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| 81. Cooler Director: Wayne Kramer | |
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Reviews (62)
The Las Vegas of "The Cooler" isn't family friendly or a fashionable destination for the rich and famous. This is a hardened, sleazy Vegas that isn't much removed from its mobster roots. And Shelly is an old school casino manager who resists the new glossy and respectable face of Las Vegas with all of his power. He tenaciously clings to the traditions and superstitions that served him well in years past, including the employment of coolers to combat gamblers on a hot streak. I wish the film had revolved more around the concept of coolers and shown more of the inner workings of old Vegas casinos. That might have been interesting. But "The Cooler" is a messy love story about an unlucky guy who turns out to be lucky in love. The trouble is that the love story is clichéd, and the characters are two-dimensional. Shelly seems like more of a stereotype than a character. This is the first time that William H. Macy has ever bored me. He always brings something interesting to his roles -until now. Bernie Lootz is a profoundly uninteresting person. All of the characters seem to lack a certain facet that would make them interesting, or realistic, or sympathetic, or anything that would endear them to the audience. And their behavior in the film's final act is completely nonsensical. That might not matter if there were something in the story to capture the audience's interest. But the story also lacks anything that would distinguish it. One thing I do like about "The Cooler" is that it presents Luck as a real thing, a commodity that can be quantified and traded. That's interesting. And a cooler is a virtual embodiment of bad luck. There's a good and original story there somewhere. But it isn't this film. "The Cooler" sports a talented cast in a story that fails to engage. Paul Sorvino, model Estella Warren, and In Sync crooner Joey Fatone have small supporting roles. I love gambling films, so I wish "The Cooler" had been better. But I can only recommend it to connoisseurs of Vegas movies.
The best thing about The Cooler is Maria Bello. She is among a handful of the most beautiful women on the screen these days. As Natalie she exudes an emotional depth and an aching honesty that almost makes this movie something great. Almost. Despite similarly wonderful performances from Baldwin and Macy, this dark comedy drowns in its "dark" (dank to be more precise). The Cooler can't figure out if it wants to be a gangster flick, a romantic comedy, a dark comedy, or an elegy for the old ways of Vegas. That the movie almost pulls this off is a credit to the actors involved. The Cooler misses its mark though. I found it enjoyable, but I have the feeling that most of my friends would either have their patience tested or balk at the heavy violence and sexual content. People watching a slightly more humorous version of Leaving Las Vegas still have to deal with the existential goo of Leaving Las Vegas--no matter the outcome or humor along the way. That said, if you feel you're up to the challenge, The Cooler, for all its scattershot befuddlement, does sing a strain of the greatest song of all: the song of Love and its power to save and transform--a song well worth listening to--in any form. "Set me as a seal upon your heart, as a seal upon your arm, for love is strong as death, jealousy is fierce as the grave. Its flashes are flashes of fire, the very flame of the LORD. Many waters cannot quench love, neither can floods drown it."
Maria Bello was also great. I loved how real the love scenes were. No airbrushing, this was obviously real people with real flaws. That's good. I hate to watch a movie while castigating myself for not hitting the gym! A very moving story.
What impressed me about Macy's portrayal of Bernie is that he is so completely used to his position as one of life's doormats that he exudes a kind of confidence in this role. In the brilliant opening of the film we see Bernie strolling through the Casino with a kind of casual self-assurance that you might expect to see from an actor playing James Bond as they say "shaken, not stirred". Bernie walks casually by a table where a player is beginning to get hot. Without even looking down Bernie reaches out and glides his fingers along the edge of the table as he walks by. Off-camera we can hear that his bad-luck imparting has worked. As unlucky as Bernie is, he at least recognizes that he is good at his job and that he performs a valuable service to the Casino. Unlucky in life and unlucky in love, Bernie secretly pines after Casino waitress Natalie, played by Maria Bello. When Natalie begins to take an interest in Bernie things get exponentially more complicated for Bernie. Alec Baldwin is Shelly Kaplow, the manager of the Casino, and he remembers the good old days before Vegas became like Disney World: back when gamblers gambled and drank, showgirls strutted around naked, and the Mob would rough you up when you owed them money. Shelly is the Casino equivalent of Baldwin's real-estate mogul in Glen Garry Glen Ross. How far will Shelly go to keep things the "old way"? How much pressure will he put on Bernie when "The Cooler" starts getting luckier - and ineffective as a cooler? This movie is fun and inventive and has great acting and dialogue. There are sex scenes that are steamy and nude so keep in mind who you watch this with. It's just barely a cut below the best casino-mobster movies. I recommend it. ... Read more | |
| 82. The Competition Director: Joel Oliansky | |
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Amazon.com Reviews (16)
And the people are lovely. Is it just because it was made in 1980 that the absense of media seems so strong? They're just lovely people with personality. Even the Piano Teacher, who's slightly stereotypical, isn't made into a joke. You feel her contained ambition. That is, if you're a pianist. ... Read more | |
| 83. The Land Before Time - Journey to Big Water Director: Charles Grosvenor | |
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Amazon.com Reviews (12)
I'm happy to be able to give my son cheap entertainment like that. If only he could watch Land Before Time Live, his life would be complete! Seriously though, he was just as or even more fascinated with the movie as he was with The Lion King on Broadway show, and that trip cost a small fortune. He loves the TV games included, the sing-a-long songs, the JumpStart Video . . . everything! Sooooo ... I give it 5 stars because he is totally engaged and entertained. The music isn't that drippy and inferior, either. I mean, you would think that the 9th in the series would be BAD, but it's really not. I guess I'm easy to please too, but the music is alright. Plus, I like the Donny Osmond song at the end so much that I am considering buying his CD. And that is amazing, considering I'm not an Osmond fan by any stretch of the imagination. So there you have it. Buy the DVD for your preschooler and let him have a ball, and know that there are a few touches for adults too.
