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| 41. Secondhand Lions Director: Tim McCanlies | |
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Description Reviews (168)
Children will like this movie especially for the cheesy flashback scenes that appear to be a cross between Indiana Jones and Saturday morning cartoons. However, cheesy as those scenes appear, they fit for the purposes of the film. The movie also has something to say about faith and honesty. In fact, this is probably the best film I've seen about faith since SIGNS. It takes faith to believe the unbelievable, but when you find out what you were believing really was true, it becomes even that much more amazing. Highly recommended for families, old codgers, and eccentrics like myself.
SECONDHAND LIONS is not one of them. The story is about young Walter who is just barely in his teens and is sent to live with his two great uncles. He constantly hears rumors of their hidden treasure that they stole from Al Capone, or took from a wealthy Arab, or obtained through a lawsuit, or...whatever you want to believe. Throughout the movie, Walter learns from his uncles, Hub and Garth, how to grow into a man and what the truly important things are in life; and Garth and Hub learn from Walter how to enjoy life to the fullest. The drama here is fantastic, and only once does the emotionalism get a little over-the-top (which is why I gave it four stars instead of five). The acting is fantastic. In this adventurous film you'll be reminded of images of INDIANA JONES, LAWRENCE OF ARABIA, among many others. ... I wish every goofball (i.e. summer blockbuster) filmmaker in Hollywood -- you know, the ones that think creative filmmaking means having alot of CGI characters jumping around on skyscrapers and fighting villains in Power Ranger suits -- would simply sit down and watch SECONDHAND LIONS. Then they would know how to make a good movie.
There is no doubt that Secondhand Lions is a semi-manipulative film, it has its fair share of smarmy feel-good contrivances that betray its zeal to tug at our heart strings. But the quirky mirth of all its characters, the idiosynchratic plotline, and a healthy dose of moving, meaningful moments makes this a very wholesome experience. Duvall and Caine, as two reclusive millionaire uncles drunk on guns and eccentricity, pitch in very well. Caine warms up to his part in the film first, but the screen is really owned by a very fit Duvall, who soon becomes the pivotal character in the film as the uncle that the kid (Hailey Osment) turns to for advice. Osment does remarkably well to hold his own against these two big tykes. A barnful of cute animals and a truckful of drooling relatives round up the doozy cast. Some fantastic (literally) flashbacks form an interesting trope for the movie's core message: that in our lives having conviction in things we may doubt to be untrue is ultimately a critical virtue. This leads to a somewhat corny twist at the end but it's an interesting one to make the point. There's plenty of action and some amusing gags that even evoked loud guffaws in the theatre. All in all, whether you have kids or not, but especially if you do, this deserves a recommendation of the highest order.
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| 42. Tarzan Director: Kevin Lima, Chris Buck (II) | |
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Amazon.com Reviews (300)
The story follows the traditional Disney story line, but places a greater focus on positive messages(family, loyalty, respect and acceptance). As a result, this sets Tarzan a part from the standard Disney story line(exception Mulan). With the exception of Jane, Disney did a good job in matching actors to the characters. Unfortunately, Mimie Driver's voice and lines seemed to be out of place with her Jane Porter character. Maybe its all those Johnny Weismuller Tarzan movies I watched as kid. As with all Disney animation, music plays a major role. The scores written and sung by Phil Collins are excellent! However, there is one musical score(Trashin the Camp) which seems to be out of place in both the story line and music. Overall, this is a better than average Disney feature that hopefully is an indication of things to come for future Disney animation features.
