Reviews (120)

Harsh/Graceful Modern Retelling of Orpheus, Joan of Arch, ..
Try at a short(ish) review: Breaking the Waves reminds me of Ingmar BergmanÕs work and other great auteurs who not only play with our emotions but reach into our gray matter and belief systems, stirring them all up. After 6 years, I finally felt prepared to view this passion play. It went from being a movie I should see to one that I am grateful I saw and will see again (when I am ready).

Emily Watson is stellar and accompanied by a cast that almost seamlessly makes the strange premise of a wife trying to save her husband by sexual encounters with other men believable. Even the chapter breaks connote a sense of the story looking real but also not looking real. To keep this telling from being too stark and unyielding, Lars von Tier presents an unexpected sensuality and sense of humor in the first half. Otherwise, I donÕt think we could care about these extremely religious and/or secular people for 2 1/2 hours. On the other hand, it takes its cameras, not filtering the sound of the film running through the camera spokes, into the scenes of BessieÕs search for men. It is a very painful adventure into Hades for such a simple woman child.

Ultimately, it is a story about attaining love but goes beyond to finding grace. It is a marvelous work to be in the collective consciousness and definitely not meant to be a popcorn movie. The film has an Achilles heel or two but so superficial that I hardly feel they need be noted. Make sure you have the stomach and compassion. It rang the church bells in my heart and mind.

Try pairing this movie with EgoyemÕs ÔExotica,Õ any of BergmanÕs films, Marcel CamusÕ ÔBlack Orpheus,Ô Allen's 'Crimes & Misdemeanors' or DreyerÕs ÔPassion of Joan of Arc.Õ Then go out and get some sunshine, have a good walk and dinner with loved ones.

Not your average God-obsessed-nympho movie...
A fascinating but not entirely successful fantasia that owes just about all of its power to Emily Watson, making a stunning film debut. Watson is the mentally unstable Bess, who talks to God (God seems to talk back in her voice). Bess, a virgin, marries the burly but sensitive oil-rig worker Jan (Stellan Skarsgard). Once she tastes the joys of sex, Bess becomes delirious with love for Jan. But soon he must return to the oil rig, where he has an accident that paralyzes him. The erratic and heavily medicated Jan takes it into his head to ask Bess a favor: she must sleep with other men, and tell him about the encounters, to keep him alive. Both Jan and God seem to want Bess to go through with it.

It's a mistake to take this sort of fable literally, but director Lars von Trier makes everything seem realistic with artsy touches like handheld camerawork, jump cuts, and saturated photography (by Robby Muller). He also, for whatever reason, divides the movie into chapters, and the chapter headings are surreal landscapes with sometimes grating '70s rock songs played over them. You nod and understand all the points von Trier is making, but everything is so symbolic and predetermined that it seldom truly reaches you. The film is haunting but mechanistic and, in its last third, borderline ludicrous -- the meaningful masochism gets to be more than a little much. Yet Emily Watson, who's in almost every frame, very nearly puts the entire gigantic daft movie across all by herself. Her elastic face is a playhouse for violently conflicting emotions, and she's never less than touching. With anyone else in the role (like Helena Bonham-Carter, who was going to do it but dropped out), the movie would probably collapse.

Note: Nothing on the featured cover artwork or in Amazon.com's description indicates whether this DVD is letterboxed. I'd have a look at the back cover or rent it first to make sure, as this is a widescreen, 2.35 movie that needs to be seen letterboxed, though since there is an existing widescreen VHS edition, I see no reason why Artisan wouldn't have letterboxed the DVD.

Beautiful...
This film does NOT endorse what it depicts. Obviously, the memebers of the church are misguided, in fact a great deal of the film points that out. But the film is not about them, it is about Bess, and about her love for God and God's love for her. What happens to her in the movie is not God's torture of her, it is human free will being exercised on a pure spirit, and the beauty is how her spirit always remains pure. That is why God loves Bess. God does not sugarcoat the world, and all who wish to follow him go through trials. Bess made it through those trials, and this is, as such, a TRUE CHRISTIAN FILM.

Not to mention it is cinematically the best film I have ever seen, as Heilman says, it is transcends words and descriptions. Do not let any review scare you away, if you don't like graphic sex turn it off, but this is a film about the love God has for all the how beautiful a pure spirit is.

ALERT TO CHRISTIANS
I loved dancer in the dark. I found it to be one of the saddest, most beautiful films that i have ever seen. This led me to search out other films by Lars Von Treir. This one was said to be the most comparable to it. This couldn't be further from the truth.

If there are any true christians out there, i can't tell you how strongly I advise you to stay away from this film. Maybe, like me, you saw dancer in the dark and are looking for something similar or just as good. THIS MOVIE WAS ABSOLUTELY HORRIBLE.

There are graphic sex scenes in this movie, which if alone wouldve been reason alone to not see this film. The way they depicted God in this film was what was most offensive to me. Throughout the movie there are constant scenes depicting a church involved in mass ritualism, who have no love for God or his people. They enjoy seeing people in sin and have no problem seeing them go to hell. They are constantly showing hatred towards others and fail to reveal one ounce of compassion. Another problem with how they depicted God was that he was a cruel and evil person that likes to play little games with the world. They made him out to be someone who hates his creation and wants to hurt them in the form of teaching them a lesson. They even stated that God told the main character to become a prostitute. The God of this movie shows absolutely no love.

There are many churches and people like the ones depicted in this movie. People like this do not accurately depict anyone who truely knows and loves God.

God is not someone who sits up in heaven, bitter and scolding everyone, and taking pleasure in seeing people suffer. He did not come into the world to condemn the world, but that through him the world might be saved. He loves us more than everything we could ever know. God loved us so much that he became a man, was beaten to near death and then crucified for all of us.

