are forced to move to another town after Ludovic's father loses his job, most likely because of Ludovic's behavior. After this move, his parents start to try and accept Luovic, but with little results and Ludovic starts to try and act more like a boy. Things seem to be going well, until a neighborhood girl has a costume party and forces Ludovic to switch costumes with her. Ludovic's mother flips out and tries to hurt him. When she is pulled off of him, she wanders the streets until she sees a 'Barbie' billboard. The billboard helps to show her what Ludovic is really like, a sweet, confusioned little boy looking for guidance, and she holds him for the first time since the problems began.

These reactions to adversity, in terms of sexuality, are faced regularly by a wide range of people. The film tries to portray them to the extreme, and does it well, making this movie on the edge of new generation of film.

Magnificent
I have never seen a more beautiful and innocent movie. Everything is realistically displayed through the eyes of a 7 year old boy, Ludovic. He believes himself to be a "girlboy" because god accidentally dropped his X chromosome into the trash which ultimately turned Ludovic into a boy. The movie is heartwrenching, but remains completely innocent. The whole atmosphere is innocense. I cried so hard while watching the movie. As the film progresses, Ludovic becomes less himself, choosing things based on other people's judgements than his own. He begins to become more timid, introverted, and tortured. His spirit is killed by everyone around him, especially his mother who supported him in the beginning. His mom cuts his hair; an asset that made him feel more feminine, making him vulnerable. The most painful scene to watch was when Ludovic went down the stairs to go outside due to the havoc his sister and brothers were causing. His mother sneered at him and asked "Where are you going?" ludovic answers that he is going outside to take a walk because his siblings are too noisy. His mother glares at him and says without any heart "It's not our fault we had to move" referring to the fact that Ludovic's "girlboy" tendencies made the neighborhood turn on the family. Ludovic stares at his mother for a second, then nods gently and leaves. His sadness really resonates. Ludovic is all alone, and no one cares. His brothers allow him to be beat up in his presence by the soccer team. His mother continually bashes him verbally saying that he ruined everyone's lives, and that everything negative was his fault. it's disgusting what society can do to such an innocent, loving boy. But it's real, and that's what is sick about the world.

i recommend this movie to everyone. you'll love it. this is the environment we let people survive in. it's disgusting how much negativity is pushed upon the fragile shoulders of little 7 year old Ludovic.

Ma Vie En Rose
What do you call a girl who would rather play sports than color? What about a girl who prefers shorts to dresses? Some might answer "normal" while others will answer "a tomboy." Nevertheless, tomboys are a common phenomenom who are fortunate enough to have no social stigmas attached to them. Find a boy who prefers to dance and wear dresses, however, and you are dealing with a sick child with homosexual tendencies. The double standard is both apparent and completely unfair. Ma Vie En Rose examines the role of sexual stereotypes in today's culture while showing how certain elements in society encourage conformity and inhibit diversity.

Seven year-old Ludovic is a boy who wants to be a girl. He likes to wear dresses and talks of marrying another young boy by the name of Jerome. Ludovic's family, who have recently moved into a new neighborhood, are embarassed by Ludovic's actions and struggle to suppress his transexual yearnings. Though Ludovic's actions are surprising to viewers, it is still more interesting to examine the panopticon his family is part of. Ludovic's father, Pierre, does not know how to best cope with his son's tendencies. Ludovic's sometimes embarassing displays of femininity threaten to derail his father's career, as Jerome happens to be Pierre's employers son (yikes!).

Those who assume that Ludovic is gay have missed the point of this film entirely. Sexuality isn't even an issue, especially at Ludovic's age. Ma Vie En Rose isn't concerned with Ludovic's eventual sexual orientation. The film is careful to keep its focus within childhood. Ludovic likes to wear dresses and makeup. He associates these things as the traits of women, and for this reason, feels he needs to marry Jerome. In an idealistic world, Ludovic would be able to enjoy these things without giving up on his masculinity. In the real world, however, Ludovic must unconsciously choose sides. He chooses the "feminine" because the restrictions of socialization give him no other option. This film is a bright (so bright in its use of color, it would make Barbie sick) and intelligent film which instead of asking why, asks why not?

Plaintive and dishearteningly honest
The representation of what is fantasy versus "real life" in this film serves to highlight the perception of how the transgendered main character, named Ludovic, comes to clash with the Parisian perception of what it is to be "bent." In doing so, Ludo brings his adoration of the barbie-esque Pam, his family, his friendship with neighbor children to clash with their societal vision of how gendered children should act. Some of his attempts to understand how a boy or girl should act play out as a comedy of errors with tragic results, have a significant negative impact on Ludo's life.

This film orchestrates commentary on the way in which the genders are impressed upon children via the media and cultural indoctrination; the way in which the female is surveyed by the masculine decision makers and how women affect their world through presence and men affect the world through action (surveyors/surveyed).

In summary, this is a difficult picture to watch without internalizing the strife the transgendered child evokes, and is a surefire way to heat up some discussion on the topic. ... Read more

Description

A Spanish soldier deserts from the army in 1931, only tofind himself arrested by a group oflocal policemen. He is released andsoon befriends a lonely, old man in the local village. Problems arisewhen the old man's daughters come to visit their father and the soldierquickly falls in love with each of them. Stars Penelope Cruz. 1994Academy Award(r)winner for Best Foreign Language Film. ... Read more

Reviews (25)

I love this movie!
Rarely will I view a movie more than once. I've seen this one twice now. Anyone who has been to Spain will see the character and spirit of the Spanish represented by the personalities of the four beautiful sisters, their father, mother, and of course the deserter from the army. The opening scene with the two Civil Guardia definitely makes a statement about the mind-set in Spain of 1931. Trueba brings it all together to give us this wonderfully humorous, sexy, interesting, and altogether pleasing film. Muchas gracias Fernando! Bravo, cinco estrellas!

Lusty & Innocent Fun
This movie is unequivocably recommended. The themes are mature and the subtitles use the most common of language. Fortunately the subtitles don't translate the most common of those words as often as they're said in this delightful Spanish farce. The movie is meaningless, but very funny and very entertaining with lots to recommend it.

The movie has excellent character development, charming and humorous dialogues, lovely cinematography and an overall attractiveness.

The male lead has led an innocent existence in which he spent some time in a seminary, and then has deserted from the army. Now when he meets the four daughters of a libertine aging artist who has befriended him, he wants to make up for lost time. The older three daughters use him for their forbidden pleasures, and don't take the encounters seriously. Being unsophisticated, he falls in love with each until the next one seduces him. He doesn't realize until almost too late, that the youngest actually loves him, although I can't see what qualities he has except for his looks. Oh, that's right, he cooks better than anyone in the family.

The costume celebration and its aftermath is one of the most hilarious I've seen in a movie regardless of language.

I'm sure there were social messages that without knowledge of Spanish customs and history, were not apparent. There seemed to be a strong association with death. The side story of the young man who is infatuated with the second daughter but can't break away from his mother or tradition, until his frustration causes him to falsely renounce everything his mother stands for, probably symbolizes certain hypocrises in Spain at that point in history as it tried to break away from a moonarchy but couldn't make up its mind.

Enjoy!

Little Conan grows up! And gets laid a lot, I see....
OK, I've actually never seen this movie, but I give it 5 stars anyway just for its great reputation and the presence of its star actor, Jorge Sanz.

You see, I'm actually a huge fan of the movie "Conan the Barbarian", which was filmed in Spain, and so had several Spanish and European actors/actresses.

I got to wondering one day about what happened to the cute little boy who played Conan as a small child in that movie. In the fabulous Opening Sequence of "Conan the Barbarian", little Conan gets to see his village wiped out by Thulsa Doom's thugs, and then watches as his mother is beheaded by Thulsa Doom as she holds on tightly to his little hand. Then little Conan is marched off to slavery....

The Commentaries from John Milius and Arnold Schwarzeneggar sparked my interest:

Arnold: Does the kid wear lipstick, or what is that? (commenting on little Conan's red lips)

Milius: Naw! that's just a kid!

Arnold: That's funny

Milius: ....that was a tough kid, I remember that....

Thanks to Amazon.com's thorough website linkages, it took just a couple of mouse clicks to find out what happened to little Conan....

...and so here he is, living it up with four beautiful young women in pre-civil War Spain!!!