Tarzan is definitely one of the most "live-like" animation characters in history. The story is rushed at times, and the comic side-kicks can be distracting, and even annoying. But overall it is a powerful story, with powerful emotions and conflicts, great action, and very very touching. The scene with Tarzan and his ape mother brought me to tears, and I am a 30-something guy. The relationship between Tarzan and Jane is sexy and yet innocent, romantic and yet realistic. As for the violence... Oh come on! I think Disney did a great job portraying violence in real life (but not excessive) without being encouraging or offensive. Death? Disney animation has always dealt with death and violence, starting from Snow White -- remember the Queen and her immenent death? How about Bambi's mother? How about the hundreds of Huns and Chinese soldiers who died in Mulan? Oh, at the end, Tarzan did not throw Clayton off a tall tree... watch carefully. Clayton was trying to get to Tarzan but Tarzan noticed the danger, and he was actually trying to save Clayton! Clayton did himself in because he was too obsessed. There's a lesson to be learn here. So I think the violence in Tarzan is very well done and serves as education... it is not at all gratuitous. I suggest parents discuss it with their young children. One gripe about the DVD though. I totally agree with other reviewers about the annoying previews and ads. It's a totally unnecessary marketing ploy and will only alienate their customers.
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| 43. The Fountainhead Director: King Vidor | |
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Reviews (51)
This is in a scene which occurs shortly after their first encounter, when Dominique spots Roark and his muscular forearm working at a quarry operating a drilling machine into the stone. After a long and prolongued silence which ranks among the best moments in cinema, she asks, from her height above the pit: "Why are you looking at me?" Roark replies: "For the same reason you're looking at me." And if you think that's a good moment, wait till Roark's climactic speech to the jury. Over five minutes long. (What! A movie audience sitting still through a speech? Impossible!) and absolutely spellbinding. The film version of Ayn Rand's bestselling novel was directed by the expressionist master, King Vidor, and the screenplay written by, of all people, Ayn Rand. Who, during a pre-production party accosted Jack L. Warner and warned him that if he cheapened or otherwise dumbed down her work, she would dynamite his studio. She nmeant it. Jack smiled and gave her a cigar. The Fountainhead is the story of a hero who wins. By hero, we mean an uncompromising man of genius and absolute integrity. This seems as far fetched to us as Cyrano fighting a hundred armed swordsmen---and winning! (Rostand was a major influence for Rand ) It's clearly impossible. He's not in Russia, so he won't be shot, it's not that explicit--it's America, he's bound to quietly fade into obscurity and failure. It would be naive to suppose otherwise, so how can this be a triumph instead of a tragedy? Thematically that's the question that Roark's alter egos Gail Wynand (Raymond Massey) and Dominique Francon ask themselves. Gail is the billionare owner of an "Enquirer" type of news rag who rose from poverty by giving the suckers what they wanted. He lives by the credo "Oppress or be oppressed." Dominique wants to want nothing, the logical credo of a beautifull woman who is convinced that beauty and greatness have no chance at all in this world. We first meet her as she's destroying of a statue of a Greek god. She's fallen in love with it and can't bear the pain of neeeding it, or anything else. As usual with Rand, these are tortured giants, not the "folks next door" Critics of Rand are right in stating that they are improbable beings. (Name a great man or woman of history who isn't). Roark does make Conan the Barbarian look like a wimp by comparison. But you see, that's the fun of it. As are her villains, who are NOT romanticized ( forget "Bonnie and Clyde" , "The Godfather" and the rest of zillions of ever so cool bad guys we've been fed by Hollywood for decades) they are chilling parasites, exemplified in the character of Ellsworh Toohey. I'ts Ayn Rand, people. Teenage girl sexual fantasies out of Danielle Steele combined with the mind of an Aristotle! A strange but wonderfull combination. And as to Cooper, Neal and Massey, their acting is phenomenal. Perfect casting and flawless directing by Vidor. A true classic.