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| 84. The Manchurian Candidate Director: Jonathan Demme | |
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| 85. Fame Director: Alan Parker | |
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Reviews (27)
I was always curious how I'd feel about the movie in 10 or 20 years. I can now say that I consider this one of my all time favorites. It still moves me like it did in 1980. Sure, there are a few things about it that are dated, but I love the characters, can absolutely relate to seeing Rocky Horror for the first time, and the mood is captured perfectly. And to this day, the scenes with "Out Here On My Own", "Is It Okay...", and "I Sing The Body Electric" give me chills.
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| 86. Strawberry & Chocolate - - Subtitled in English Director: Juan Carlos Tabío, Tomás Gutiérrez Alea | |
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Reviews (27)
Though based on a short story ('El Lobo, el Bosque y el Hombre Nuevo') by screenwriter Senel Paz which explores opposite ends of a political ideology, knowledge of recent Cuban history isn't a prerequisite for viewers of STRAWBERRY AND CHOCOLATE, a small gem from co-directors Tomas Gutierrez Alea and Juan Carlos Tabio. Far from a mere political tract, this is a joyous celebration of life and non-conformity, distinguished by Perugorria's extraordinary performance as the camp but dignified Diego, who rejects his friend's unquestioning loyalty to the Cuban political system that is stifling their beloved homeland. Their budding relationship is complicated by Diego's unrequited love for David, depicted here with remarkable honesty and compassion, particularly for a mainstream film. But it's their political differences which ultimately unite the two characters, even as Diego is forced to reap the whirlwind of his public defiance. Much of the narrative unfolds within Diego's crumbling apartment building, where David enjoys a liaison with flaky neighbor Nancy (Mirta Ibarra), who introduces the inexperienced student to the joys of sexual liberation! It isn't a terribly cinematic film, but production values are solid, and the characters are so vivid, and played with such integrity, it hardly matters; this is a movie in which ideas take precedence over action, and the emotional payoff is quite powerful indeed. Beautiful music score by Jose Maria Vitier, too. Now the bad news: Buena Vista's DVD version is incomplete, missing approximately six minutes of footage. Absent material includes a brief conversation about racism during David's first visit to Diego's apartment, and a sad little sequence in which the two characters pretend not to notice each other after meeting by accident in a bookstore. These revisions were perpetrated before the film's North American theatrical release by Buena Vista's 'art-house' subsidiary Miramax, a company which is notorious for the cavalier manner in which it treats its foreign acquisitions (their version of THE HORSEMAN ON THE ROOF is similarly incomplete). The alterations imposed on STRAWBERRY AND CHOCOLATE seem completely arbitrary, and demonstrate little more than contempt for American audiences. For the record, the UK video version runs 105m 51s at 25fps in the PAL format, which corresponds to 110m 15s at the original 24fps. There are no extras, not even a trailer (there's a puff-piece which trumpets Miramax's involvement in a 'golden age' of cinema, which is ironic given the way they treat their movies). So, four stars for the movie, two for the DVD, and only because the sound and picture quality are so good, despite a worrying amount of grain in the film's opening sequence. The running time quoted below doesn't include the Miramax/Robert Redford logos which open the US DVD print and weren't part of the original film. 103m 53s
My only complaint is why there hasn't been a DVD release of this movie just yet! With such vastly overrated mediocrities such as "Like Water For Chocolate" or "Babette's Feast" now available, it should only be a matter of time. A phenomenally enjoyable film, whatever your personal preference.
Considered by many to have been a major catalyst in improving the treatment of gays in Cuba; this film presents a rich and interesting view of Cuban society. ... Read more | |
| 87. Monty Python: Live at the Hollywood Bowl Director: Ian MacNaughton, Terry Hughes | |
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Amazon.com Reviews (9)
Dr Jacques COULARDEAU
Still, »Monty Python Live At The Hollywood Bowl« makes you roll over laughing, as usual.