S. Maes
This is a wonderfully fun, well-directed and acted film about the antics of a handsome young man and 4 tantalizing seductresses. Although the setting takes place in the 1930's, it is an ageless tale of youth and romance.

Belle Epoque, Beau Film
Belle Epoque is a beautifully rendered film with a good sense of humor and a well-paced plot. Unlike what a previous reviewer wrote, it is actually set in the years PRECEDING the Spanish Civil War, that is, when a republic was established after the abdication of Alfonso XIII in 1931. The debate between Monarchism and Carlism versus Republicanism and Anarchism -a split in Spanish society that would culminate in the outbreak of the Civil War in 1936- is made accessible as expressed by the colorful characters in this movie: the pampered mollycoddle Juanito, the irreverent priest, the artist-patriarch (who nevertheless lives like a "scared old bourgeois"). The Civil War of the 1936-39 was only the last of the many civil wars that erupted in Spain during the modern era (e.g. the Carlist Wars of the Nineteenth Century). The movie will throw light on this turbulent time as it affected ordinary people, and for those of you not squeamish about the idea of a man sleeping with four beautiful women in the course of a few days, I recommend this movie highly. "Belle Epoque" is NOT fluff or late-night soft porn; it is only disguising its gravity behind a façade of lightheartedness. ... Read more

Reviews (12)

A very funny film
I've been waiting for this Kitano film to be released in region 1 for a long time. Finally it has happaned. I must say this movie is a lot different from his other, more violence oriented films, but it's a comedy so it should be. The film holds up very well, even after watching it a few times. There are so many subtle jokes that only reveal themselves after repeated viewings. It is very important for me that any film that I purchase on dvd will remain watchable even after a few viewings, and Getting Any? certainly meets that standard.
DVD content: besides the film, which has a very prestine anamorphic transfer, there is an alternate ending, a very extensive director's bio, and the usual stuff [trailer, production notes, filmography, etc.].
If you like comedies, done in the same spirit as the funnier Peter Seller movies, like the Pink Panther series and the Party, you should definitely get this one, it won't disappoint. For Kitano fans this dvd is a must purchase, because it really shows his funny side. Highly recommended, and thank you 21st Century DreamQuest Films for releasing this funny film on dvd.

Weird yet funny Kitano comedy
Kitano's approach to comedy is quite twisted, yet it works well for most parts of this movie. Although, certain scenes could've been shorter. However, there are so many little subtle jokes planted all over the film, and I'm not talking about jokes that only the Japanese audience would understand or appreciate.
It seems to me that Kitano was greatly influenced by the Monty Python series as this movie definitely resembles the structure of that show, but that's not a bad thing. So if you want to see Kitano's comic interpretation on Japanese pop culture and society don't miss this weird comedy.

min'na yatteruka
Takeshi Kitano is my favorite Japanese director and actor so I was very pleased to hear that this film was going to be released. After watching it I definately was not disappointed. The story follows the mishaps of 35 year old Asao who only has one goal in life: to have intercourse in a car. He begins his adventure simply enough by buying a car. However,the car is a cheap, tiny blue thing that causes him more trouble than it actually helps him. He then turns to a convertable which proves to be a pure lemon. He goes on to attempt to rob banks, armor cars, beat up old men, act in movies, join the yakuza, and undergo scientific experiences to attain his goal. This is a fun film that has many laugh out loud scenes. The only problem I have with it is that it ran for a bit long. Fun stuff. One knowledgeable of Japanese cinema and popular culture will sure get a hoot out of it. But for the first Kitano film, I would reccommmend _Kikujiro_ instead

Thank you DreamQuest Films
Most of the reviewers have already praised this rare Kitano comedy, so I don't really see a reason repeating them. I just want to say that this is a really funny movie, well worth the money I paid for it, and yes, it definitely stands well after repeated viewings. I bought my DVD through Amazon Marketplace, directly through the manufacturer. What a deal! Thank you DreamQuest Films for releasing this rare film on R1 DVD.
Kitano fans should really support these small studios that dare to release less known titles from our favourite director. Now what about releasing DOLLS on DVD? I hope that film will be available on Amazon soon.

The funny side of Kitano
Though it cannot be listed amongst Kitano's best work, Getting Any is still a lot of fun to watch. It really shows the other side of Takeshi Kitano, and what he used to do when he was doing stand-up comedy. This film cannot [or shouldn't] really be compared to Kitano's other work, since it's theme is so radically different. Getting Any belongs to a different category, and it should be treated accordingly. As a comedy it stands alone among Kitano's other films, yet elements of his comic style can be found in all of those other films as well. Many people compare this movie to Monty Python films, and I think they are quite right; and just like the Monty Python films Getting Any requires multiple viewings to get all the subtle jokes. That also means that one can watch this movie several times and not get tired of its humor. The yakuza sequences are especially priceless [you can watch them over and over again]. This film will certainly entertain both the hardcore Kitano fans and the casual viewers as well. ... Read more

Description

Acclaimed screenwriter Danièle Thompson (Cousin, Cousine) makes her directorial debut with this smart comedy about a dysfunctional family thrown together at Christmastime.weblinks, ROM recipe, interview with Director, subtitle control ... Read more

Reviews (4)

Charming
I love European films. They have a different quality than that of the American ones. La Busch had that quality. It has no action, or sex, and that was just fine with me. It had wit, humor, wonderful music, and an interesting plot, with surprising twists. I will deffintely watch it again.

Un autre bijou de la France
When I first saw this movie on Italian TV [Pranzo di Natale], I had just returned from a 5-hour gig and needed that relaxing moment before sleep. Being a fan of Emmanuelle Béart, I literally ate the screen at her yet again stunning interpretation. French movies have one special feature: they are all artistically oriented. The French public is not easily impressed, and trashes US blockbusters as being the product of computer geniuses who cover flat acting.

Danièle Thompson gives the whole plot that bittersweet feel characteristic of reality - that acidic feeling in your stomach when something seems to go right but you still are not satisfied for some obscure reason. No sex. No action. The complexity of this familiar situation is not spoiled by useless scenes aimed at attracting audience. Every minute builds upon the previous, every event adds some element to the plot... which though complex, can be summarized as "finding the best compromise between love and life".

Personally I enjoy best the original dub (in French). If you are not fluent in French, the subtitles are not at all tiring and have no negative impact on the movie. I also saw it dubbed in Italian and was quite satisfied too, though I am sure English can never emit those nuances characteristic to romantic languages. Language-wise, the ending song is in a pleasant German dialect [not Russian :)] and is very "Tzigane" (gypsy), though the late mother's lover mimes the violin-virtuoso pathetically. The DVD has come out over 4 years after its release in France, and I shall be doing my best to have this film projected at the Alliance Francaise in the near future.

Excellent, engaging, French movie.
This is a very engaging, interesting movie. If you like your movies with a European touch then you will like La Buche. Emmanuelle Beart and Charlotte Gainsbourg are perfect as always. Worth watching if you appreciate a good European movie. If you understand French it is excellent!

Dysfunctional Paradise
If you are into French dysfunctional families then you have hit the mother load with this film. Father (divorced) is a philander who currently has his illegitimate son living with him but is passing him off as just a lodger to the family. Wife (divorced and widowed from second husband as film opens) confesses to her first husband that while married to him she had a number of affairs as a sort of revenge. During one of those affairs she fell in love with her lover and he left his wife for her. His wife, of course, was the woman's best friend.

Oldest daughter of this pair is a 42-year-old singer at a Russian tearoom and is pregnant by her lover of twelve years. Of course, he is married and his wife is pregnant. The middle sibling has married well but is having an affair with a flower seller. Her husband is also having affairs and intendeds to drop her. The youngest sister rides a motorcycle, fights with her sisters, and want to have a fling with her stepbrother. The stepbrother is separated from his wife who abandoned him to run off with her lover taking their daughter with her. During the run of this film she is abandoned by the lover and returns to her husband with their daughter and her son from her affair.