He loves everyone and wants to have a loving relationship with anyone who will ask him. For God so loved the world, that he gave his only begotten Son, that whosoever (anyone) believes in him would not parish, but have everlasting life, John 3:16.

If you are a christian, listen to this review from someone who loves God, and stay away from this film. If you are not a christian, God loves you more than you could ever comprehend. All he wants is for you to love him in return. Jesus Christ is God, believe and recieve.

So disappointing...
A long, slow study of life in a small northern Scottish town, ruled by the old men of the village's Calvinist kirk, as seen through the eyes of a village lass who appears to be able to hold conversations with God. And I mean sloooooow. At times fascinating and at times just frustrating, the story moves along at its own pace, broken into sections that are annoyingly introduced with still frame shots and titles.

The movie is at times beautiful and at times clearly an exercise in self-indulgence on the part of the director, Lars von Trier. What I found absolutely inexcuseable was the final, very final shot. Without giving the ending away, hearing the bells was beautiful. It was transcendant. It made up for the length and leisurely pace of the whole movie. But then von Trier spoiled all the goodwill he had just created with me by showing me the bells. Why? Oh, why? The ending ruined the movie. What, we're too dense to put two and two together and figure out for ourselves where the peels were coming from? ... Read more

Amazon.com

This first part of the critically acclaimed 1976 television miniseries focuses on the early lives of Eleanor and Franklin Roosevelt, concluding on their wedding day. The story is mostly told in flashback, as the first lady receives word of the death of President Roosevelt and, while making funeral preparations, reflects on her life with him. Distant relatives in the wealthy and sprawling Roosevelt family of New York, young Franklin and Eleanor met several times during their childhood, and much of the action in this installment of the drama utilizes young actors, including Mackenzie Phillips, who plays Eleanor at the age of 14. Playing the main characters as young adults, Edward Herrmann and Jane Alexander are brilliant in portraying the great American love story, as the privileged yet socially awkward Franklin finds himself completely captivated by the brainy and conscientious Eleanor. The miniseries was based on a Pulitzer Prize-winning book by historian Joseph P. Lash, and interspersed with the human drama are vignettes out of American history, such as cameo appearances by Eleanor's uncle Teddy, whose enormous personality suits his job as president of the United States. Eleanor and Franklin won 11 Emmy Awards, and its intelligent screenplay and fine acting have aged very well, making this a thoroughly enjoyable film. --Robert J. McNamara ... Read more

Reviews (1)

excellent look at the real Eleanor Roosevelt
the actresses portraying Eleanor in this film were well picked to play the part, Eleanor is portrayed as a real woman not just a political figure with no feelings- it kept my attention the whole 3 hours 22 min of the entire movie VOL1 & 2 included ... Read more

Amazon.com

William Hurt is perfectly cast as an arrogant surgeon who treats patients like interchangeable cogs in the machinery of his medical practice. Then he is diagnosed with throat cancer and, as the title of the memoir on which it is based tells us, he gets a taste of his own medicine. The subplot involves the solidarity between doctors, which is shattered when the newly conscious physician discovers that one of his partners (Mandy Patinkin) is trying to cover up a case of malpractice. Hurt is solid, as is Wendy Crewson as the doctor who treats him and Elizabeth Perkins as a fellow cancer patient. Interestingly, Hurt's fellow actors Patinkin, Adam Arkin, and Christine Lahti all wound up playing doctors on TV's Chicago Hope. --Marshall Fine ... Read more

Reviews (16)

Moral, moving, and marvellous movie...
Every doctor - and every patient! - should see this movie; the difference is that, not all doctors will understand *why* they should see it..

I use The Doctor when teaching my medical students how to avoid becoming a certain kind of doctor; the kind who is so detached from humanity that they never feel anything of the pain, fear - and the hope - that their patients feel. They have forgotten how to care, and they don't care to remember it.

This is a film about a medical `Everyman`; Jack (played by William Hurt with great integrity and skill)is redeemed as a human being - and as a doctor - by his own experience of serious illness, and by that of his friend - her death frees him from the blinkers of self-absorption. The scene where the two of them dance in the Nevada desert is breathtaking.

Supporting cast are excellent; especially Mandy Patinkin as Jack's unscrupulous surgical partner. Jack's initially dysfunctional family life is a central part of this movie, and the roles of his wife and son are well played.

The last scenes are amongst the best; especially where Jack is explaining to his interns why they are going to spend the next 24 hours not as doctors, but as hospital patients - wearing hospital gowns, undergoing all the appropriate tests, and (horror of horrors) eating hospital food.

The following and final scene is simply beautiful, as Jack stands on the roof of the hospital and dances by himself, revived and renewed.

Anyone involved in medical or healthcare education should have this video - and use it! Others should watch it to understand better what can happen to medical students along the way to becoming doctors.

beautiful film
William Hurt's performance as a cold and arrogant doctor who finds out he has cancer and gets a lesson of life is wonderful(no surprise) as well as the whole cast including Elizabeth Perkins,Christine Lahti,Mandy Patinkin,Adam Arkin(yes, the doctors of chicago hope).Then you think: "but it's a doctor film" but actually this film is for all audiences not only for doctors. The scene where he gets a letter from a patient(Elizabeth Perkins)and he reads it on the roof of the hospital with pigeons flying is so beautiful and I couldn't hold the tears from tumbling down.