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| 88. Bright Eyes Director: David Butler | |
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Amazon.com essential video Temple's movies are today marketed as children's films, but, like the classic Warner Bros. cartoons, they were made for adults. Her plucky, indomitable spirit helped America get through the Depression. She's perky and precocious to beat the band, but she suffers so on the way to the inevitable happy ending. When she gushes, "It's the best day I've ever had in my whole life," you know tragedy is imminent. In Bright Eyes she is also at the mercy of bratty Smythe (scene-stealing Jane Withers), a pint-sized tantrum-throwing terror who makes Linda Blair in The Exorcist look like a Teletubbie. A further parental advisory in these politically correct times: Joy's eagerly awaited comeuppance is a real slap in the face. --Donald Liebenson Reviews (17)
I've always been a sucker for little Shirley Temple singing "On The Good Ship Lollipop" and couldn't resist picking up this DVD.From 1934, this story takes you back to a time of innocence that just can't be done again in today's world. Shirley will tug at your heartstrings and you're happy to let her do it! This story was tailor made for Temple's charms. Already having lost her father, "the best aviator there ever was", she is now the apple of they eyes of all the flyers at the airport.Espcially one,'Loop' Merritt(James Dunn), her father's best friend who loves her dearly.Shirley lives in the home of a wealthy but nasty couple where her mother is a maid. When tragedy strikes again, and Shirley's mom meets with an unfortunate accident, the fight begins over who will adopt this adorable orphan. In the short span of 83 minutes, it's a story that has laughter, tears, adventure and lots of love. If you love Shirley..this is a must have. But it's not just the Shirley show...the rest of the cast is terrific. James Dunn, Jane Darwell,and Lois Smith will all touch you, but the two that nearly steal the show are Charles Sellon as Uncle Ned, an old curmudgeon who becomes a real softy around Shirley, and little Jane Withers...the brattiest brat there ever was. All this little tyke wants for Christmas is a machine gun! I was very pleased with this DVD by 20th Cent Fox. Yes it was a bit on the grainey side, but the film, now 70 years old, showed no scratches, lines or cracks.I hope I look that good at 70! I nearly had a panic attack though when I read the back of the box and it said that this version was colorized, but don't worry, when you pop it in the player, the first thing that comes up is a choice of the original B/W or the colorized version..so you can watch both and see which you prefer. You also get the choice of viewing it in the newly enhanced stereo or mono.There are also subtitles in English(captions), and Spanish. It's a nice one to watch during the holidays as a good part of the story takes place during Christmas.If you are a fan..introduce a new generation to Shirley. This a great one to start with. Sweet Landings.....Laurie
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| 89. The Bishop's Wife Director: Henry Koster | |
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Amazon.com Reviews (58)
The acting is superb, as one would expect from this stellar cast. The story takes place at Christmas and, while not shown as much as other Christmas movies, I think it's one of the best. Cary Grant, all charm and suave coolness, plays this part perfectly, and the viewer even sees a touch of wistful envy in the angel who cannot have the Earthly love and happiness he helps Niven and Young rekindle for themselves. Buy this one and watch it every Christmas (or any other time you need a happiness booster or a reminder of the importance of love and kindness). P.S.: "It's a Wonderful Life" is a good movie, but definitely I prefer "The Bishop's Wife".
The film is, as one would have already guessed, set around christmas time. The main plot of the story, is that David Niven is this Bishop, who prays for guidance, of how to get a new cathedral built. Dudley (Cary Grant) is an Angel, who has been sent to help, although the Bishop does not take to him being an Angel too seriously, for some time. Dudley helps everyone he meets, but not always in the way they might prefer, to start off with. Dudley spends a lot of time with the Bishop's wife (Loretta Young) and he is not liking it. Dudley becomes the popular friend among all the people he meets, and helps, but the Bishop is the odd one out, becoming more annoyed, and frustrated with him as it goes along. It all ends nicely though, of course. The film is really wonferful. There is a skating scene, that is inparticularly memorable, among Cary Grant always charming, excellent performance. The acting in this movie, is simply brilliant. I cant possibly have seen it being any better. The script, the story, everything about this movie is great. Repeated viewings are easy, and its one of Cary Grant best movies. This DVD from MGM has a great print. It contains very few signs of scratching, and the other little artifacts you find in some movies of this age, and is an overall good looking transfer. The extras are lousy. You get the trailer (which is quite fun, might I add) but absolutely nothing else. Oh well, the print is the main thing, and they have done a good job in that part. Highly recommended.
That's because Dudley (Cary Grant) is an angel sent to give guidance to forlorn Bishop Henry Brougham (David Niven), and who eventually lights up the lives of everyone else in the Bishop's life, especially The Bishop's Wife in this delightful Christmas film from 1947. When the Bishop prays for help in getting a new cathedral built (the local millionairess widow will only give if her late husband's name is prominently displayed), Cary Grant shows up as his "assistant" but soon makes the Bishop even more miserable by charming his wife Julia (radiant Loretta Young), daughter Debby, and even housemaid Matilda (Elsa Lanchester, always wonderful). The Bishop's Wife is truly "heavenly" with Grant playing off his tried-and-true persona. Originally Grant and Niven were supposed to have the opposite roles, but Grant decided he could do more with the angel role -- and Grant was a bigger star -- so they were exchanged. Good thing, too: I can't imagine Cary playing the indecisive Bishop any more than I can imagine Niven charming a woman away from Cary Grant. Only a few things keep The Bishop's Wife from being perfect. There is an overlong ice-skating scene that really stretches the believability (I had to keep telling myself "he's an angel; he can do anything), and the film runs on about twenty minutes too long. In the beginning, Grant is so taken by Young that, if he weren't an angel, those looks would feel really sleazy. Turns out that Cary is just discovering temptations, which makes the ending all the more noble. Watching The Bishop's Wife in June (during a Cary Grant festival on Turner Classic Movies) is a little strange, but the movie is so ... happy that it's easy to slip into the vibe, especially with all the Christmas carols being bandied about like so many candy canes. I'd certainly recommend that fans of the stars watch it at least once (especially since Loretta Young, whom I don't find all that attractive, is made, through Gregg Toland's photography, into a very appealing woman). Niven is rather on the milquetoasty side and his richest scene involves him being stuck in a chair, but the rest of the film is two hours of Christmas joy.
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| 90. Chef In Love Director: Nana Dzhordzhadze | |
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Reviews (2)
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| 91. The Green Pastures Director: Marc Connelly, William Keighley | |
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Reviews (20)
With every junky new movie coming out on DVD, why hasn't this classic come out?
I would love to see this & other classics of it's time being replayed on todays television a lot more frequently. To me, todays black film makers are to reluctant to create films of life, in much lesser, simpleminded & wholesome environment. I recommend for all ages,to be a " must see " motion picture.