The one laugh I had was as the film opened the second husband is being buried. A cell phone goes off at the cemetery and as everyone checks their phones it is clear the phone that is ringing is in the coffin being lowered into the ground. And did I forget, all of this film takes place between December 20th and 25th. Merry Christmas. ... Read more

Reviews (11)

Intelligent, persuasive and true-to life
By far the best Israeli movie I've seen, Late Marriage explores the difficulties one 30-something intellectual has in individuating from his tradition-bound Georgian (as in former Soviet Union) family, who are recent immigrants to Israel. The movie, which is in Hebrew and Georgian, presents a much subtler and more convincing portrayal of the conflict between tradition and westernization, and of the more specific issue of arranged marriages, than the very popular "Monsoon Wedding." Unlike "Monsoon Wedding," this is primarily a dark film with a powerful evocation of the grip of a reactionary family on an attractive and ostensibly mature man.

The performances are uniformly terrific and there is a prolonged and explicit sex scene in the middle of the movie that is astonishing in its beauty and realism. The direction is unobtrusive and superb, with minimal camera movement and extremely long takes. Overall, "Late Marriage" doesn't really resemble most Israeli movies that I've seen - there's no reference whatsoever to the political situation, for example - and most closely resembles a quiet European art film from the 60s or 70s.

A must-have for collectors of serious cinema for grown-ups.

Late Marriage
LATE MARRIAGE is a fascinating and refreshing look at love and courtship in contemporary Tel Aviv, Israel. Free of politics and the current tragedy being played out in the streets, the movie is a raucous, honest and sexually explicit portrayal of the love of a 31-year-old Georgian immigrant for a Moroccan-Isreali single mother three years his senior. Her "advanced" age and previous marriage make her unacceptable to his family. According to cultural tradition, he must marry a younger woman. After arranging several unsuccessful blind dates, his parents become suspicious, and discover the hero's relationship with his "undesireable" lover. What follows is both funny and tragic, leading to a conclusion that is, at best, bittersweet. The dialogue and the depiction of the lovers' relationship leaves nothing to the imagination, yet this is less about sex and more about love, passion and ancient traditon. Some of the actors are amateurs (the parents of the hero are portrayed by the director's real-life parents), but the main performances are well acted. I would definitely recommend this film as an alternative to the usual summer fare, but be warned: given the frankness of the subject, it's not a "first date" movie for the unworldy.

A Great Israeli Film!
I took a chance and ordered this film not knowing too much about it. I was looking for some Israeli movies and lucked out. This movie was easy to follow (many foreign films with subtitles are not) and it was easy to follow the storyline. I'd recommend it only for adult viewers as the sexual content is high but a very honest and realistic look at modern life in Israel. Being single in Israel is more and more common and with the traditional as well as family values still as present as ever, Zaza makes it easy to sympathize with him.

This is a great film if you're interested in getting a different look at modern Israel without the politics, fighting and religious aspect. The only thing that I would change is the ending. I would have liked more closure in the end, perhaps a more smooth transition to the final scene but that final scene was a very warm and wonderful way to experience Israeli culture, music and dancing. Watch it, you won't be disappointed.

A modern tragedy and cautionary tale...Wow!
Follow your heart or do as society demands? An age old question explored with subtlety, humor, heart, and ultimately .....resignation. Beware of parental units! Fantastic movie. Sad ending.

INTERESTING!!!!
I got this movie by mistake, but I have not regretted it at all. ... Read more

Amazon.com

Marion Vernoux's romantic drama Love Etc. is based on a novel by Julian Barnes, but it echoes Truffaut's Jules and Jim (in spirit more than plot) in its examination of an impossible ménageà trois. Shy Yvan Attal and unlucky-in-love Charlotte Gainsbourg meet through a personal ad. Attal sent a picture of his handsome best friend, confident womanizer Charles Berling, but it matters little as they fall for each other's charm and sincerity. Inevitably, Berling joins the couple and the trio pals around until the marriage, when the outwardly confident but secretly lonely and desperate Berling realizes he too loves Gainsbourg and begins hounding her. Vernoux gets the best from her cast: Gainsbourg's awkward beauty and Attal's ruffled passivity create a sweetly believable couple, but there is room for lingering doubt. Berling has a lock on self-centered intellectuals in the French film industry, but here reveals a sad desperation and jealousy in his performance. Vernoux's light touch and playful asides suspend the film in a state of romantic comfort before the inevitable, sympathetic, but painful climax. What gives her modest tale character is the loving attention she gives each of the lovers and the generous, unexpected coda she rewards them--and us--with. --Sean Axmaker ... Read more

Reviews (2)

A Love Triangle.
This is a very French and very charming love story, filmed as only the French seem to know how with remarkable subtlety and sensitivity. Benoit, played by Yvan Attal, a shy and introverted bank-clerk, advertises for a girl friend and has the remarkable good fortune to meet the modest and appealing Marie, played by Charlotte Gainsbourg, who is Yvan Attal's partner in real life. She doesn't feel any instant attraction but likes him because he is nice and kind - though, as it turns out, also dull and unimaginative. He takes her to meet his best friend Pierre, played by Charles Berling, (seen playing a similar obsessive lover in L'Ennui) and for over a year the three of them go about everywhere together. Then she marries Benoit with Pierre acting as his best-man.

But throughout this time Pierre has been trying to stifle his love for Marie and failing miserably. Able to stand it no longer he declares his love and Marie is horrified. She does her best to discourage him but over many months he pursues her with a persistence that not many men would be capable of.

And in the end, as we expect, his persistence pays off. What woman could withstand such ardent overtures from a charismatic man with a sense of humour? And he behaves in a lovable, unconventional way, - a bit in the style of Cary Grant - he lies spread-eagled in the middle of the road to stop an approaching car and he stands on his head when she takes his photograph at the sea-side, both actions a bit beyond the nice but plodding Benoit. When however, Benoit discovers their guilty secret he reacts violently, a scene that seems a little out of place in a film which up to that point has been pleasant and amusing.

Betrayed by his best friend and the woman he loves, and consequently losing them both, is it possible for him ever to be happy again? Well the film does end happily - if a little unconvincingly - to the accompaniment of a very moving and very French ballad. Believe me it will bring tears to your eyes.

When betrayal feels right..
If you are deceived at the very 1st step, how would you feel? If the picture that comes as a reply for your ad belongs not to the sender but to a close friend of his, does it mean that you are deceived? How would you react when "that" close friend of your husband says he is in love with you? Are in you love with your husband or the man in "that" picture? If you do feel deceived at the 1st step, would you admit it & enjoy adultery?

Marie, Benoit & Pierre form this infernal triangle with touching humour. Freely based on Barnes' novel "Talking it Over", Vernoux depicts an unforgettable romantic comedy, sometimes reaching the shores of a heart-wrenching drama. The artistry of Vernoux, however, is the way of juxtaposing these three different persons (and their different paths in reaching love) where the major virtues (or flaws) of being human become the intersection points. Surprisingly enough, the viewer feels close to the all three characters, appreciates & understands their motives, though the happiness of one means misery to the other. It is very striking to see how one can hurt the very dear ones with the pursuit of love & the bliss it brings. Vernoux, just like Barnes, frames this complexity in the lives of these three comical characters and, without being formal, harsh & biased, underpins the emotional havoc love can escort.

In fact, both the novel & the film mostly deal with the "etc." part, not the "love" part. After all, all emotions can blacken and/or become bitter with the "spicy" accumulation of these small "etc."s. This is actually what Marie, Benoit & Pierre experience. They hide, they deceive and they wish to find the love they deserve. Do they find it in the end? Well, they surely do, but it is shockingly (maybe preferably) different than the novel's original ending..

When it's about love, everything "seems" insignificant. Maybe that's when betrayal feels right..