THE MOVIE THAT KILLED M.A.S.H.
The Doctor was another of those excellent, well-made 1990-91 releases pre-empted by laser-guided bombs and missiles of the 1990 Gulf War and forced into the video occult. But that's not stopped it from a second chance via DVD where it may get well-deserved recognition and revenues for each actor and crew's excellent contributions.
The cast drove home messages that health care professionals need take a good look at "because one day you'll be sick to" ... So "physician, heal thyself" and thereby prepare to heal others all the way down to your bedside manners. The Word is eventually sent via Jack McKee and partner whose cavalier professionalism ("Get in, cut it out and couldn't care less!") is callously unsuited to genuine warmth patients need communicated to them. And then there's the insurance companies who, like them, run on "stats" and "the bottom line" to coldly determine who lives and dies on the medical production line.
You don't know what it's like until you hear those 3 words "You've got cancer"; they'll floor you -especially if you're a physician who knows the realities of catastrophic illness. So "a taste of my own medicine" (subtitle to book movie is based on) engages McKee when he's told that. I've walked hospital hallways like McKee on the way to radiation therapy and sat with the terminally ill, knowing I'd likely survive (Or would I?) and that others were terminal, and encountered my own death watch. The disingenuous reassurance McKee gave others is sheer hypocrisy and his facetious talk of golf antagonizes "the herd," whom he'd felt beneath his ivory tower profession and HIS herd of incompetents. But now, his relation with a dying patient, whom he actually befriends, turns him inward and he admits his and the profession's shortcomings - then he falls out of love with himself - all too late to save her but soon enough to save himself and his family from the same callousness engulfing all but a few.
It sends a strong message to those who profit from medicine at the deadliest expense to others whom it's supposed to save! My only complaint is that Amazon.com hasn't mailed me my DVD of it yet. How long will it take?

A dose of your own medicine
After getting over the initial shock of seeing half the cast of Chicago Hope (when it was still a good show...and not the pale imitation of itself that it later became: Alan Arkin, Mandy Patinkin, Christine Lahti), this movie evolves into a fine, quiet, character driven drama. There are no great heroics, apart from June (Elizabeth Perkins), and even those are real, not manipulative, cliched, corny or obvious.

This is a movie that works to develop its characters and plot simultaneously and without artifice or obvious (groanable/cringe inducing) plot devices. None of them are in anwyay what you would call 'extreme' or cliched. They are just very normal people placed is a very stressful situation- the doctor being diagnosed with a growth in his throat and the changes in many lives this growth causes. The changes are both good, bad and 'educational' for most of them. The subplot- hospitals, statistics, malpractice cases, protecting each other- is subdued, never moralized or sermonized on but explored in a way whereby you can make your own judgements, based on some realistics situations (imagine a situation where somebody's life was worth less than $1000). The cast compliment each other and really connect. This movie is quite subtle at times and doesn't use in your face methods to make a point.

This is a movie then that is honest, beautifully made, accessible and at times really funny, and at times really raw and saddening. It isn't an episode of ER. So if you're looking for high medical drama look elsewhere. But if you're looking for real multi-layered human drama then look here. Honesty is the key word and theme in the movie (which if you watch it you'll understand what I mean). Honesty to oneself, others and just to the concept in general. And how too, sometimes we find spiritual and psychological 'healing' in the midst of the greatest physical peril.

The DVD contains no special features, only the movie, scene selection and set-up. Though it was made in 1990, it doesn't look too dated (apart from the cell-phones).

I have to admit watching this movie, I looked at the clock on the DVD player and actually hoped it wouldn't end. How many movies can you say that about?

I think the best moment in the story is when the doctor reads the story June gave him. I think there is a lesson in that that is relevant to all of us. Hopefully you'll get the opportunity to see what I mean by watching this movie.

SO in all, a brilliant, engrossing, poignant and real human drama built around believeable characters doing normal things and suffering typical tragedies that are enormous in our own lives. These are people we can understand and relate to, not the superficial and stereotypical larger-than-life, weirder-than-fiction characters designed to play with our minds and strum on our heartstrings. These people do touch your heart and mind for the right reasons...And maybe, if only for a moment, it causes you to question and reassess how you deal with others and the face you present the world, then maybe it has helped heal you a little bit too...If you need it, as most of us do.

One of my favorite films
"The Doctor" is one of my favorite films. I have seen it maybe 10 times (on VHS) and know much of it by heart. There is nothing artificial about this film. It is a human story about real people, well directed and edited, and with sincere, fleshed-out performances from everyone in the cast.

At the opening we see the successful heart surgeon Dr. Jack McKee, quite full of himself, performing another major operation while "Let's Get Drunk and Screw" plays in the background. We see him as he makes his rounds, failing in his attempts to interact on a human level with his patients, substituting crude attempts at humor for genuine compassion. We see him failing at home as well, as his professional life alienates him from his wife and son. All this begins to change when a seemingly minor throat irritation is diagnosed as laryngeal cancer. Then he learns what it is like to be on the other side of the medical profession, and it changes his life.

William Hurt, a fine but perhaps somewhat limited actor, is perfect as Jack McKee, and he is wonderfully supported by Christine Lahti, who plays his wife, and Elizabeth Perkins, who gives an amazing performance as June, a young woman with a grade 4 brain tumor who has a powerful impact on Hurt's character. June and Jack share a scene in the desert at sundown that gives me a lump in the throat every time.

Also worth mentioning are Wendy Tewson, who plays a rather nasty ENT surgeon who gives Jack a dose of his own medicine (so to speak), and Adam Arkin as Dr. Eli Blumfield, "the Rabbi", who has often been the butt of Jack's humor around the hospital, because he talks to his patients while they are anesthetized.