First off, too all the Rand-ites out there, THIS IS A MOVIE! get over the fact that the book is better, every book is better than the movie, thats the nature of the beast. For the Non-Rand-ites out there, SEE IT SEE IT SEE IT. This movie is a melodramotic potboiler of bad movie bliss. Dont get me wrong, the production values are excellent, its beautifully shot and the cinematography is terrific. The archtectural projects are really spectacular and completely impossible to build, so they are way over the top. But the script is pure Hooey! and the music is sooooo overly-dramatic. Thats what makes this such a great film too watch. Only Ann Rand could take a good novel and cram it into such a laughably compacted screenplay. I felt I has watching cliffnotes from the novel. In the first 5 minutes a year of the story goes by, and the whole film is like that. There are some very good moments in the film though, topped by Coopers speech to the jury. But the best sceen is after the "drills in the quarry" scene when Patrica Oneill is thinking of Cooper and in the background are images of drills with this completely campy Xylophone music acompanying it. Its one of the most overtly sexual suggestive scenes ever put of film and it hilarious, and dont forget to wait till the end, when you can see the Worlds Greatest 200 story Phallic Symbol ever created on film in the Wymann Building, with Cooper standing on top of course!
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| 44. Casablanca Director: Michael Curtiz | |
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Reviews (359)
Obviously, the war in progress outside of Rick's cafe cannot be denied although he makes every effort to insulate himself and his clientele from it. There is no shortage of social and political issues and yet, in my opinion, the significance of the film -- and its enduring appeal -- is explained by the development of the relationship between Rick and Ilsa. The final resolution is necessarily somewhat ambiguous, I think, precisely because the relationship between two people in war time faces quite different challenges, obligations, and implications than it would otherwise. Ultimately, having recently seen this film again in a special edition, accompanied by an abundance of supplementary features (e.g. Roger Ebert's commentary, Lauren Bacall's Introduction, and about ten minutes of additional scenes and out takes), I think the film now has a special symbolic significance which could not have been evident when it was released in 1942. More specifically, it somehow dramatizes what so many of us also struggle with when seeking a balance of obligations to ourselves and to others as well as to certain values which sustain the human race, especially during crises which threaten its survival. Perhaps I make too much of this film but these are among the reasons why it continues to hold special meaning for me.
Casablanca! The very name conjures up an exotic mix of adventure, intrigue, heroism, selfless sacrifice, and romance. Hear the title of this 1942 Best Picture winner and your memory will provide you with images of Humphrey Bogart, Ingrid Bergman, Paul Henreid, Dooley Wilson, Peter Lorre, and Claude Rains. Or maybe you'll hear snatches of Max Steiner's unforgettable score, with its interpolation of Herman Hupfeld's "As Time Goes By" and the stirring strains of "The Marsellaise." Based on the stage play "Everybody Comes to Rick's" by Murray Burnett and Joan Allison, the movie tells a dramatic story of refugees fleeing from wartorn Europe and making a perilous trip to Casablanca in French Morocco. It is December 1941 and that French colony is under the control of "unoccupied France." Ostensibly neutral in World War II, Vichy France is nevertheless a German vassal state, as the arrival of Major Strasser (Conrad Veldt) clearly demonstrates. Strasser's mission in Casablanca: to stop Czech underground leader Victor Laszlo (Henreid) from obtaining one of two exit visas stolen from two murdered German couriers and escaping from the Gestapo. Having tracked the defiant Laszlo after his escape from a Nazi concentration camp, Strasser is determined to capture the symbol of anti-Nazi resistance once and for all. Accompanying Laszlo is the beautiful Ilsa Lund (Bergman), a young Norweigan student whom he married in secret before he was captured by the Gestapo in 1940. Devoted to her husband and his great cause, Ilsa has been at his side since Laszlo's miraculous escape and sudden reappearance in Paris. Unbeknownst to Laszlo, however, his fate will now rest in the hands of American saloonkeeper Rick Blaine (Bogart). In the months following Victor's escape from the concentration camp he was reported as "presumed dead." In loneliness and despair, the grieving Ilsa met and fell in love with Rick in Paris shortly before the German occupation began. For a brief time the lovers were together, only to tragically part ways when news of Laszlo's return reached Ilsa. Now, in the eve of America's entry into World War II, Victor Laszlo's fate hangs on the conflicting emotions felt by both Rick and Ilsa, as well as the shifting loyalties of French police Capt. Louis Renault (Rains). The screenplay by Julius J. and Philip G. Epstein and Howard Koch is a wonderful mixture of romance, intrigue, drama and comedy (the latter provided both by colorful characters and witty exchanges). Director Michael Curtiz and producer Hal B. Wallis made Casablanca as one of many movies produced in 1942, never knowing that it would become a classic of Hollywood's Golden Era.