Join in, and "Take This Waltz". It surely will linger in your mind for a long, long time.. ... Read more

Amazon.com

Action-god Jackie Chan does his best James Bond impression with this ecstatic sequel to the classic Supercop. The bare-bones plot has Chan in pursuit of international terrorists, but the narrative quickly gives way to an unceasing barrage of insane stunt work (including a nitro-fueled ski chase and a grandiose fight scene set inside a functioning shark tank). As with most of the aging star's recent films, there is more of an emphasis placed on big, impersonal (albeit impressive) stunts rather than the close-up combat that made him famous; but the end result is still a must-see rush for longtime fans, and a great introduction for newcomers eager to see what all the well-deserved fuss is about. The scene where Jackie takes on multiple goons while armed only with a ladder is one of his most jaw-dropping set pieces ever--and that's saying quite a lot. Be sure to stick around for the closing credits of gags gone awry, which graphically prove that Chan is truly the hardest working man in show business. --Andrew Wright ... Read more

Reviews (50)

Sticks, Tables and Ladders. OH MY!
This is Part Four to one of Chans greatest films ever, Police Story. Police Story 2, which is VERY GOOD, and one of Jackie Chans most famous movies in America SUPERCOP, which is Police Story 3, all come before First Strike. First Strike has the humor and fighting you expect from Chan films. In this Chan resumes the role of Kevin Chan, Hong Kongs best cop, and is helping the KGB and CIA on a case which leads him to a great snowboard and snowmobile chase in Russia. And then he heads to Australia. Plot twists galore lead Chan into trouble with everyone. One of my favorite fight scenes ever is the LADDER MATCH, this fight has to be seen! IT IS THAT GOOD! I have seen almost every JC film and the ladder match is one of my favorite. I watch this fight all the time and love it more each time. This is a great JC film. Not the best of the Police Story series, as the first Police Story is just incredible. But First Strike is still fun to watch over and over. Buy it now!

Killer Action, International Intrigue¿
"Jackie Chan's First Strike" is yet another tour-de-force of hilarious near non-stop action comedy featuring Chan's trademarked ultra-choreographed but jaw-dropping and awe-inspiring just plain AWESOME action sequences (including the trademarked end-of-film outtakes).

THE MOVIE:

"First Strike" follows Jackie's adventures which take him from the snow covered mountains of the Ukraine to the sunny shores of Australia as he becomes entangled in a web of deceit and danger involving a ruthless mobster smuggling nuclear arms, ruthless hitmen and a killer shark!!!

Notable Scenes:

1. The Hotel Fight Scene

2. The Warehouse Fight Scene

3. Hilarious - Jackie stripped down and forced into a funny suit

THE DVD FEATURES:

The DVD is a little sparse on special features, but it does come with a pretty detailed bio (more so than the Rumble in the Bronx DVD) and filmography of Jackie Chan, as well as the movie's director Stanley Tong. Also included is the film's theatrical trailer.

THE VERDICT:

Action movie/martial arts film fans will love this movie. The action, as well as the story, are solid. New fans of Chan will also love this film as its great action sequences. The DVD features, while a bit sparse compared to more recent DVD releases, are alright. Overall, whether you rent, borrow or purchase this DVD/movie is worth a watch at least.

Highly Recommended.

This movie is the best!
Jackie Chan's First Strike is one of the best Jackie Chan films I've ever seen! It combines great action with a better plot. The Ladder fight and the Underwater fight are just two of the amazing scenes. The action truely shows what Jackie can do. It is one of my favorite movies and if you want a great Jackie Chan movie; First Strike is for you.

GREAT
Jackie Chan is the best martial arts fighting person around today. This movie has awesome fight scenes in it which I can watch over and over again. All of his movies are awesome but there is that Jet Li comign up on him so I have a voting type thing. JACKIE CHAN VS. JET LI....... WHO WOULD WIN? IF YOU THINK JACKIE CHAN WOULD WIN PRESS YES THIS REVIEW WAS HELPFUL OR IF YOU THINK JET LI WOULD WIN PRESS NO THIS REVIEW WAS NOT HELPFUL.

Great movie with some nice fight scenes.
This is an older Jackie Chan movie. I'm going to make this pretty concise. Jackie Chan does a great job in some really great and long fight sequences. In this movie, Jackie plays himself. ... Read more

Reviews (27)

Don't miss this romantic very entertaining comedy!
"Impromptu": What a dry sounding name for such a lively movie! When this film was in theaters in 1991, I gave it little notice (even if Siskel and Ebert loved it). Then several years later the whole Jane Austen craze hit, and I was seduced into giving period pieces a view. Not to mention Hugh Grant had become all the rage in "Four Weddings and a Funeral."

Period piece + Hugh Grant = giving it a view.

I LOVED IT.

First of all, if you are expecting a calm, quiet, "polite" film, you will be surprised. This film is based on the real life of Madame George Sand, the scandalous 19th Century French novelist, played brilliantly by Judy Davis. Sand is no Jane Austen creation: She uses the f-word (though not to excess), has sex with whom she chooses, and is more likely to wear pants (which required permission by the French government at the time) than dresses. She is also charming, romantic, and intelligent.

Her friends are the famous artists of the time: painter Eugene Delacroix and composer Franz Litz (amongst others, including Litz's conniving lover, played by Bernadette Peters). As a result, this film is far more of an unrepentant romp than anything you would expect for the time and place (though this film is far from ribald-- I believe it earned its overly cautious MPAA rating of PG-13 for the aforementioned, infrequent use of the f-word). Emma Thompson gives a positively hilarious performance as a provincial society "title tart." Mandy Patinkin, does equally as well as the ex-lover (and novelist Malfie) of Sand.

Hugh Grant plays the composer Fredric Chopin. He is the polar opposite of Sand. Chopin is a man who is as delicate and refined as any French court ladies of the day. This, of course, appeals to the tougher-than-nails Sand, who finds Chopin's music to be the "voice of God." Chopin is rather troubled by the romantic attentions of such a woman, and a comedy of errors ensues.

This movie is especially appealing because it has all the romance of the best Jane Austen film adaptations, while having such a wonderfully (dare I say) feminist character as Sand. Not that anyone will read any "message" in this film; you will be too busy being entertained.

This film was out of print for some time, and I paid $100.00 for my copy as a result. Don't make the same mistake I made. Buy "Impromptu" now while you can. It is a film worthy of many repeated viewings.

Eccentric novelist pursues composer in romantic comedy
"Impromptu" is a delightful historical romance about the long, tumultuous love affair between composer Frederick Chopin and novelist George Sand. It is not a biography, for the movie's script takes great license beyond the basic dates and places. The affair might have happened this way, but most probably did not. None of this much matters, though, because the movie doesn't pretend to be strictly accurate historically and because it does a good job of capturing the spirit of the times and of its characters.

Judy Davis is marvelous as George Sand, a brilliant, eccentric woman who eschewed the social mores of her time. Already tired of her current lover, she is more determined than ever to dump him after she meets and falls in love with Chopin, nicely played by Hugh Grant. Chopin is portrayed as being a rather shy, morally upright [and uptight!] man who is taken aback by Sand's assertive nature and odd habits, which include dressing like a man most of the time. Undeterred by his thwarting of her advances, she pursues him relentlessly, almost getting him killed in a duel in the process. Playing an active part in all these goings on - sometimes for Sand's quest, sometimes against it - are Chopin's great friend Franz Liszt [Julian Sand] and his lover, Marie [Bernadette Peters]. Both Sand and Peters have substantial supporting roles, as do Emma Thompson and Mandy Patinkin. The cast alone makes "Impromptu" worth seeing. Also enjoyable is the soundtrack, almost all of which is taken from Chopin's works.

As history, this movie is dubious. As entertainment, it's first rate. It reminds me somewhat of "Emma", in that it is more comedy than drama.

George Sand And Chopin: Romantic Comedy
This 1991 movie directed by James Lepine is an absolute charm. It's a romantic comedy, it's a historical piece and a colorful introduction to the music of Frederic Chopin, Franz Liszt and the life and writings of Madame George Sand Aurore Dudevant. The romantic comedy is well-written, the actors are doing top-notch performances and the music is heaven. I don't know yet if there is a soundtrack but it's likely there is and it must be beautiful. George Sand was the pen name of the feminist writer Aurore Dudevant who scandalized proper Victorian society in the 19th century by dressing as a man, smoking cigars, abandoning her wealthy and respected husband to live the liberal lifestyle of a bohemian writer of novels. She had many lovers, including Alfred De Musset (who is played in this film by Mandy Patinkin)and her most famous lover, Frederic Chopin. It is their love story that this movie focues on. Stars Judi Davis as George Sand, Hugh Grant as Chopin and Bernadette Peters as the Countess Marie D'Agoult. I will not give away the answer. But Chopin, though he never married Sand, was greatly influenced by his knowing her and his most productive period of composing piano music came after their heartbreaking seperation. Chopin died young of tubercolosis. It's very possible that he loved George Sand but I'm thinking that for Sand, no man was really ever good enough for her. After all, she was the embodiment of the feminist, independent single woman who did'nt really need marriage or love.