The Doctor is a film that illustrates the importance of treating people as human beings and not as objects or numbers on a chart. Highly recommended! (I've pre-ordered the DVD too.) ... Read more

Amazon.com essential video

Spencer Tracy's last performance was in this well-meaning, handsome film by Stanley Kramer about a pair of white parents (Tracy and Katharine Hepburn) trying to make sense of their daughter's impending marriage to an African American doctor (Sidney Poitier). The film has been knocked over the years for padding conflict and stoking easy liberalism by making Poitier's character in every socioeconomic sense a good catch: But what if Kramer had made this stranger a factory worker? Would the audience still find it as easy to accept a mixed-race relationship? But there's no denying the drawing power of this movie, which gets most of its integrity from the stirring performances of Tracy and Hepburn. When the former (who had been so ill that the production could not get completion insurance) gives a speech toward the end about race, love, and much else, it's impossible not to be affected by the last great moment in a great actor's life and career. --Tom Keogh ... Read more

Reviews (64)

An All-time Classic
Aside from calmly, reasonably confronting a social taboo of the '60s -- racially mixed marriages -- in a thoughtful, touching manner, this film features career-high performances from several of Hollywood's finest. Spencer Tracy is absolutely brilliant in his final screen appearance as the avowed liberal newspaper publisher Matt Drayton, who, along with his idealistic wife (a role that earned Katherine Hepburn her second Best Actress Oscar) learns that their barely-20-year-old daughter is planning to elope with a black physician (played with cool passion by Sidney Poitier). The story evolves from Poitier's confidence in the two shocked parents that, without their full approval, the marriage will not go on -- and there are only hours to decide. Add his parents to the mix, and as the list of dinner guests grows so does the tension. Aside from the marvelous script, memorable performances and outstanding direction, photography and music there is a chemistry in the mix that truly creates an energy greater than the sum of its parts -- and when the parts are this good, the result is a film for the ages that goes straight to the heart of themes like love, passion, prejudice and family conflict. In the end love does conquor all in Tracey's powerful final speech, made more poignant by a visibly moved and misty Hepburn -- perhaps cognizant that she was witnessing the final curtain call of a great actor. This is the magic Hollywood is capable of, a movie that re-affirms one's faith in the ideals of love and equality, and certainly belongs in every collection.

4.5 Stars; Needs Historical/Cultural Context Remembered
The Story: Spencer Tracy and Katharine Hepburn play the parents of young Katharine Houghton, who brings home her well-educated fiancee to meet the parents. The parents are not expecting their daughter's fiancee, a physician, to be African-American, but Sidney Poitier certainly is. The film focuses on the parents' discomfort over the biracial marriage.

When the story begins, it's easy to think that the movie studios were aiming to do two things: make one more movie with Katharine Hepburn and Spencer Tracy (this was his last film, and he was quite ill during its making); and make a simple statement about racial tolerance. This film could easily have ended up with a very contrived, forced air to it. But, that doesn't happen when you put Spencer Tracy, Katharine Hepburn, and Sidney Poitier together in a film. The cast rises above the simplicity of the premise. Some have said that making Poitier's character a well-educated doctor weakened the racial conflict potential, but I lived just outside of Detroit in 1967, and ANY biracial marriage was a controversial idea to base a film upon. It also put the race issue right on the table, as the parents had no basis upon which to object to their daughter's marriage, except for their discomfort over the race issue.

Overall, if the viewer remembers when this film was made, the quality of the cast makes it a real winner.

Bit Prepackaged for My Taste
More like 3.5 stars. There's nothing particularly wrong with this movie but it's not the genius its been made out to be either. It's not nearly as daring as it likes to think it is. He's a wealthy, smart, sophisticated mature professional. She's an airhead. He's black and she's white. He's a catch and a half and she's a twit. The real question should not be why does she want to marry a black man but rather what he sees in her. Of course they will have problems with the intolerant aspects of society. Of course their children will be teased and mistreated by racist adults and ignorant children. But this film was made in the late 60's, not the late 30's. It's also set in San Francisco (Liberal Heaven) and not in rural Mississippi. The white girl's parents are liberals through and through. Poitier's character's parents are a working man & his wife from Los Angeles. Notice how Tracy's character does not object to his daughter marrying a black man but is deeply concerned by how a mixed couple & their children will be received in society. This movie gives itself every break it possibly can to ease its way down a receptive audience's throat.

Boring...
This movie has been hailed as being a great piece of work; I tried to watch it. I really did and I could not do it. Portier plays his role well; but then again it is not like he has to act; he just has to be himself. Stay away from this miserable piece(...).