There are many movies but very few great films. The few include Gone With the Wind, Wizard of Oz, Lawrence of Arabia, Schindler's List, The Godfather, and, of course, the rarely seen Imitation of Life. This is at the head of those. It is at the head of all films. "Casablanca" is about Rick (Humphrey Bogart), the owner of an American bar in Morroco, who is visited by Ilsa (Ingrid Bergman), the object of a love affair in Paris a few years earlier. She is accompanied by her husband (Paul Heinreid) who knows nothing of this but is only interested in acheiving two exit visas because they are both wanted. What follows is the most romantic and thrilling film of all time. The DVD transfer is nothing short of miraculous. The film looks like it had been filmed today in B & W. Even the mono soundtrack sounds breathtaking. The DVD does not shy away from some amazing special features. I don't want to spoil them but anyone will find them interesting. I promise you this is one of the finest DVD packages on the market. So go out now and buy the film that recieved three Academy Awards for Best Picture, Best Director, and Best Screenplay; the film that was called the Second Greatest Film of All Time on the AFI's 100 Best List (it's second to Citizen Kane); and also called the Most Romantic Film of All Time by the AFI's 100 Most Romantic Films. "Play it again, Sam."
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| 45. Anne of Green Gables Director: Kevin Sullivan | |
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Amazon.com Richard Farnsworth is perfect as the shy and gentle bachelor Matthew, who confides to Anne that he never went courting because "I would have had to say something." Colleen Dewhurst delivers a nuanced and powerful performance as Marilla, a seemingly cold-hearted spinster whose no-nonsense exterior conceals a warm heart. And as Anne, Megan Follows strikes the perfect note, maturing from freckle-faced orphan to elegant and poised young woman. --Elisabeth Keating Reviews (231)
Everything about Anne of Green Gables is done with the utmost love and respect in regard to the original novel by Lucy Maud Montgomery. Anne is every child, with her eyes open to the world, her thirst for knowledge, her immediate trust, her quest for adventure, and most of all her imagination. Megan Follows captures the timeless appeal of the orphaned Anne with spirit, grace, and wit. Her humorous mishaps, personal struggles, and her newfound love for the Cuthberts as well as her love for Avonlea make her an enduring heroine throughout the ages. Who knows? After seeing this film you may discover that you are a kindred spirit as well!
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| 46. A Summer Place Director: Delmer Daves | |
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Amazon.com Reviews (29)
Dee and Donahue were the perfect teenage couple then, and they are still adorable. This film was considered quite racy when it was released; it's more PG today, but still dramatic, intense, and thought-provoking. The stars are such a pleasure to watch; they were so young and beautiful. And could anyone ever forget that gorgeous theme music? It IS the music of young love. This is still a great movie to watch with someone you love...or a bowl of popcorn!
I first heard the music from my university radio station in the early 1980's. I was attracted to it immediately --- the music (no words) was so beautiful and so touching to the young minds. And the good thing is that the station broadcasted it once every day for a long period of time, as the signing off music. That was very appropriate because the ending of the music is vey gentle, fading gradually, like a wind drifting, drifting, until it disappears in the horizon. At that time, I didn't know who wrote the music, or which country it came from, I even didn't know its title! And the strange thing is that, after I graduated, never once had I ever heard the music again! Recently I found I have to try hard to recall the melody. So I took my rescue effort: I sang pieces of the music to a librarian in my local public library, who kindly helped me find the music. Only then did I know that the song is calld "A Summer Place"! and it's a love song!