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| 92. Damage Director: Louis Malle | |
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Reviews (37)
I had several problems with the film one being Irons motivation to become involved with this woman in the first place. A look and phone-call and then BAM! OK... but why was he so willing to jump into the dark waters? Power? Lust? Carelessness? Boredom? And herein lies the major weakness of the film. The film deals almost exclusively with the obsesson of Iron's character with Binoche but does not deal with the obsession of the mother (Iron's wife) with her son. Her relationship is clearly destructive and unhealthy but all the damage she inflicts under the guise of her love for her son never finds a voice. No fault falls on the mother when her obsession might well explain both the son's and father's weaknesses. At one part the son is talking about his family life saying that although it was good it lacked passion. His mother then replies that it is probably her fault and he replies that he rather thinks it's his father's. It's a careless and misdirecting remark and a sadly missed plot point. As you may expect there are many sex scenes. I don't know what I was expecting but many made me laugh. They seemed so ridiculous and absurdly physical. I rather think Binoche must have suffered some bruising as a result of Iron's flailing. While this film is meant to portray the damage that a traditional obsession (i.e. an affair) can have, it also begs to be seen from the the alternate perspective of a mother's obsession for her son. I am disappointed that Malle didn't have the courage to pursue this theme more vigorously.
Nice to have the two different versions available, along with a short director commentary. 'Would have been nice to have a complete commentary track with one or more of the stars. Why isn't Leslie Caron working all the time?
Binoche is utterly beautiful, and totally passive during the sex scenes, but her accent (cleverly excused by scriptwriter Hare as the result of her travelling the world) is all over the place. Irons is convincing in the role, and Miranda Richardson puts in another perfect performance. Their son, the victim, is almost too good-natured to be true, but this helps to highlight the contrast with his father's uncontrollable lust. As with 'Day of the Jackal', the motion is very occasionally jerky -- one or two frames seem to be missing from the transfer from film reel to DVD, but not enough to harm one's enjoyment. This is not far from being a truly great film, but I think it would have needed one extra dimension -- don't ask me what -- to achieve that.
I was sick to death to watch a movie where a father of an old child has sex with his fiance but I had to keep watching it only to find out how it will end. Luckily it ended perfectly making it crystal clear that prisoners of passions and killers of harmony always get what they always asked for which is = HELL on EARTH. I would recommend this movie to people who have to learn something new each day even though it may be very disturbing to watch something like this. ... Read more | |
| 93. Mary Shelley's Frankenstein Director: Kenneth Branagh | |
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Amazon.com Reviews (90)
Just a word about the creation scene, which is somewhat different to the 'thunder and lightning' scenario we have become used to. The monster floats in a tank full of amniotic fluid, which Frankenstein moves about the laboratory by means of chains and pulleys. The spark of life is provided by power generated from electric eels. Frankenstein, stripped to the waist, slips and slides on the fluid that has now poured onto the floor, and strikes the monster on the back, in the manner of a doctor slapping a new-born baby. It certainly gives a novel slant to a familiar situation. Branagh directs and also plays the part of Frankenstein with energy and gusto. Robert DeNiro makes a formidable monster, but also manages to elicit our sympathy for his plight, which is just how it should be. The supporting performances from a host of well known British actors are generally good, perhaps the most interesting being John Cleese. He does well in a straight role as Dr. Waldemann, who takes Frankenstein under his wing at medical school. The comic relief is provided by Tom Hulce as Frankenstein's friend, Henry Clerval. This is a good and entertaining version of Frankenstein, and well worth a look.
I am wondering why De Niro was talking like an englishman Maybe I missing something; should'nt the people so german?
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| 94. Long Hot Summer Director: Stuart Cooper | |
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Reviews (12)
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| 95. Wild in the Country Director: Philip Dunne | |
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Reviews (5)
With a strong supporting cast including a young Tuesday Weld who was only 17 years old during the film's production. She was one of the hottest and wildest starlets in Hollywood and already had romances with two of of her costars in the film - Elvis and Veteran Actor John Ireland. Produced for Twentieth Century Fox by Jerry Wald. Released June 22, 1961. Color.
This is one of the best Elvis movies except for a few things. I felt that the difficulties between Mr and Mrs Macy should have been detailed a little more - you never quite understand what exactly was wrong between them that he wanted to divorce her. The other fault is that many times characters who kept appearing were never built up so that you could understand what was going on with them. Mr Macy's son Cliff was a primary example of this. Also the two songs he sang during the film didn't ''go''. ''I Slipped, I Stumbled, I Fell'' is a cute little tune but didn't seem to fit; he also sings a song to Noreen which also just seemed out of place. I don't know what that was called. The only songs which really belonged, in my opinion, was the title song that he sang during the credits, and the little thing he and Irene were singing on the way home from the college. This movie had a lot of truly good moments and I think that with a few improvements it really could have been impressive, with all the intrigue and spicy subplots. It was also good to see Elvis playing a character who was somebody with other aspirations than music or performance. You just need to give this movie a chance.That's all, folks.