Judi Davis is doing an Oscar winning performance as George Sand, who is ultimately a woman who belongs to no one and who lives life to the fullest. She has raised children to be as creative as she is and taken full responsibility for her children as well as for her elderly mother. Bored of the dull life after her divorce from the father of her children, she takes her current lover to the French countryside. There, she is invited by a wealthy hostess to her estate. The drama heightens in a soap opera sort of way when none other than Alfred De Musset the poet and ex-lover of Sand shows up. Her jealous boyfriend, Malfitte, challenges him to a duel. Meanwhile, Sand has fallen for Chopin, who is her polar opposite. While she is free, intense, devil-may-care and very healthy, Chopin is reserved, emotional, sensitive, refined and suffering of bad health with tubercolosis. Their relationship is accurate to truth but not in the way the film depicts. The disaster that happens in the country estate, comedically produced, never really happened. Bernadette Peters delivers a terrific performance as well as the scheming and bitter Marie D'Agoult, whose own marriage to Franz Liszt after having many children with him, including Cosima who later marries Richard Wagner, but that's another story and even another movie. This is a well-done movie with lots of charm and witty scenes. I especially enjoyed the entire portion in the country estate, in which the artist Delacroix, Franz Liszt and Chopin discuss over dinner the existence of God in front of a priest, put on a satirical farce play that ends badly and Sand's adorable children who are always finding some excuse to play with explosives and dynomite.

Superb
This is an excellent film which depicts with some humor and intrigue the life of Chopin. Hugh Grant and Judy Davis play fantastic parts. One actually gets a feel for the era in which Chopin lived. The music is stupendous and invites an even greater appreciation for Chopin's talents.
Thoroughly enjoyable!

i have loved this movie since london, 1990
where i first saw it on screen at a local cinema. wit, grace, charm, and granted yes, somewhat affected performances, but still a sweetness manages to come through. love & music, eternal muses, are showcased in their manic, most evocative forms here & are captured in all their energy & wit of an era of change, challenge & growth culturally...thought the 1960s were a time for pushing boundaries? it has nothing on the 1830s/40s for experimentation & artistic endeavor. watch the movie! ... Read more

Description

Paul Dedalus is standing at the crossroads of his life. He must choose his direction in life, in his career, and in his love life as he sits in fear of the despairing life that his father is unable to escape from. Featuring an extraordinary cast of France's most promising young actors and actresses, "My Sex Life" is a witty look at a group of twenty-something grad students trying to cope with life, love and everything in between. ... Read more

Reviews (10)

hmm
the first hour of this movie satisfactorily grabbbed my attention, and based on the comments of other amazon customers, i expected it to improve considerably. it didn't.

i knew a great deal of the movie would be conversations. unfortunately, most of them were rather banal. for substance, there was one glib quote by kierkegaard and one by kundera. some of the main character's reflections on the nature of relationship were somewhat insightful. however, most of the other talk centered, unfortunately, on the other characters' sexual ups and downs, which is not necessarily awful, if you like that sort of thing.

aside from that, the acting was good, the actresses rather enchanting. although i did find the contrast peculiar, in the scenes in which they were totally nude and the males fully dressed, which was the standard within the film.

disappointed, deeply...
This is a lovely film, at least it was when I saw its premier screening at the MFA in Boston. I loved the characters & dialogue, had been eagerly awaiting its appearance as/on a dvd, but, while it's here, the transfer/compression of it blows. The image quality's so poor & the colors incredibly bleached out. I wan my money back & or a better transfer (preferably). To whom do I bring my complaint to? Do the europeans lack for technology? A poor transfer was also done to another great (foreign) film, a Spanish one, titled "Vacas", which is a great film, though, not on dvd.

A Movie for Young Intellectuals
If you're looking for steamy sex scenes, forget it; while this movie does deal with sex, it does so through discussion and debate, two highly-regarded French art forms! (Perhaps a lot of the disappointment surrounding this film is due to the fact that the title was inversed when it was released in the U.S.: The French title is "How I Got Into an Argument (My Sex Life).") But don't write the film off yet; it is an excellent thinking-person's romantic comedy.

Mathieu Amalric is superb as Paul Dedalus, the central character of the film. (Amalric is excellent in any movie, actually.) Paul is a graduate student instructor who is brilliant, but lazy, and undecided in all the major areas of his life. He is too afraid to dedicate himself to a career as a professor, so he has been delaying writing his doctoral thesis for years. Though he has been with Esther for ten years, that does not indicate any form of commitment on his end, as he will not let the relationship mature or change in any form; he cannot break up with her, and he cannot remain faithful to her. Paul idolizes his only friend, Nathan, a professor of the same age who is not as brilliant as Paul, but has had the admirable drive to at least complete his thesis and secure a teaching post at the university. At the same time, Paul despises his ex-best friend Frederic, who is nearly as bright as Paul, but has an obsessive ambition and forceful ego that have propelled him to department chair over Paul. Paul has affairs with Nathan's girlfriend Sylvia, and her sister-in-law Valerie (both of whom have emotional/mental problems of their own), justifying that each one is better than Esther because they either have a job, a place of their own, and/or educational goals (none of which Paul really has for himself). Paul fancies himself Esther's rock, and eventually dumps her because "no one can carry the weight of someone else's responsibilities." The story, which switches between the present time, a few months earlier, and a year earlier, shows how Karma whips Paul around a bit, and forces him to come to terms with his insecurities, his future, and most importantly, his love for Esther.

Paul may be the main character, but Esther (a wonderful performance from the little-seen Emmanuelle Devos) is the true hero of the film. Desplechin's direction is so subtle, yet precise, that at the beginning of the film, we aren't even aware that we are seeing Esther through Paul's eyes: At first, Esther is needy, whiney, suffocating and ugly (a reflection on his esteem for her). But in the middle of the film, after the break up, we see Esther bloom. She all of a sudden becomes stunning, but not through any superficial changes. We see Esther as she truly is: Beautiful, intelligent, and completely self-sufficient, with an amazing and quiet courage. Paul may not be able to carry her responsibility, but all along, it was actually she who carried his. Her greatest fault, as well as her best quality and strength, is her love for Paul, which he is too blind to see at first, then later realizes. (Another credit to Desplechin's direction: Even when Esther is most angry at Paul, you unconsciously see him through her eyes, and see just how charming and intelligent she thinks him to be.) If you're a girl whose heart has been broken, you will relate to Esther's silent moments, her wailing moments, and her struggle to move on with her life.

Don't expect things to tie up neatly; real life never resolves itself in simple, concrete ways, and neither do French films. Along with Esther and Paul's doings, we also peek into the lives of Paul's friends and family members, who are all in their mid-twenties and early thirties, and are similarly at crossroads-with-no-signs points in their lives. This large cast of characters plays out the problem of intellectual youth: As bright as they are about academic matters, they are ignorant when it comes to human relationships, including the way they view themselves. Probably also attributed to the otherwise admirable French qualities of discussion and debate, they rationalize or theorize too much on their problems and situations in order to avoid making decisions or taking responsibility for their actions.

Do not be put off by the serious and cerebral topics of this film: It is extremely funny, but in an intelligent sort of way. Very little of the humor is physical or circumstantial (although it does have its moments where you will burst out laughing, such as the scene where the monkey gets stuck behind the heater, which a previous reviewer mentioned).

"My Sex Life" also offers an alternative view to Paris; it is the setting for all of Paul's romantic moments, but the city has never looked so grey, which reflects the loneliness of the students' lives as they struggle to find love, while blind to the love that is already there. No glamourous scenes, no sunny makes-you-happy-to-be-alive moments; this movie is as gritty as real life, and just as interesting.

Mathieu Amalric and Emmanuelle Devos were both nominated for Most Promising Actor and Actress Cesar awards (the French version of the Oscar)for this film. (Amalric took home the award.)

Video Transfer is still poor for DVD
First of all, I like this movie and had seen it on VHS before ordering it on DVD. I thought it would be a good movie to learn some French by turning off the subtitles since it has a lot of dialog and is long. I was wrong.

Problem 1: You can't turn the subtitles off.

This is ridiculous for as recent a movie as this. They obviously could have found a print without the subtitles and then offered subtle options on the DVD menu.

Problem 2: The subtitles are in white.

Again ridiculous - yellow or white with a thin black border obviously work better when against a white tablecloth or sheet (which happens several times).