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| 47. David Director: Robert Markowitz | |
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Description Reviews (15)
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The video has two parts to it, and the second part deals with David's indiscretion with Bathsheba, and its consequences for the Kingdom of Israel. The scene is handled with great taste and it is not exploitative in the way it might be filmed today. It was essentially non-offensive, but the idea was communicated that David committed adultery. We then follow the consequences of David's actions and witness the rebellion of Absalom, and the household of David become divided from within. Then there is the other earlier situation where Tamara, his daughter, is raped, but again it is handled with a great deal of wisdom in its filming. A highly recommended movie, and if you have other movies in this collection, this would be a wonderful addition.
Gideon Turner is very good as the young David, Dominic Rowan is a great bit of casting as Absalom, and as Joab, Maurice Roeves is terrific. Other notables play the two prophets, Leonard Nimoy, in an appealing and powerful portrayal of Samuel, and Franco Nero as a handsome Nathan. The story line picks up at 1 Samuel, Chapter 9, with Saul looking for his father's mules, and proceeds through much of both books of Samuel, often being quite faithful to them. It is interspersed with the occasional Psalm, and writer Larry Gross has blended scripture and dialogue quite effectively. It is interesting to watch this with Bible in hand, to see just how cleverly this has been done. There are some moving scenes, like David's annointing, and his proposal to Abigail (played by the beautiful Lina Sastri). The only part that does not work for me is the story of Amnon; it is pieced together in an awkward and sluggish way, but fortunately does not last long, and the rest of the intricate story moves along at a quick pace, making this is a way above-average film for television. | |
| 48. Rocketman Director: Stuart Gillard | |
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Amazon.com Reviews (58)
"Rocketman" has some parts that are hilarious and will keep you laughing for awhile. Some of the funniest parts are when the monkey steals Fred's (Harland Williams) contraption in which he's supposed to sleep for months in and when Fred and Captain Overbeck (William Sadler) go for a walk on mars and Fred finds out that he's got just a little bit of gas overload. "Rocketman" is hilarious and if you like comedy movies, I recommend getting it. It's a comedy movie that you can watch with the whole family and never get tired of it.
This movie is good, clean fun and truly appropriate for all ages. If you like any of the movies I mentioned at the outset, or are just looking for something to show the kids, give this one a try.
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| 49. Shrek 2 Director: Conrad Vernon, Andrew Adamson, Kelly Asbury | |
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Reviews (158)
As with the original, this film is not appropriate for kids under the age of 8. As with the original, more than 20 million kids under the age of 8 will have seen this film by this time next year. That's just a fact of life, I guess! Already SHREK 2 is breaking box office records, most notably the coveted five-day-opening-weekend record, earning over $125 million. It will undoubtably end up with an over-half-billion-dollar take at the U.S. box office alone, easily surpassing that of the original. But really, it isn't all hype: SHREK 2 definitely earns its standing as the most anticipated movie sequel of the year. Add to that the best comedy of the year! MOST RECOMMENDED
And that's how "Shrek 2" comes to be, on a different level, a sequel to equal its predecessor. I literally can't remember when I've left a movie feeling this good, it's a film that deserved to break records, and hopefully will continue to do so. The film opens right where the first one left off; Fiona and Shrek (Diaz and Myers) enjoy a blissful honeymoon ... after which they head home to the swamp, where they are reunited with Donkey (Murphy) -- it seems the romance between him and Dragon didn't work out. Soon after they're arrival, the newlyweds are visited by messengers from the Kingdom of Far Far Away, who inform them that Princess Fiona and her husband, Prince