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| 96. Death Becomes Her Director: Robert Zemeckis | |
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Amazon.com essential video Reviews (64)
Streep plays Madeline Ashton, a has-been actress, who tries to re-invent herself as a musical star. The hilarious opening sees Streep in a musical version of "Sweet Bird Of Youth" that has been titled 'Songbird'. It is at the first (and last) performance of the show that Madeline's old friend (and enemy) Helen Sharp (Hawn) and her fiancee Ernest Menville (Bruce Willis) become re-acquaninted. Madeline then proceeds to seduce Ernest and marries him herself. Ernest is a plastic-surgeon and the idea of free face-work is irresistable to the shallow Madeline. Ten years later, a new svelte Helen is having a book-signing party for the novel she has just published. By this time Madeline has turned into the 4th Gabor, and is completely paranoid about her complexion and her age. Madeline is completely unaware that the reason why Helen looks so God-damn fabulous is because she has a potion that will let her stay young forever. A lovely 'young' enchantress Listl von Ruman (Isabella Rossellini) is the woman behind the potion, and Madeline will do anything to get it....... This film is a delight, and features a great performance by Streep, who has mostly stuck to dramatic roles, and it is very refreshing to see her letting her hair down here. Hawn is as wonderful as always, although the restrained performance of Willis is at times very annoying.
I think that it is fair to say that this is a strange movie. Helen (Goldie Hawn) is engaged to be married to Dr Ernest Menville (Bruce Willis), a famous plastic surgeon. They watch a rather awful show at the theatre and go backstage to meet the star, Madeline Ashton (Meryl Streep). Madeline and Helen knew each other in high school, and Helen believes that Madeline intentionally steals every boyfriend Helen has. This is the final test before the wedding. Naturally, Madeline, who is vain about her appearance and worried about aging, does steel Ernest away and ends up marrying him herself. This drives Helen crazy, literally. We flash forward seven years to get an update on the characters, then another seven years to bring us to the main section of our story. Madeline is aging and she hates it. She meets up with Helen again, and Helen looks fantastic, as if she hasn't aged a day in the past 14 years. Helen is all glammed up and looks like a star. Madeline is starting to look frumpy. It is all starting to come full circle and Madeline's jealousy is driving her to do something rash. Rather than do something predictable (in the movies, anyway) like start killing people, Madeline goes to a strange woman named Lisle (Isabella Rossellini) and gets a potion that halts the aging process and returns the body to its youthful, more perfect image. It also bestows immortality. Now Madeline can compete with Helen again! This rivalry and this fight will continue on through life and even into death. "Death Becomes Her" is a comedy. It is a very strange comedy, and has something of a dark humor, but it is without question an original movie. It is one of the more overlooked movies in Robert Zemeckis's filmography. He is better known for "Back to the Future", "Forrest Gump" and "Cast Away". This isn't a perfect movie, but it is entertaining, creative, and interesting. One important thing that I can say is that I did not find this movie predictable at all. I had no idea where Zemeckis was going with "Death Becomes Her" until the end. -Joe Sherry
With excellent performances, an invective-laced script, and remarkable special effects, DEATH BECOMES HER takes on several great philosophical and literary concepts--and subverts them into one of the most wickedly funny black comedies in recent memory, dishy, bitchy, mean spirited, and a tremendous amount of fun. Film buffs will particularly relish this film, which references everything from THE ROCKY HORROR PICTURE SHOW to THE WIZARD OF OZ and a host of classic horror films such as FRANKENSTEIN, THE MUMMY, and CAT PEOPLE--and also tacks in everything from Tennessee Williams plays to rock legend Jim Morrison for good measure. Unfortunately, the DVD release is commonplace, offering the film in pan-and-scan only. To give the release its due, the shift from widescreen to pan-and-scan is expertly done and not in the least distracting--but still, a widescreen option for such a special effects heavy film would be preferred. And while this would seem to be an ideal film for a making-of documentary, the DVD offers only a handful of production notes as bonus. Even so, the film is so extremely well done that I wouldn't miss it on that account! Recommended. GFT, Amazon Reviewer
Helen (Goldie Hawn) is the mousy pal of glamourous Madeline (Streep.) Madeline constantly has to one-up Helen, who believes the trip ethat comes out of the mouth of her 'friend'. When Madeline successfully steals and marries Helen's boyfriend Ernest(Willis), Helen becomes obese and obsessed, ending up in a mental home where she bores the other patients by talking about Madeline, who knows of and delights in Helen's plight (the witch). A few years later, though, Madeline sees Helen at a party looking slim, young and happy. Turns out Helen has the secret to immortality and Madeline wants in on it. When she gets it, the fight really begins -- with incredible special effects -- and poor Ernest caught in the middle of it all. This is a great comedy on some real issues women face as they get older -- it's nice to see it in an exaggerated humorous light.