Problem 3: The video quality is terrible. I've watched 50 or so DVD's by now and this one is not up to par - it almost looks like it is raining in some of the darker scenes outside. They even left the annoying marks on the upper right for a film reel change in. I can't wait till all films are just shot digitally in the first place, so we never have to get stuck with these bad transfers again.

My advice is to rent it, or if you have a player for the European region, perhaps their version is better.

Poor video transfer?
I sent the VHS version of this movie back largely unseen because the subtitles were so fuzzy. The overall video quality, in fact, I think is suspect. I look forward to watching this movie when it is successfully transferred to DVD. ... Read more

Amazon.com

Candy, based on the naughty, notorious erotic satire by Terry Southern, whose wicked pen contributed to Dr. Strangelove and Easy Rider (among other '60s classics), and adapted for the screen by the sly Buck Henry (The Graduate and Catch 22), is a bizarre second-hand reconfiguration of Candide for the permissive '60s. Swedish teen beauty queen Ewa Aulin is Candy, all breathy, wide-eyed innocence as a curvy blond kewpie doll--think Lolita, Barbarella, and Baby Spice all rolled into one--whose naiveté lands her in the sack with one dirty old man after another on a sexual odyssey. Guest cads include Ringo Starr as an embarrassingly unconvincing Mexican gardener; James Coburn preening as a surgeon who puts the "theater" into his operating theater; Walter Matthau as a snarling, insane general; and French crooner Charles Aznavour as a humpbacked spider man. Richard Burton stands out as a soused, sex-mad poet with an ever-present wind machine dramatically blowing his hair, and Marlon Brando's phony guru with a seductive line of mystic patter is downright hysterical.

Despite luscious cinematography by longtime Fellini collaborator Guiseppe Rotunno and gorgeous opening and closing sequences of space flight by Douglas Trumbull, this clumsy misfire has all the cutting satire of a Monkees episode and only half the style. Director Christian Marquand lets the film ramble interminably while his cast mercilessly mugs their way through ill-conceived roles (except Aulin, who remains a passive, almost alien presence in the center of the chaos). The result is a sloppy all-star sex farce with blunt, misdirected attempts at social topicality buried in teasing peekaboo pinup photography and sexual romps, pleasing enough eye candy but hardly the erotic, satirical, transgressive portrait the picture promises. --Sean Axmaker ... Read more

Reviews (29)

dated, but still lots of fun
This satire, based on Terry Southern's novel of the same name, does not have the book's bite and is dated, but it is still loads of fun, with a tremendous cast and crew. As a matter of fact, probably the only principal you will not know is the star -- Swedish teen model Ewa Aulin, who is absolutely stunning (in a blonde naive pouty way) in her acting debut. Everyone else is quite recognizable -- Richard Burton as the narcissistic poet with a giant need, Ringo Starr as a Mexican gardener with political issues, James Courn as an ego-driven surgeon, John Astin as the lecherous uncle, Walter Matthau as a megalomaniacal general, Charles Aznavour as a physically handicapped criminal and Marlon Brando as a guru travelling in the back of a semi. (If it sounds bizarre, that's because it is!)

The crew is nothing to sneeze at, either, wih Doug Trumbull (Blade Runner) on special effects, Fellini cinematographer Giuseppe Rotunno behind the camera, Buck Henry writing the script, and Dave Grusin (with the help of The Byrds and Steppenwolf) writing the music. Unfortunately the weak link is director Christian Marquand, who rarely seems in control of his actors or the action.

I'm puzzled about the film's advertising, which asks "Is Candy faithful? Only to the book!" because it seems inappropriate to ask if Candy is faithful to anyone here. Rather, she is continually and persistently accosted by older men who abuse her trusting and giving nature in order to use her body. How can she be faithful to lechers who want one-night stands? It seems that the marketing guys are using poor Candy too!

The film is definitely flawed but marvelously entertaining in a time-warp-ish way. Aulin is just beautiful, and it's great fun to watch Burton and Brando and all the rest ham it up. If Marquand had had a better grip on things, this could have been a classic. As it is, it's a curiosity that will probably entice you to read the book and look for other Aulin films!

The dvd has decent extras including: a trailer, radio spots, stills and interesting cast & crew bios.

Campy Candy, 3 Star Movie, 5 Star Soundtrack
You can read any of the other reviews and get the idea. This film puts together vignettes featuring a panoply of famous actors (Brando, Coburn, Burton, Matthau, et al.)and not-so-master-thespians (Sugar Ray Robinson, Ringo Starr, et al.) It is fun. Ewa Aulin is nice looking and generates the one or two emotions required for the role. The film is entertaining more for seeing the cast do so well in silly situations than for serving any plot or theme.

The soundtrack is special. Dave Grusin is mostly known as a jazz composer and musician. His soundtrack has the simplicity of the rock sounds of the late sixties blended with jazz elements. The result is one of the best collections of music I have ever heard. In addition, there is "Child of the Universe" performed by the Byrds, co-written by Grusin, and "Magic Carpet Ride" by Steppenwolf. My old vinyl disk has seen better days and I am not aware of this soundtrack ever making it to CD. Darn!

The combination of the various elements of "Candy" results in a movie I recommend viewing. I have the DVD and will view this every once in awhile for the fun and the music.

A serious movie that nobody seems to get.
Candy Christian is the blonde, blue eyed embodyment of Hollywood's image of female beauty. And, of course, everyone wants to score with her for all the wrong reasons. In the case of Ringo Starr as the Mexican gardener, it is for ethnic or economic revenge. In the case of the General, it is to breed the master race. And each of the others has his own axe to grind. It turns out that no one wants Candy for her individual qualities. They want her so they can make a statement, or because she is what Hollywood has instructed them that they should want.

The untimate irony of the movie is that she (and by implication anyone else) who conforms to the Hollywood image of female beauty and is seeking romance is doomed.

The genius of this movie is that such an edgy message - one that is easier to ignore than to recognize and bring up to the conscious level - is so well concealed in the medium of the very kind of mindless and plotless sex comedy which so frequently exploits the very same image.

Those Were the Days ... Loose, Slack Satire of the Late 60s
Based on the 'notorious' book by Terry Southern & Mason Hoffenberg (first published by French Olympia Press), "Candy" became an instant cult film when it was released. Not that this is superb or has atristic merits. On the contrary, the film is actually a hopeless case of loosely-constructed mansion which does not know where to go, or what to do. But the cast and crew included here is so impressive and the atmosphere of the film is so 60s-like, that you might forgive these fatal defects ... almost.

Swedish Eva Aulin is Candy, a pudgey-faced, cute college student. In spite of herself (or because her innocence, I say) many guys are lured to her, mostly sexually, and shows their hidden side of character. The respectable facet of their career is torn down before Candy. Or, in short, they all want to taste candy.

Many famous faces show up here; Richard Burton, Walter Matthau, James Coburn, John Huston, and Ringo Starr (yes, that's one of the Beatles). You see each actor one after another, doing some silly things, acting the part of showy professoer (Burton), crazy general (Matthau), super-surgeon (Coburn), his supervising boss (Huston), and naive Mexican (Starr). And finally, you see Marlon Brando as Guru Grindl. All these are meant for satire of the time, but looking back from now, the caricatures lost inevitably the impact. (Still, Brando's 'frozen guru' is funny even now.)

More interesting is the crew; the director is a French actor Christian Marquand, whose CV includes "Apocalypse Now: Redux" (look for him in the French plantation scene which was originally deleted). Maybe I should not say this, but the film's slack way of storytelling is largely due to him, considering the fact that the script is provided by Buck Henry. But of course, Buck Henry can do mistakes.

The greatest thing about the film is probably its soundtrack by Dave Grusin (!), which features the songs of The Steppenwolf and The Byrds. In fact, any Byrds fans should know the work, and the phychedelic rock sound is still refreshing and thrilling to hear. And the opening/closing special effects are by Douglas Trumbull, who is to direct "The Silent Running," and be the supecial effects supervisor of "Blade Runner."

The Centipede Has a Thousand Legs, But Cannot Tap Dance
I have never in my life been more confused by a movie. The title I selected for this review was intoned somberly by mystical guru Marlon Brando. As I couldn't sum the movie up better myself, I therefore selected the quote as representative of the quality dialogue found in 'Candy.' If you watch this movie, you will know what I mean.