Shrek, have been invited to Far Far Away for a celebration of their marriage, with a gala ball where the king and queen (Fiona's parents) will bestow their blessings on the marriage union. Shrek, figuring correctly that Fiona's parent may not be thrilled with their daughter marrying an ogre -- much less that Fiona is now an ogre permanently herself -- allows himself to be talked into going to the kingdom by Fiona, who is absolutely sure her parents will not only accept her in her current form ... but will also accept her ogre husband, whom she dearly loves. The trip back -- in a carriage shaped like a garlic bulb -- takes Shrek and Fiona and Donkey to a kingdom where the streets resemble a strip mall (Burger Prince, Tower of London Records, etc. -- it looks like Sunset Blvd. in West Hollywood, Disney-style). When they get to the castle, they see that practically every loyal subject in the kingdom has gathered to celebrate the return of the long-lost princess. But when the happy couple steps from the coach, a hush of shock falls over the crowd ... and sure enough, the reception on all levels is much closer to Shrek's vision than what Fiona had in mind. Add a conniving Fairy Godmother (Saunders), who has her own plans for Shrek and Fiona, and is blackmailing the King (Cleese) into helping her ... a catsassin name Puss-in-Boots (Banderas) who is hired to "take care of" Shrek so the evil plan can unfold ... and a magic "Happy Every After" potion that must end in a kiss before midnight for it to take hold ... and you have a great sequel that is funny, adventurous, and will appeal to the young and old alike. The animation is tops; classic as "Shrek" was, there have been still new advances in animation that make this film look even more amazing on the big screen. The characters are all warm and human -- especially Shrek and Fiona of course -- but you'll get your best laughs from Donkey ... and especially from Puss, who has a secret weapon (when fighting off the guards in one scene) that may just have you falling off your seat with laughter. While "Shrek" may be a more "fully-rounded" film, as some have said, there is not a single frame - or moment - wasted in this terrific sequel. In some ways, I liked it even better than the first, and for Murphy and Banderas alone the L.Q. (Laugh Quotient) will make it worth even a second or third viewing in the theater (and a no-brainer to own on DVD). Highly recommended, and I can't imagine anyone not liking this film -- unless you got a good bit of ogre in you, too.
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| 50. Star Wars - Episode VI, Return of the Jedi Director: Richard Marquand | |
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Reviews (212)
The Galactic Empire has begun construction on a new Death Star which is even more powerful than the first Death Star, and meanwhile, Luke Skywalker, Princess Leia, Lando Calrissian, Chewbacca, R2D2, and C3PO are attempting to rescue Han Solo from the evil clutches of Jabba The Hutt. After they rescue Han, they plan for the destruction of the new Death Star and find out that the Emperor is personally overseeing the final stages of the construction of the new Death Star. Han, Luke, Leia, 3PO, R2, and a group of rebel commandos must disable the Shield Generator on the orbiting moon of Endor to allow rebel fighter pilots to fly into the Death Star and destroy the main reactor. While the battle rages on, Luke must face his own destiny and confront Darth Vader in a battle to the death which may spell certain doom for the Rebel Alliance and their cause to restore freedom to the galaxy. The entire movie shines with an epic look whether its a space battle, a sail barge assault above the jaws of a hungry Sarlacc, a Speeder Bike chase through the redwood forests of Endor, or a lightsaber duel between Darth Vader and Luke Skywalker. The emotions involved between Luke Skywalker and the truth about his past grip the audience in the same way that Luke feels, and suspend them above the fate of the Rebel Alliance. Han and Leia's feelings for each other are more developed in this movie, and really tie up loose ends that were left from The Empire Strikes Back. The entire movie actually ties up loose ends and is kind of the resolution point for the Star Wars trilogy. This movie is definitely the best in the trilogy, and worth buying. It is not a disappointment, but one of the greatest movies of all times.