Landmark film about racial prejudice
Considered a landmark film, it addresses racial prejudice and interracial marriage in a time when sixteen states in America still upheld laws that made miscegenation a crime. It is important to pay attention to past racial and ethnic issues, in order to understand those today and to see whether any 'progress' towards a more 'tolerant' society has been made. Guess Who's Coming to Dinner is an entertaining, straightforward and well-meant film that will hopefully make students aware of the controversy of interracial relationships throughout the decades and centuries even. Being a child of mixed race parents, I find the film meaningful in showing two people of different races, being very much in love and very willing to face all the social obstacles their interracial relationship is bound to encounter.
Summary
In Guess Who's Coming to Dinner the 23-year-old, white, upper class Joanna "Joey" Drayton (Katharine Houghton) brings home her fiancé John Wade Prentice (Sidney Poitier) to meet her parents. When he turns out to be a distinguished 37-year-old black doctor, the "liberal" progressive parents (Katharine Hepburn and Spencer Tracy) are forced to re-examine their beliefs regarding interracial marriage and are given one single day to do so. Before the parents can get all of their objections sorted out, they have John's parents coming to dinner as well. Both sets of parents have reservations about this union, but try to come to terms with the interracial marriage.
Discussion
Guess Who's Coming To Dinner? raises several questions or issues that might be interesting to discuss after viewing it. The film's main themes are interracial relationships and prejudice, and it advocates a mixed race marriage, which makes it a very progressive movie for the 1960s. Considered progressive as well are Joey's 'liberal' parents who have raised their daughter not to be prejudiced and they have done this successfully, with her 'lack of' prejudice extending to her being able to fall in love with an African American. The parents are then left to consider whether they really believe in their acclaimed 'liberal thinking' and this may raise important questions with the viewing audience. Are human beings really as liberal or conservative as they think they are when it comes to practicing what they preach?
If it is not race that prevents the parents (the fathers in particular), both Joanna's and John's, from approving the marriage, what is?
The only objection to the interracial marriage vocalized in the film is the harsh treatment they will most likely receive from society. Although this is a valid and probably accurate objection, it is debatable on whether the fathers do not have more personal objections. The movie glosses over the subject of interracial marriage without getting too detailed, but the concern on whether the couple understands the adversity they will face if they go ahead with their interracial marriage is very clear.
The themes addressed in the film were still much of a taboo in the 1960s, so in order to merely create a 'mild controversy', the director seems to have made the relationship between John and Joey as 'acceptable' as possible. Infallible and with impeccable credentials as a prize-winning doctor and working for the World Health Organization, John is portrayed as an in-laws dream. The character is in every socioeconomic sense a 'good catch': What parent would not want him as a son-in-law? But what if the director had made the fiancé a factory worker? Would the audience still find it as easy to accept a mixed-race relationship?
Also, to reduce the seriousness of the racial themes, the film is presented as a comedy. This means that conservative viewers can laugh about it while telling themselves that these events would never really happen. Finally, Joey and John avoid their biggest challenge by intending to live abroad for John's work. Therefore, they will not have to cope with the racial tensions in the country and they will not have to combine two communities and identities or have to pick one over the other.
When it was released it 1967, Guess Who`s Coming to Dinner reflected upon the changing race relation in America. Interracial intimacy and marriage in particular were delicate themes to discuss, which makes this film so important, both at that time as well as today. The individual right to choose a sexual partner, select a spouse and raise a family could not be fully exercised in all of the United States up until the Loving decision in 1967, which banned anti-miscegenation laws. Although these laws disappeared, the prejudices that had always accompanied them, could not be banned so easily. They persisted, despite the colour blind ideal.
The fact that the Joey's father is an intellectual liberal forced to face his own buried prejudices gives the film an important message that should still be considered today. On some deeply personal level many people are still prejudiced, no matter how hard they try to tell themselves otherwise. In Guess Who's Coming to Dinner Spencer Tracy's character comes to this realization, but is able to put his objections for his daughter's happiness. The film chooses to be colour blind like Joey's father and lets pure and simple love instead of race be the basis for a successful marriage. Or as Matt Drayton argues in his 'final analysis' in Guess Who's Coming To Dinner:
"[...] in the final analysis it doesn't matter a damn what we think. The only thing that matters is what they feel, and how much they feel for each other. And if it's half of what we felt ... that's everything". ... Read more

Reviews (101)

Surprisingly good direct-to-video release from Disney
We're all aware that not much can compare to the original Lion King film. The animation, songs, voices...everything just perfection. However, as an ardent fan of the film, and in particular Timon and Pumbaa, this was snapped up as soon it went on sale - and boy, what a nice surprise! A direct to video release that's actually decent!

This film is much of an improvement on the first "sequel". Simba's Pride just didn't hold any of the magic of the original story - and barely held my attention for one showing before being put onto the shelf to get dusty. I was immediately more interested in this film as I thought it's premise held much more entertainment quality. "Yeah, I'd like to see how everything was through Timon and Pumbaa's eyes" I thought, and I wasn't to be disappointed.

We're originally transported back to Timon's younger days to see why he came to team up with Pumbaa. It's dealt with very wittily, yet with enough warmth that you actually do care what happens to all involved. We're shown how Timon and Pumbaa meet, and how they embark on their quest for "Hakuna Matata". Much comedy ensues, with a revealing insight into the original film's events. Why do the animals bow at Simba's presentation at Pride Rock? Why does everyone fall over at the end of "I Just Can't Wait To Be King?" Watch to find out. Having eventually found their perfect home, their meeting with Simba is retold and we get to see some of Simba's teenage years - missed out in the original film. (Timon has a wonderful line during a particularly restless night looking after a young Simba - "we're gonna get old walking across this thing". As soon as you hear it you'll know exactly what it's getting at). Next to be dealt with is Simba's reunion with Nala and his trip home to Pride Rock to avenge his father's death. All seen in a new perspective it's all very watchable, even if you are seeing duplicated scenes that occurred in the original movie. The climax again adds more breadth to the original. With Scar and his minions vanquished and order restored in the Pridelands, Timon and Pumbaa settle into their new home with his original meerkat colony who are surprised and impressed with the new "all-action" Timon. This is very much Timon's film, we get to know a lot more about him than Pumbaa and it is Timon that saves the day right at the very end. That's no complaint I would add, after all we heard about some of Pumbaa's woes in the original film 10 years ago.

Disney have done a lot of things right with this film. The original cast (with the exception of Rowan Atkinson as Zazu which consistantly grates with me - he's much missed on the interactive section of the original movie's special edition too) return, and Julie Kavner and Jerry Stiller lend their vocies as Timon's nearest and dearest. Two new, annoyingly catchy songs appear within the first 15 minutes and several songs from the original make welcome returns. This isn't a big long song-fest though, I'm pleased to say. Much as I like the songs Disney movies are famed for, it is nice to give the characters time to speak and flesh themselves out in-between. Lots of scenes from the original appear again, and are interworked with the new animation reasonably well. An interesting twist is that the film is presented as if being viewed by Timon and Pumbaa in a cinema. I have seen a few reviews saying how annoying this is, but I actually find it very funny. The fact that they take shots at scenes which otherwise would be excessively cheesy is very endearing, and of course completely in character.