I am actually quite a fan of campy and strange films, and enjoy plotlines gone wildly astray (think 'Red Zone Cuba' here, for instance), but this takes it to a whole new level, that being the level of having no identifiable plot whatsoever to begin with. I watched this movie twice, and was still trying to figure it out when it was done the second time. It is, evidently, a coming of age fable/parable about Candy, a lovely young woman played by Ewa Aulin.

The general operating concept here seems to be pitting Candy against any number of totally unsuitable middle age suitors, and hilarity (in theory) ensues. First there is the John Astin father figure with an electrical outlet in his head (into which a radio playing Steppenwolf is often plugged) who desperately needs a complex surgery performed by James Coburn, who is quite mad. Other potential trysting partners include Walter Matthau as an insane paratrooper, Ringo Starr as a Mexican Gardner, and my personal favorite, Richard Burton, as a scenery chewing poet who has lines like this: "The wind whipped strawberry passion of my fractured spleens."

Two stars for the supporting cast alone. The execution here is quite dismal courtesy of director Christian Marquand. If you want to have a rather bad headache or are possibly under the influence of hallucinogenic substances, this movie is perfect for you. ... Read more

Amazon.com

Jackie Chan finally conquered America with Rumble in the Bronx. If the mildly contorted English dialogue sounds peculiarly foreign and disembodied (most of it is dubbed), and the mountains of Vancouver, BC don't convincingly double for the skyline of New York City, well, peculiarities like these actually contribute something to the movie's ingenuous charm. With his disarming smile and feline physicality, the compact Chan radiates star quality. But there's more to him than charisma: at his best, the actor combines the relentlessly escalating, hyperkinetic action set-pieces for which Hong Kong is famous; the rigorous martial arts training of his idol, Bruce Lee; and the grace and daring that distinguish Buster Keaton's physical comedy. Chan also shares some of Keaton's cinematic integrity, which dictated that you shouldn't cheat the audience by faking stunts, on the set or in the editing room. Like Keaton, Chan does his own stunts, and you can see that it really is him jumping off a bridge onto a speeding boat, or clinging to the dangling ladder of a helicopter as the hostile pilot tries to shake him loose by smashing him into the sides of skyscrapers. Not that it matters, really, but the plot of Rumble in the Bronx has something to do with Chan helping the woman who has taken over his uncle's neighborhood market when she is harassed by local hoodlums. What really matters is Chan, and he's in fine form. Rumble in the Bronx doesn't rank with his best work, but it's a swell introduction to a unique star. And those stunt outtakes over the end credits are as delightfully spellbinding as ever. "See?" Chan seems to say every time he breaks a rib or twists an ankle (which happens often). "I'm doing this all for you." --Jim Emerson ... Read more

Reviews (64)

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Highly amusing movie with incredible action choreography and fight sequences, some of the best seen so far in Chan's American films. I notice this film took a few thrashings for not being as, um, deep and meaningful and powerful as some of his "better" films like Crime Story and Drunken Master II. Now I've heard that Drunken Master II is incredible, so I won't touch that, but Crime Story blows. It's more serious, but in a very dull, heavy-handed, unenriching, badly done way. A flick like Rumble in the Bronx is silly as all hell, sure, but personally I don't turn to Jackie Chan for profound art. This movie is cheesy fun; the incredible action sequences make it worthwhile cheesy fun. I will concede with another review, though, in that the "big stunts" in Chan's American movies tend to be the least impressive parts. A hovercraft is fun to watch, but not as fun as Chan's nimble physical kinetics. Same with a helicopter (Supercop) and a big tractor-thing (Mr. Nice Guy.)

One of Jackie Chan's best!
This has to be one of Jackie Chan's best movies in the US and Asia. This has one of the best blends of action and plot (where others were too heavy on action) and shows the charm of Chan. While not exactly the most realistic or intricate plots in the world, it's quirky and funny and still has plenty of action and stunts to please anyone. The stunts and action are definitely some of the better ones because of the large budget. The fight scenes are typical of Jackie Chan, using many props and gags to add flavor missing to many U.S. action movies. The highlight of the movie is the main character. Unlike the typical action hero, Keung (Chan) is more a hapless victim of circumstances. His character is like a modern day mix of Buster Keaton, Harold Loyd, and Bruce Lee.

Anyone who enjoyed Project A, Wheels on Meals, Armour of God, Operation Condor (Armour of God 2), First Strike, Supercop, or his newest gem Rush Hour will certainly like Rumble in the Bronx. Treat yourself and get it Widescreen!

Go Jackie
I'm one of Jackie's biggest fan. In this one he really showed of some shnazzy moves. This DVD had a great story and it was DA BOMB. If you are a Jackie Chan fan them you MUST I repeat MUST have it!!! Jackie kicked some serious butt in this one so stop drooling and get it!!!

4.5 Stars-Lots of action like Hoovercraft
Lets just say there is a ton of action in this movie.I believe this is the one that put him on the American map he does great fight wise in NYC.It is guarenteed to give you action.The acting has rubbed off a little but this has great scene
Acting 6 Story 9 Direction 9 Action 10 Entertainment 10
Overall=44/50 This movie gets a 88 wich is 4.5 stars good movie

THIS IS THE BEST FIGHTING MOVIE EVER
The martial arts in this movie are awesome cause yuo know Jackie Chan does all his own stunts. There are very cool fight seens in this movie. I can't stop watching them cause there awesome. besides its only ten dollars. ... Read more

Reviews (38)

Benigni's funniest movie
This is one of the funniest movies I've ever seen. Benigni is a genius when it comes to comedy, the modern Charlie Chaplain. After "Life is Beautiful", this is probably his best movie.

A sex-crazed serial killer is on the loose and has already killed a dozen women. When the goofy Loris (Benigni) is mistaken for the killer and the local police launch a 24-hour surveillance of his crazy life, the laughs begin and never end. Benigni's real-life wife, Nicoletta Braschi, also in "Life is Beautiful", stars in this one as well as a police officer who goes undercover to catch him in the act. She sublets (illegally) his apartment and movies in with him to try to entice him into his sexual psychosis. When normal life fails, she then must dance around the apartment naked shoving her genitalia right into his face.

It's a little on the edge, but in the tradition of Benigni comedy, is still quite tasteful. 17 and over only though. Sexually explicit scenes all over the place, but no nudity.

Monstrously Funny
Roberto Benigni is irrepressibly hilarious in this movie. I can honestly say that for me there is never a dull moment in the movie, and I have seen it at least five times. An adventerous, cretive crook Loris, played by Benigni, is suspected of being a serial rapist and murderer. The police is closing in on him, using a soulful police detective, Jessica, played by Benigni's real-life wife, Nicoletta Braschi. But Jessica turns out to be a savior for Loris rather than a bait. She falls in love with his sense of humor, imagination, and kindness. In the meantime, the supposed pillars of society--the chief of police, the professor of criminal psychiatry, and the foreign language professor--turn out to be extemely flawed human beings. However, you won't leave this movie hating any of its characters. Probably not even the Chinese professor who, rationally speaking, deserves hatred from a decent human being. The magic of Benigni ensures that you have fun and a chance to reflect, but you never leave his movie with a bad taste in your mouth.

The comic scences in this movie, from beginning to end, are first rate. I have seen movies produced in all kinds of countries--and this one is one of the funniest. If you have not seen it yet, do not miss out any longer and get a copy. And believe me, it is worth seeing more than once.

European style funny
I think people who experienced living in Europe may find this movie much funnier than those who did not. It should be of no surprise that this is probably the highest grossing movie in Italy whereas in the US it received sub-par reviews.