What starts off as a bundle of preachy ideas (potshots at a culture obsessed with looks and youth) quickly turns into a string of special-effects fueled sight-gags. Helen and Madeleine use Lisle's secret formula to remake themselves, but find that not even the youth it offers can survive their mutual hate, and the two poke CGI holes in each other. Both learn the hard way that Lisle's formula gives both life and youth, but not in equal portions (i.e. - you can live forever, but your new youth remains as fragile as the one you lost in your 30's). It's supposed to be ironic that in fighting each other, both "Mad" & "Hel" lose what they really wanted - to be "girls" again. Unfortunately it doesn't really work because Lisle's formula never really offers them that - neither wanted immortality, it's that fragile youth they wanted to keep, not their lives. It's a forced irony that doesn't work, and the plot wastes without something meatier to chew on than Mad & Hel's catfighting. While Streep & Hawn try to get some gags out of the script, the flick really belongs to Willis, proving again he can do just about anything. The story also gets some good action in the seductive form of Rosellini as Lisle - "keep your ass handy" she tells her buff entourage. If only they kept her handy as well, but her loss hits this movie once she disappears. ... Read more | |
| 97. Major Payne Director: Nick Castle | |
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The soundtrack is so good. Sounds are quite exagerated and thus become funny. For instance, during the Universal opening title when the (r) registred mark symbol appears, you hear a DING ! When Major Payne meets the Madison school headmaster, you can hear all these insects and butterflies (the headmaster loves entomology) flying and buzzing around and over the shaved head of Major Payne. This scene is purely hilarious, one of my favorite moment. I was laughing so much I thought I shall died. Maybe another victim of Major Payne (fortunately not the final one). The music by Craig Safan is particularly successful and sustains any funny actions, the Aretha Franklin's musics too. It seems obvious Craig Safan enjoyed to create a real musical background that depicts a "cartoon" atmosphere. Sometimes very serious, and few seconds later so funny. The story is not only comedy but extraordinary rich thanks to the work of Damon Wayans and the cast. One best moment is when Major Payne offers a bullet from his heart to his new "girlfriend" or when Major Payne understands that Cadet Alex Stone wants to push him outside Madison school (Do you want to see me gone?). Only Damon Wayans can play like that (heartily). The texts are outstanding (even for a french viewer). The american vocabulary is so rich and the art of using it (and expanding it) is so irresistible. I laugh from the first to the last second of Major Payne. The french translation is also a success even if the task was enormous because there is so much american idioms. Nevertheless, the french dub is really funny. I do prefer the original voice of Damon Wayans because he talks so perfectly as a USMC drill instructor. This man is not an actor, he is a human VTR! He can spend two weeks with Marines and then speaks like them. The french voice is very good but the dub actor was unfortunately unable to complete such performance. The scene with the hidden man into the closet and how Major Payne definitely "kills" the Tiger's nightmare is a masterpiece. Nick Castle did one of my favourite movie, forever and I just wanted to thank him and all the cast for giving us such good time. Vive the USMC, Vive Major Payne, Vive Damon Wayans.
"Major Payne" is a hilarious movie. While you watch the movie, you'll be laughing a lot, but you'll also see that it's a good movie. I recommend anybody to get "Major Payne."
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| 98. Heidi Director: Michael Ray Rhodes | |
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Amazon.com Reviews (9)
The outside beauty makes you feel so ugly within... I am not kidding. It's that beautiful!
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| 99. My Darling Clementine Director: John Ford | |
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Amazon.com essential video Reviews (38)
My Darling Clementine is fundamentally about the shootout at the OK Corral, arguably the most famous 30 seconds in American history. But in John Ford's loving hands, the story takes its time getting there and, in the process, becomes as graceful and easily beautiful a piece of film-making as you will ever see. In this age when movie goers prize realism, sheer violence, and de-mythology, Ford has become something of a whipping boy for those who point out the glaring historical inaccuracies present in Hollywood's traditional portrayal of the American West. These folks miss the larger picture and are the poorer for their narrow, fashionable view. In this archetypal story of Wyatt Earp, Doc Holiday, and the Clanton family, Ford was not interested in historical detail. He was creating legends, not historical accounts for the archives. Ford was a film maker. When a movie lover approaches a Ford film, it becomes necessary to give oneself over to the power of film. Once one does that, tremendous pleasures await. Such as: the townspeople of Tombstone having a dance around the skeletal frame of a half-built church while the huge, flat buttes of Monument Valley tower in the background; or Henry Fonda as Earp watching with great sympathy as Victor Mature (Doc Holiday) recites Hamlet's suicide soliloquy in a barroom (as hokey as this sounds, it is Fonda's expression that will move you, I guarantee).
This theme of sacrifice runs through many of Ford's Westerns--see also "Wagonmaster" and "The Searchers," for example. In order for the malevolent lawlessness symbolized by the Clantons to be driven out, there are some others, not malevolent themselves, who are nevertheless doomed by their inability to adapt to civilization (Doc Holliday). Wyatt represents those who must give up something they love--any hope of a future with Clementine Carter--in order to continue doing things that need doing. As previous reviewers have noted, Ford's account is a far cry from the historical events of the OK Corral gunfight. His biggest alteration of history is to change the relationship between Wyatt Earp and Doc Holliday from friendship to antagonism that is somewhat softened by mutual respect, and eventually evolves into alliance. The genuine tension between Wyatt and Doc strengthens the film. The cast is very strong. Henry Fonda's performance as Wyatt is magnificent. Walter Brennan is equally superb as the malevolent Old Man Clanton, while Victor Mature's consumptive Doc Holliday is, if not memorable, very competent. A number of Ford regulars such as Ward Bond, Russell Simpson, and Jane Darwell provide solid support. The awkward slapstick humor of some of Ford's other films is not a big factor in this one, which is another plus. Ford was the master of filming outdoor pictures in black and white. Several scenes, such as the dance at the church, are visually stunning. Of the half dozen or more films about the OK Corral gunfight, this is by far the finest, with "Tombstone" a respectable, but distant second. I highly recommend it to all.
There has been a number of movies made about the gunfight at OK Corral, however this one happens to be my favorite.