There are, inevitably bad points. This isn't going straight to video for nothing after all. You certainly need to have watched the original movie and know it well - and you also have to be willing to deconstruct it quite violently too. A lot of those scenes you held dear are made fun of mercilessly. They've generally interworked the timelines between the films very well, but there are a few moments when I thought "that doesn't go". The film is quite short - 72 minutes with lengthy end credits, but it is so fast passed that it seems even shorter to me. It doesn't quite know what age range it is heading for either, there are lots of "kiddie jokes", but also quite witty points that younger children won't necessarily get (I always used to wonder why my Mum insisted on watching Dangermouse with me, it's only now at 24 that I watch it and realise now). Lots of film references too. This isn't too bad in a way, it keeps everyone occupied throughout for different reasons. I'd rent it first if your not sure, but if your a Lion King fan you'll probably end up buying it anyway (you perhaps already have!)

The DVD features I actually find quite disappointing. This is a 2 disc release, and if they'd not put over 10 minutes worth of trailers on the first disc, probably could have been condensed onto one. There are several games for the youngsters including a virtual Safari, Rafiki's Challenge and a "hidden Mickey" hunt throughout the film. There's a supposedly funny "mockumentary" about Timon which I watched in total silence and a 1 minutes "making of..." featurette which I had to turn off half way through out of sheer irritation (not very much info about the film at all - but everyone involved is all certain how great it is). There are some storyboarded deleted scenes, with commentary from the directors as to why they were cut.

Overall, very enjoyable which surprised me greatly and made it even more fun. Don't start comparing to the original as that is pointless. I also don't think this sort of production should be carried on to other Disney films, I don't think it would work. However, the way these particular characters cry out for attention every time they're on screen, it seems fitting to let us find out more about them.

I would have rated this 5 stars but for the DVD "extra's" as the film I cannot fault, both for the entertainment value and the way it tells an unexpectedly heartwarming story without being too cringeworthy

Laugh Out Loud!
I am a semi-serious 7th. But even I had to laugh when I watched this movie!

Basically, the story is about our meerkat friend-Timon! He tells about his story, and also about what he was doing during Simba's adventures. It also explains how Timon and pumbaa met. Brilliant.

Very funny. Timon's reference to, "I see dead people!" was genius, along with the antics of Timon's Ma and Uncle, Max, who nare voiced by Julie Kavner, voice of Marge, I believe, from the Simpsons, and Jerry Stiller, King O' Queens. They both play their parts perfectly, (well, ALMOST) which is refreshing.

Now, about the songs. They are almost as good as the ones from The Lion King I, and better than Lion King II. Hey! 1 1/2!(almost..) Errr... ANYWAY, two songs, Digga Tunnah, and That's All I Need, (written by Sir Elton John) are incredibly catchy. I love 'em all. And ,old timers, you may recognize a couple of songs...

This bathroom humor I've been hearing about, is ... TAME!!! What I mean is, it's a little gross, but not majorly, but is STILL funny!

My only complaints are about the timing of some parts. How could the Hyenas hear Scar betray them if they were busy with Timon and Pumbaa? How could the "Just Can't Wait To Be King" scene happen one day after Simba was born??? Growth spurt? I think not.

Bottom line, watch #1 before 1 1/2. Also, we get to see "teenage" Simba, and an ironic playing of "Sunrise, Sunset..." LOL. I love the Lion King, and I hope you do to. Thanks for reading my review! Peace Out.

Quite a Good Cartoon Movie - for an addon!
OK, let me start off with saying that I love most Disney cartoon movies. The Lion King is one of them... I even memorized almost all Disney cartoon songs...

With that said, I personally find sequels sucky, or decent at most. Pocahontas 2, Cinderella 2, Hunchback 2 - like most movie sequels, they just didnt pull it off...

Surprisingly, Lion King 1 1/2 is much better than most add ons or sequels. Though not part 2(part 2 was released already) is considered a tie-in to the original movie. And it is more of a prequel, which brings you back to the time how Timon left home and how he manage to meet Pumbaa and beyond. The movie got the original casts and the songs were made by Elton John and Tim Rice, which is good to know. Julie Kavner who plays Marge Simpson, plays Timon's mum, and on some moments, she almost sound the same as Marge! The songs are pretty decent, but few.

The story itself got lots of funny moments as well as some dragging parts(for adults). Some of it happens during the Lion King scenes, though in Timon and Pumbaa's perspectives, you can see same scenes(some at different angles) and hear the original parts of songs. And it also adds the missing pieces and loose threads on some parts - with pretty funny moments like why the animals bowed down when Rafiki showed baby Simba to the world; and why the animals fell during the closing of the "I Just Cant Wait To Be King" song.

I will not spoil the movie for you, but do remember that the movie is more based on Timon and Pumbaa than Simba and the rest. So dont expect to see a lot of lions. Also, there is not much of a plot, and as I said, morely to add missing blocks in the original story. This movie's own plot is more based on Timon and how he wanted to find a place where he fits in(just like Hercules, A Bug's Life - Disney seems to encourage unwanted misfits who go famous and heroic). So all in all, DO NOT expect a solid plot or even take this movie in an epic type of way, its more of a comedy version of the Lion King.

The DVD features is not that bad, and it even got lots of deleted scenes and a Hidden Mickey Hunt game(if you have Disney channel, you know that every Disney cartoon movie has one or two) - 10 of them throughout the movie...

I say that this movie is good for Lion King fans, as well as for family viewing. But I recommend you rent this first and see if its worth the collection. Though if you have extra cash, its good to buy this to entertain guests, especially during parties, since this movie is made for home viewing and wasnt released on theatres; and I think kids will love to watch this again and again as adults do chores(the Hidden Mickey Hunt is a reason to watch it many times!).

I give this movie with its DVD contents a 7.5/10.

A Sharp, Clever Follow-up Worthy of the Original
Having had a bad experience with made-for-video Disney sequels before (102 Dalmatians, anyone? Yikes!) I was expecting the worst from this, but my son's such a big Lion King fan that I got it for him anyway. I was VERY pleasantly surprised!