"Loris...a normal name. It warms the heart..."
There are a lot of people out there who do not like to watch subtitled movies. They'll base what they see and what they don't on this alone. If you are one of these people, and I must say that I understand how aggravating it is to have to read the whole movie, and that is why you have never seen The Monster, and insist you never will, I must say that you are missing out on something really good.
As for those who have simply never heard of The Monster, let me say that it is one of the funniest movies I have ever seen. Roberto Benigni is an excellent actor, and a hilarious one too. He is like an Italian version of Jim Carrey, only ten times better.
The Monster, or Il Mostro as it is called in Italian, is about a man named Loris who is a sane enough man, if not a little bit strange. But he is by no means a decent human being. He steals, he lies, he cheats his landlord out of potential buyers of his apartment (yet he won't pay the rent). He places supermarket items on other shoppers at the local grocery as a way to make the alarm systems go crazy, so that he can easily get away with a coat full of stolen goods. At the same time that Loris is doing all these illegal things, another man is going around raping and killing off the female population. Due to some hilarious misunderstanding, Loris is focused in on as being the main suspect. After watching a tape that the police have made of Loris on a "normal day", it is easy to understand why. In order to catch Loris "with his hand in the cookie jar", a policewoman named Jessica is assigned the job of seducing him, and once he responds to her sexual innuendoes, she is to slap on the cuffs and haul him in. After all, that will prove he is some kind of sex maniac, right?
I recommend this movie to Italians who enjoy a good laugh, fans of Benigni and any one else with a sense of humor. I first saw this movie a couple of years ago at my grandparents' house. I have loved it ever since.

GREAT SLAPSTICK
I love this sort of silly, lightweight comedy. Like many farces, the comedy comes from the misunderstandings and deceptions between characters. Although the movie is not perfect, it has some hilarious scenes that will leave you gasping for breath.

Benigni reminds me of a speaking version of Harpo Marx. Like Harpo, he is a loveable satyr and trickster. Both men are short and are not handsome, but they have wonderfully expressive faces and are masters of physical humor.

I have seen two other Benigni films: Johnny Toothpick and Life is Beautiful. The Monster and Johnny Toothpick are somewhat similar in style and content, although I prefer the former to the latter. In any case, if you enjoyed one, you probably will enjoy the other. Life is Beautiful is an entirely different sort of movie, deftly blending comedy and drama. Life is Beautiful is an outstanding film, but if that is the only film of Benigni's you have seen, you should understand that the Monster is much less serious and much more crass. ... Read more

Description

Ivan Cavalli (Leopoldo Trieste) brings his new wife Wanda (Brunella Bovo) to Rome on the least romantic honeymoon in history—a rigid schedule of family meetings and audiences with the Pope. But Wanda, dreaming of the dashing hero of a photo-strip cartoon, drifts off in search of the White Sheik, thus setting off a slapstick comedy worthy of Chaplin. The style and themes which made Federico Fellini world famous are already apparent in this charming comedy (his first solo directorial effort), featuring such long-time collaborators as his wife, actress Giulietta Masina, and composer Nino Rota. ... Read more

Reviews (6)

Early Fellini
This is a glorious trasfer of one of Fellini's earliest films. This film is much more simple and light than many of Fellini's subsequent films, but it has a charm all of its own. The fairly straightforward story holds very few surprises or twists, but it also a nice exploration of fantasy vs. reality. The introduction of the White Sheik sitting in his swing, high in the air is a wonderful moment. As the film goes on, the dashing sheik just becomes to us an overweight and vain man and our illusions, like the young wife's, are dashed. Variations of this story have been done many times, but this is one of the most pure and enjoyable.

The film is also notable for the introduction of Cabiria (Giulietta Masina) who would have her own Fellini film a few years after. It's not a very long scene, and it is included in its entirety on the "Nights of Cabiria" DVD by Criterion. Despite that, this is still a DVD worth owning to watch a master filmmaker get used to his craft.

FELLINI'S FINE FIRST FEATURE
THE WHITE SHEIK is Federico Fellini's 1951 solo directorial debut. When I think of a Fellini movie, the first things that come to mind are: the image of someone in diaphanous material floating across the screen, people in antiquated circus-like costumes and a main character who escapes into a fantasy that turns out to have a poignant impact in his or her real life. All these elements are part of the texture of The White Sheik.

A provincial couple come to Rome on their honeymoon. Ivan the groom has made an unromantic schedule of appointments for them. Wanda the young bride, an avid fan of the widely read soap opera photo-comic strips called fumetti, sneaks out of the hotel for a few hours to meet her comic book idol, The White Sheik, and give him a drawing she made. It's all innocent but one thing leads to another and she inadvertently gets taken to a distant photo shoot where the sleazy actor playing the sheik comes on to the bride, now dressed as a harem girl. Meanwhile in Rome, her distraught husband seeks to keep his bride's disappearance a secret from visiting relatives and a scheduled visit with the pope. Look for Fellini's wife, actress Giulietta Masina in a small role as the prostitute Cabiria. A few years later, Masina starred in Fellini's masterpiece, the heartbreaking NIGHTS OF CABIRIA (Criterion). Nino Rota, who became a long term Fellini collaborator, composed the evocative score.

The White Shiek has suffered little over time. I think Fellini saw life as a bittersweet fantasy full of slapstick and hope. A pretty good definition.

Additional material includes a recent interview with the two stars who reminisce about their magical time with Fellini in Rome half a century ago. Recommended

It's in the details...
Like Fitzgerald and his perfect Gatsby, Fellini learned early on how to set up a deeply satisfying ending. 8 1/2, La Dolce Vita. Cabiria. Wow! What wonderful endings.

On that note, this movie is political. It seriously questions the idea of marriage. But we only realize this in the final scene. And we know it because of a few clues.

First is the word play. The Taxi driver asks to be paid, and the uncle asks Ivan, "Are you done paying?" I'm guessing Ivan has just begun to pay for his decision - to get married.

Then there is the classic Fellini image of procession. The couple is reunited in the end, they have gotten away with their little embarrassment, unscathed, and they run to catch up with the rest of humanity on it's insanely habitual march to who-knows-where. This is an image which comes back many times with Fellini and is certainly intentional.

And finally is the obvious alignment up of the taunting flute-trill, at the end of the score, with the image of the statue looking down on man, creating a moment of laughter, or even mockery, from above. This moment is essential to understanding this movie, and is well intact in the VHS copy, but on the DVD the music has been shifted, so the music and image of the statue no longer line up! Seem trivial? Perhaps. God knows Criterion has made the world a much, much better place, so I don't blame them. But I believe the mistake is there.

All the same this is a great movie and the extra features are nice.

Si! Si! Con la esposa!
A most comic and human film, "The White Sheik" was apparently Fellini's first and, for sheer enjoyment, beats anything he did after the great "Nights of Cabiria." It made me laugh almost non-stop from start to finish.

Ivan and Wanda are a young newlywed couple from a small town-- checking into a hotel in Rome. Ivan, rather nervous and ambitious, has their honeymoon planned to the minuto--most to be spent with his relatives, including Uncle who has connections to the Vatican. Wanda, a dreamer, is taken by stories and pictures in a certain periodical. She learns from the porter the location of the publisher is only 10 minutes away. She can't resist! When Ivan takes a nap she is off for a visit. Arriving, she soon finds the characters of her dream stories in the flesh and in costume, for they are preparing to make a film. Felga! Oscar! The Cruel Bedouin! Most of all Wanda wants to meet the White Sheik for she has made a drawing of him and wants him to have it.

In the meantime Ivan, thinking Wanda was in the bath, awakens to find her gone. The relatives (all of them) soon arrive. Ivan, so anxious to show off his new wife, is perplexed at her absence and doesn't know what to say to the family. One comic event after another follows.

In a memorable scene, Ivan meets Cabiria (yes, the one we know) although he does not initiate or even consummate an affair with her as another reviewer claims. To do so would be totally out of character.

Speaking of characters, there is a great supporting cast--from the hotel clerk ("Postcard?"); the respectable Uncle ("Man to man...tell me what's happening"); the film director (shouting: "Take out the concubines! Bring on the camel!"); and, of course, the White Sheik, a sort of 1950s Flavio with his square jawed good looks and rich mane of hair. This is a great film and is highly recommended.

Fellini makes his directorial debut, and with a bang!
While honeymooning in Rome, a young bride (Wanda),dazzled by glamour and illusion, escapes the security of her future by running off with a photo-novel actor who portrays a seductive "White Sheik", to whom she writes often signing herself as "the pasionate doll". Soon, she finds reality sneaking into her romantic fantasy. Disappointed by the average quality of her idol, she goes back to her husband (Trieste) who, meanwhile, has initiated an affair with a prostitute (Cabiria) and her friend. This is the first film for which Fellini has completely responsibility as a director: Through the vicissitude of little provincial persons who discover factory-dreams, Fellini inaugurates that autobiographic element and that fancy inclination which will be constant of his cinemas. Sordi (the "White Sheik") is an irresistible seductor to excess while at the same time enslaved by his wife. ... Read more