With Return of the Jedi, the space opera saga/cultural phenomenon that began with Star Wars in 1977 and continued with The Empire Strikes Back in 1980, comes to a close. This perhaps the most difficult film to categorize as far as quality and living tup to expectations. Executive Producer Gary Kurtz parted ways with Lucas after Empire, and Jedi would have been a different film in many respects had he and his ideas stayed put. However, Lucas wanted certain things and would not buge, and what the viewer gets is a climactic and spectacular, if somewhat unfocused, conclusion to one of the most beloved film trilogies of all time. Luke Skywalker, an older and wiser man for his defeat at Cloud City, attempts a daring rescue mission in the seedy lair of the gangster Jabba the Hutt, a mission to free Han Solo who is being kept as a showroom piece by the ruffian slug. This premise gives birth to the first in a string of incredible action set pieces ranging from monster pits to desert oceans to the blackness of space to the luch forrests of the forrest moon of Endor. Moving the action along, the plot is more daring even than that of the first movie. The Rebel Alliance, having learned of a new, more powerful Death Star, prepare to mount a final resistance against the station in the hopes of ending the war with one swift stroke. To help accomplish this, Luke, Han, and Leia must deactivate the generator that keeps the Death Star shielded. However, this won't even be as easy as it sounds. Luke no knows that Darth Vader is his father, and he must confront him if he is to become a fully-fledged Jedi Knight. Han and Leia are caught by a legion of Imperials and must fight a fierce geurilla battle with the help of some unexpected (and sickeningly cute) allies. The Repel fleet is caught between a rock and a hard place - literally - and must contend with both the might of the Imperial Navy and the destructive power of the Death Star while our heroes race to accomplish their mission and restore freedom to the galaxy. There are parts of Jedi where it really shows that George was going this one alone, particularly the inclusion of the Ewoks (cute, furry, evil Teddy Bears of DOOM), but even with a few marketing concessions and a bold narrative, Jedi still manages to do a LOT of things right. Luke is a more confident character, taking charge of the movie and making you care about him more than ever before as he battles Vader, the Emporer, and the Dark Side. Han and Leia, though not as prominent in Jedi as they were in Empire, are still a joy to watch, particularly in the case of their sometimes-bumbling relationship. Even Lando is given a good deal more screen time, and more importance. Though the characters seem driven by the plot rather than the other way around, this is really the only way the concluding chaper ot the Star Wars Saga could have played out. As for the Special Edition of Jedi, it is perhaps the most despised of the three. In addition to the requisite digital additions, Lucas added in an entirely new ending sequence of galtactic (literally) proportions to play along with the Ewok celebration after the battle, going so far as to include all new music. Sure, it's still nice, but why mess with something when it's so good? Either way, this is still a darn good version of a darn good movie, and one that had a hefty bill to fill coming out of the gates. No movie collection is complete without the Star Wars Trilogy, and the trilogy isn't complete without Return of the Jedi. And hoestly, it's really such a FUN movie that it shouldn't be any other way. If you don't have this, buy, it, or, even better, wait for the DVD release later this year. Either way, the Force will be with you, always.
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| 51. Star Wars - Episode IV, A New Hope (Special Edition) Director: George Lucas | |
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Amazon.com Reviews (283)
From Hero Luke Skywalker's symbolic journey from his home Tatooine to the moment of victory at the finale, we are greeted with a myriad of fantastic characters, especially Han Solo, played by a pre-Indy Harrison Ford and his buddy Chewbacca, flying around in their Millenium Falcon. And the ultimate incarnation of evil, Darth Vader. British veteran actors Alec Guiness and Peter Cushing are excellent as a wise yet ageing "Old Ben" Kenobi and Vader respictively. And that, more than anything, is what made TPM so hollow. While the action was good, the lack of good characters was disappointing. But AOTC has regained much of the sense of adventure that this film started off.
George Lucas was at his creative peak in the "Hope," and it shows. The special effects are used to help paint the world in which the characters live. They don't distract and they don't take away from the actors' performances. The trench run with the Death Star can still live today with modern special effects laden scenes. And the actors are so convincing in their roles, unlike some in the prequels. Alec Gunniess leads the cast with his Shakesperian wisdom, and the cool Harrison Ford is just , well, cool. Also Mark Hamill is great, as is Carrie Fischer as princess Leia. And who can forget Chewie? Star Wars still delivers, watch and enjoy.
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| 52. Shrek Director: Vicky Jenson, Andrew Adamson | |
![]() | list price: $14.99
our price: $13.99 (price subject to change: see help) Asin: B00003CXXI Catlog: Video Sales Rank: 32 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
Reviews (1112)
It is easy to see with every kind of company. It's sweet, it's bitter. It's plenty of laugh and plenty of love. Music is really a big part of the film and every tune is perfect. I don't know of anybody who dislike this film. Extremely enjoyable. ... | |