The backstory of Timon and Pumba, while a little convoluted, provides the perfect backdrop and explanation of how their paths ended up intersecting with Simba's in the original. As a result, all the "important" events in the original film are cleverly winked at as mere background noise to the oblivious Timon and Pumba. I was reminded of Tom Stoppard's brilliant comedy, Rosencrantz and Guildenstein Are Dead, where the 2 least important people in Shakespeare's "Hamlet" take center stage and the tale of the Danish Prince is shoved to the background. In the Lion King 1 1/2, the presenting of the baby Simba is literally stumbled upon by Timon and Pumba, and they have no idea what's going on and shrug off the big crowds and commotion as a total annoyance. It was very funny.

I agree that the ad-libbing was a bit distracting and the songs weren't entirely necessary, especially the meerkat song which is catchy anyway. But the story itself is very smart, and the animation has the nuanced look of the original film, not the technicolor overkill of "Simba's Pride" and the terrible "Timon and Pumba" Saturday morning series. In addition, the DVD itself is chock full of excellent extras, including a few music videos and a "Virtual Safari" that entertained my son for nearly an hour. And the Mickey Hunt is tons of fun as well.

In conclusion, though it's not a masterful effort like the original was, it's probably one of the best, if not the best, straight-to-video sequel Disney's ever put out. You won't regret this one, and it's guaranteed to not collect any dust in your video collection!

Answering the questions you didn't ask.
First of all let me say I love the first Lion King. Its probably my second favorite animated movie after Finding Nemo. That being said I hated this movie. The first Lion King is mostly appropiate for children but has a mature storyline adults can enjoy. The Lion King 1 1/2 is just for kids. Anyone over the age of puberty will find something seriously wrong with this movie. I was also dissipointed with The Lion King 2 Simbas Pride. But at least the movie was decent. At least they tried to make it good. Its like the makers of The Lion King 1 1/2 were trying to make a bad movie. It is the first movie told from the point of view of Timon and Pumba. It tells there story. Is there anyone who cared about there story? Anyone who wondered what they were doing? Not me. I never was at any loss not knowing where they were. Whats next a remake of Tarzan from Terks point of view. It could have been decent if it was done right. It is done horribly. Its really just taking classic moments and loading them with unfunny jokes. It shows that Timon and Pumba were there in all scene of the first Lion King offscreen. Most of these scenes they really don't belong. For example in Simbas birth sequence Pumba farts causing the animals to bow down. Thats right they weren't bowing out of respect for there king is was just farts. Then they walk one day later to the "Can't wait to be king song" that makes no sense. Several dramatic sequences like the "Be Prepared", wildbeast stampeed, "can you feel the love tonight", Simbas fight, all are completly ruined by Timon and Pumba. They don't belong there. It also has annoying silowets of them constant stoping the movie. Movies this bad in a way help you appreciate the greatness of the original masterpeice. My advice to Disney is to stop those darn direct to video sequels. Just leave the classics alone. ... Read more

Reviews (27)

A movie that's--sadly!--still one-of-a-kind
When it was released in 1982, MAKING LOVE was publicized as the first film from a major Hollywood studio to take an honest look at homosexuality. Today, even in our more tolerant social climate, the movie remains just about the only film from a major Hollywood studio to take an honest look at homosexuality. MAKING LOVE is a compassionate, sensitive examination of one man coming to discover, and accept, that he is gay.

Zack (Michael Ontkean) and Claire (Kate Jackson) are a young, attractive and successful married couple; he is a physician and she is a television producer. They have just bought a new home and talk about having a child. But Zack begins to question his sexual identity and to close himself off from his wife. Then he meets Bart (Harry Hamlin), a sexually adventurous gay man who forces Zack to come to terms with his sexual feelings.

Although MAKING LOVE is nearly twenty years old, the only things dated about the movie are the clothing and hairstyles. There have certainly been other Hollywood movies that deal with homosexuality (PHILADELPHIA, IN AND OUT, etc.). But most of these movies seem oddly hesitant to address difficult issues or deflect them by using humor. By contrast, MAKING LOVE presents with complete honesty a man learning to accept that he is gay, along with all of the conflicted feelings and painful choices this involves.

Barry Sandler's script is outstanding. It employs a device that today has become an annoying cliche: characters sharing their inner feelings by directly addressing the camera. But in this film, the device really works, thanks to honest writing and performances.

All three lead actors are excellent, giving us portraits of believable, imperfect human beings who nonetheless try to do their best with the situation that confronts them. A special word of praise must go to Kate Jackson. Certainly Jackson's TV work (CHARLIE'S ANGELS, SCARECROW AND MRS. KING) never gave her the chance to play such an intelligent, fully-rounded character. Jackson is excellent and in a few scenes is so thoroughly convincing that she breaks your heart.

Arthur Hiller's direction is understated and eloquent. And Leonard Rosenman's musical score is superb. His score helps us to recognize the movie for what it is: a tender and bittersweet love story. For example, early on there is a scene in which Zack has a painful meeting with a cancer patient and, distraught over his inability to help her, goes cruising for a sexual partner. Rosenman's musical score helps us to see that Zack's act is not cheap or sensational but instead is an attempt by a lonely, confused man to find emotional connection.

A movie of exceptional quality, MAKING LOVE should be much better known. I recommend it to anyone who is looking for an intellegent, compassionate presentation of the many emotional issues surrounding coming to acceptance of homosexuality.

Getting to the HEART of the matter!
To say this film is still groundbreaking would be a stretch, but it still hits home. In 1982, theater goers were either exiting quickly or more wisely, staying to marvel at this film's honesty and heart and its winning performances.