Forget about comparing this film to actual historical events. While Ford knew Wyatt Earp from his early Hollywood days when Ford was a prop boy, and he claimed that Earp told him how the gunfight really happened, he also said he wasn't trying to make a documentary when he directed "Clementine". The "facts", whatever they may be, don't matter here. As the newspaperman tells Senator Ransom Stoddard in Ford's "The Man Who Shot Liberty Valance", "When the legend becomes fact, print the legend." Henry Fonda's Earp is the classic Ford hero, somewhat distant and removed from society, quietly confident and basically nonviolent, but nevertheless commanding the utter respect of others (partly because of his reputation which has preceded him, and its inherent threat of violence). And, most importantly, he is ultimately unable to share in the peace and security that he makes possible for others. Next to his portrayal of Tom Joad in Ford's "The Grapes Of Wrath", this is perhaps Fonda's finest performance. He has never appeared more cool and comfortable in a role, as he laconically and assuredly inhabits the lawless frontier town of Tombstone. Contrasting Wyatt's sanguine pragmatism, Doc Holliday (Victor Mature) is a haunted, tragic outcast who has uprooted himself from civilization and drifted West. We learn that Doc was once a surgeon (the real Doc Holliday was a dentist, another negligible historical discrepancy), a valuable, functioning member of society, his career presumably cut short by alcoholism, consumption and undisclosed ghosts, which apparently still haunt him. The Clanton family provides the reason for Wyatt's accepting the job as marshal of Tombstone, by murdering his youngest brother, James, and making off with the Earp brothers' cattle. The miscreant Clantons, like the Cleggs family in Ford's "Wagonmaster", are the personification of evil, demented and motherless. The leader of their clan, known only as "Pa" (ominously played by Walter Brennan), would like nothing better than for Tombstone to remain open and lawless and free for the taking. Clementine Carter (Cathy Downs) appears as a civilizing angel from the East, who has come to rescue Doc from himself and bring him back to Boston (Ford's eternal bastion of Civilization in the worst sense, invariably inhabited by bigoted grotesques - though Miss Carter seems to have been spared this characterization). The tempestuous Chihuahua (Linda Darnell), who wants to run away with Doc to Mexico, embodies the wild, open frontier. While the climax naturally takes place at the O.K. Corral, the centerpiece of the film, as in many Ford films, is a dance. Its prelude unfolds majestically as Wyatt and Clementine meet in the lobby of the hotel and begin a stately walk toward the framework of the unfinished "first church of Tombstone", the sound of a tolling church bell and the strains of one of Ford's old favorite hymns, "Shall We Gather at the River" growing louder as the couple approaches the assembled congregation. Like many great moments in great films, the beauty of several elements melding flawlessly to create this sequence defies verbal description. The church, to Ford, helps legitimize the existence of a community, not only for religious reasons, but as a place where people can come together in fellowship, providing a foundation for that community's future existence. The dance, which takes place on the physical foundation of the unfinished church, is the turning point of the film, and provides possibly the most transcendent moment in all of Ford's work. It is the embodiment of the spiritual establishment of a real and lasting community, which, until the arrival of Wyatt and Clementine, and all that they stand for, had no solid foundation. Ford's use of comedy, often criticized for its broadness (but of which he was nevertheless proud), is sparing and deft in "Clementine". It is gentler and more restrained than his usual comedic fare, as in the humorous references to the aroma of the eau de toilette which the enthusiastic proprietor of the Bon Ton Tonsorial Parlor has applied to Wyatt's freshly shaven and coiffed person: "I love your town in the morning, Marshal", says Clementine, as she and Wyatt step out onto the front porch of the hotel; "the scent of the desert flower . . ." "That's me," corrects Wyatt, adding, explanatorily, "Barber." There is also the justly praised bit of business of Wyatt doing his seated "dance" on the front porch of the hotel, as he, somewhat passive aggressively, ignores the shrewish admonishments of Chihuahua. This casual, reportedly spontaneous creation of Fonda's (or Ford's, depending on the source) succinctly captures the essence of the relationship between the two characters. Ford's innately masterful sense of composition and lighting, which he displayed throughout his career, is magnificently displayed in "Clementine". The sweeping diagonal of the bar in the saloon as Wyatt walks to the door after Chihuahua's operation; the expressionistic shadows which constantly envelop the doomed Holliday's face; the somber, monumental tableau of Wyatt and Morgan, bending over the dead body of their brother Virgil in the street at night; all of these images resonate indefinitely in the viewer's memory, and all reveal a visual master in his prime. Many of the reassuringly familiar faces of Ford's legendary "stock company" are faithfully present, as was nearly always the case - with slight variations - over the years. Ward Bond, Jane Darwell, Russell Simpson, Mae Marsh, J. Farrell MacDonald and the ever-present, ever-endearing Francis Ford, John's older brother and former mentor (and a veteran of Hollywood from its infancy), all add their warm, familial qualities, counterbalancing the darker aspects of the film. Of all the Westerns I've seen, "My Darling Clementine" is the most eloquent, the most understatedly awe-inspiring - the most poetic. John Ford printed the legend. Sublimely. ... Read more | |
| 100. Popeye Director: Robert Altman | |
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The best part of this movie are the marvelous songs written by Harry Nilsson. I loved the music from Popeye when I was a kid, and as an adult who has recently re-discovered Harry's music, I'm pleased to see this out on VHS again so I could get a hold of the music in *some* form. If you liked Nilsson's "The Point", then treat yourself to this movie, and if you liked Popeye's music, check out "The Point", they're both absolutely smashing.
And a note to vhspreowner - Disney and Paramount have actually had a pretty good relationship, even after Popeye went bust, (Which actually wasn't as bad as many think - it grossed $50 million domestically, making a $30 million profit.) including Paramount's recent collaboration with Disney (through Miramax) to produce The Hours.
"Popeye the Sailor" was created by E.C. Segar as a character in the black & white (later color), Fleischer Brothers newspaper strip "Thimble Theatre" (which was a comic about The Oyl Family). He later made his debut with his own cartoon short, seen on movie screens everywhere in 1933. Walt Disney Pictures teamed with Paramount Pictures to create the 1980 live action movie directed by Robert Altman, bringing the comic character turned cartoon star into a living breathing human. The parts of Popeye and Olive Oyl were originally going to be played by Dustin Hoffman and Lilly Tomlin but ultimately went to Robin Williams and Shelley Duvall in perfect casting roles. The entire gang was aboard for the ride (Bluto, Wimpy, Swee' Pea, and all the rest along with plenty of new friends and foes). Despite Popeye being a Segar/Fleischer creation as well as having later associations with A.A.P. (Associated Artists Productions), Hanna Barbera, Disney & Paramount, Popeye is best known as being a "King Features Syndicate" and will forever be linked to all animators and produces as being King's trademark. In fact, because the exact rights for Popeye were so confusing, he was mysteriously missing from the 1989 cartoon/live action movie "Who Framed Roger Rabbit?" as the most notably absent cartoon. Due to fear of being sued, Touchstone Pictures sadly left Popeye out of the film, while every other one of his contemporaries from Mickey Mouse to Bugs Bunny appeared in the famous "Toon Town" scenes. Today, Popeye is alive and well with the King Features clan. Sammy Lerner wrote the famous theme song that has been a staple wherever Popeye has appeared. Although maybe not quite on the scale of "Pinocchio," Popeye is very popular in Italy where he is nicknamed "Iron Arm." Bill Costello provided the original voice in the cartoon and later in the 1970s, Hanna Barbera is best credited with bringing Popeye back to life in several new shows including an updated version called "Popeye & Son," where Popeye & Olive are married with their own kid (not Swee' Pea). Perhaps his popularity in Italy and throughout Europe can be linked not so much for Costello's and Barbera's contributions, but to the filming of the movie in Anchor Bay (near the capital Valletta) in Malta, a small island in the Mediterranean, just 60 miles south of Sicily. After filming, it became a hugely popular tourist attraction, and even today movies are filmed there through MFF-Malta Films Facilities ("Troy" starring Brad Pitt just wrapped filming in Malta, Greece, Spain and Italy, and Pitt no doubt will be an even huger figure in Europe now). Many of the "citizens" of the created town of Sweethaven, especially those who had to do some physical gags, were recruited from European traveling circuses. Most of the cast and crew (about 60% if you read the credits carefully) had Italian surnames! The following is a list of those credits: Richard Libertini (played "Geezil"), Larry Pisoni (played "Chico"), Peggy Pisoni (played "Pickelina"), Carlo Pellegrini (played "Swifty"), Noel Parenti (played "Slick"), Pietro Torrisi (played "Bolo"), Roberto Dell 'Aqua (played "Chimneysweep"), Valerie Velardi (played "Cindy"), Roberto Messina (played "Gozo" and was head stunt coordinator), Sammy Gemette (sound editor), Giovanni Fiore (camera operator), GianFranco Transunto (camera operator), Luigi Bernardini (camera operator), Mauro Merchetti (camera operator), Gian Maria Magorana (camera operator), Lorenzo Battaglia (underwater camera operator), Rudolfo Bramucci (gaffer), Vladimiro Salvatore (key grip), Alberto Emidi (key grip), Tony Maccario (property manager), Alvaro Belsole (construction manager), GianCarlo Del Brocco (makeup), Alfredo Tiberi (makeup), Gilberto Provenghi (makeup), Alvaro Rossi (makeup), Maria Teresa Corridoni (hairdresser), Aldo Signoretti (hairdresser), Gabriella Borzelli (hairdresser), Rita Innocenzi (hairdresser), Rita Galea (publicity), Paulo Lucidi (unit manager), Luciano Tartaglia (accountant), Gaetano Mirante (carpenter), Gugliemo Modestini (painter), Angelo Marta (sculpter), Angelo Zaccaria (sculpter), and last but not least, Mickey Chono (head caterer). Alitalia Airlines was the air transportation company of choice for all involved in the film. So as you can see, Popeye can quite possibly be considered a foreign film (although it is in English) and the fact that it's popular from the US to Europe-to everywhere in between-is no surprise. It's amazing how many Italians were involved in the creation of the characters as well as the sets. Like Italy, Malta's official religion is Catholic and it's official languages are Maltese (which is a West Arabic dialect with some Italian words) and English. The country has Maltese and English newspapers and is a huge tourist spot for those visiting nearby Sicily and even stands wonderful on it's own. In fact, tourism is the main business in the country's economy and the mild yearlong weather and beautiful seaside villages (as seen in Popeye) are no doubt it's selling points. Just watching the movie makes me want to travel there someday and the beautiful cinematography bring the sailor to life as well as any of the animators who have tried their hand at drawing the famous sailorman. Popeye has his own video game, his own stamp, a clothing line (and Halloween costume), not to mention his own real brand of canned spinach, the #2 seller in supermarkets everywhere just behind Del Monte. In fact, he is so famous that he has his own statue in Chester, Illinois-which is the birthplace of E.C. Segar. Today, Popeye can be seen on Cartoon Network and read in papers nationwide as well as on the internet. This year marks the 110th birthday of E.C. Segar as well as the 75th birthday of Popeye, and next year, Popeye the Movie will celebrate it's 25th anniversary with a new DVD. Please send me all of your Popeye questions or comments and to join the Johnny DeCarlo Popeye Fan Club, e-mail me: JohnnyItalian@aol.com ... Read more | |
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