Kate Jackson, Michael Ontkean and Harry Hamlin turn in a powerhouse effort in this Authur Hiller film about a career successful married couple, Claire and Zack Elliot (Jackson and Ontkean) who must face the reality that their union is not all it seems. After eight years of marriage, Zack's repressed homosexuality begins to surface. Enter handsome writer Bart Mcguire (Hamlin), who innocently meets Zack in the ordinary circumstance of a doctor's visit. Bart has been around the gay scene for some time, and is quite happy in his world of one night stands and conquests....or is he?

How all this unfolds is great viewing. "Making Love" has it's soap opera moments and is somewhat dated, but the performances and overall writing and direction overcome these slight flaws. Handsome Ontkean is dead on as the confused yet well intentioned Zack. Whatever spoken or written about this film hurting Ontkean's career is trivial, this remains his best work to date. Hamlin is almost distracting in a role that was obviously well researched complete with subtle mannerisms. Kate Jackson turns in one of her best yet tender performances in a film that remains a cornerstone in gay cinema.

WHERE'S THE DVD???
This movie has always held a special place in my collection. It reminds me of growing up and coming to terms with life. The performances of Kate Jackson, Michael Ontkean, Harry Hamlin and Wendy Hiller are emotionally charged. Some may say it's an outdated film, but it never fails to bring a tear to my eye when the main characters come to accept their past and how their lives have evolved. I'll never forget seeing it at the theater.
I remember when Zack and Bart kissed, some girl in the audience
laughed out loud. For me, it was a very touching moment and that laughter really bothered me at the time. Thankfully, people are more accepting of gay relationships now.
I am hoping that the studios will provide this gem on DVD soon.

Honey, I'm Gay
A silly soap opera about a young doctor, happily married to a beautiful woman who discovers that he's gay. The homosexual theme is handled gingerly and with sympathy, but the story is overly sentimental and comes off as trite and naive. The happy ending fails to touch the heart.

A worthy early effort
When released in 1982, director Arthur Hiller's "Making Love" was a bold venture for its time and critcally panned, probably more for its risky content than its acting. Between her TV gigs as one of Charlie's angels and Mrs. King to a Scarecrow, veteran actress Kate Jackson said she would have offered to pay for the role of a TV executive married to a doctor, played by former "Rookies" co-star Michael Ontkean. But with his wife so tied up with her work, husband Zak begins to explore a long-buried curiosity about a same-sex encounter. He finds it in studly writer Harry Hamlin, then a new face on the acting horizon. With his same-sex desires and preference unleashed, Zak has to come clean with wife Kate, and the climactic scene in which Zak confesses his homosexuality is carried with appropriate emotional shock by both Jackson and Ontkean. By today's standards, the film may seem dated and irrelevant, but it was hardly so at the time. A good script is bolstered by good acting and singer Roberta Flack's haunting theme song that was a chart-buster in '82. Beyond the film's obvious topic, it also renders a subtle lesson in the need for honesty. ... Read more

Amazon.com

It's astonishing that one man could have written so many memorable songs, but musical gems keep popping up in De-Lovely, about the life and loves of Cole Porter. Played by Kevin Kline (In & Out, A Fish Called Wanda), an elderly Porter is summoned by a mysterious director (Jonathan Pryce, Brazil) to view his own story, which unfolds as a series of theatrical tableaux. The movie is open (if a bit chaste) about Porter's homosexuality, but argues that the love of his life was still his devoted platonic relationship with Linda Lee (Ashley Judd, Ruby in Paradise, Kiss the Girls). Unfortunately, the narrative suffers from the fate of many biographies; by trying to cram in a person's entire life, it ends up a collection of snapshots without depth or context. The parade of celebrity singers (Alanis Morissette, Sheryl Crow) were apparently chosen for their jarringly modern vocal mannerisms. --Bret Fetzer ... Read more

Reviews (111)

DE-LIGHTFUL...
This film is an interesting bio-pic of noted songwriter Cole Porter. As with so many bio-pics, an individual's life is crammed into a set time constraint. Naturally, much of the individual's life is reduced to glimpses of highlights, important events, and significant others that give the viewer the flavor of that person's life, rather than a real blow-by-blow description. This film is no different.

In looking at Cole Porter's life, the film weaves in the wonderful music he wrote, and it is wonderful hearing it sung by contemporary artists. It is nice to know that a new generation will have an opportunity to hear Porter's music through this film. The film itself is a high-end production with wonderful period costumes, lavish sets, and musical numbers that ground the film in the era out of which it arose. Told in flashback, with terrific actor Jonathan Pryce in the role of the Angel Gabriel as Master of Ceremony, the viewers sees Cole Porter looking at his life retrospectively and watches his life unfold along with him.

Cole Porter is played by Kevin Kline, who does a yeoman's job as the talented songwriter that dazzled the music world in his time. While some have commented on the fact that Kevin Kline's singing voice is not up to par for the role, the viewer should keep in mind that he is playing the role of a songwriter and not that of a singer. It is the music that he wrote, and not the music that he sang, that made Cole Porter famous. So, Kevin Kline's voice is in tune with the role he is playing, and playing it magnificently, at that.

Ashley Judd is lovely as Linda, Cole Porter's wife and life-long companion. Hers is a sensitive portrayal of a worldly woman who fell in love with Cole Porter, the songwriter, only to realize later that Cole Porter, the man, was sexually attracted to other men. Still, these two managed to form a union that would endure and ultimately flourish, despite this elemental issue. Theirs was a bond fraught with understanding, deep love, and true friendship. It was one that would ultimately survive, despite Porter's sexual proclivities and Linda's occasional frustration with the status quo. Companions to the end,the film's treatment of their relationship is sensitive and delicate.

Cole Porter's music is interwoven throughout the entire film, along with some wonderful musical numbers, although I wonder at the omission of one of his most popular standards, "I've Got You Under My Skin". As his life unrolls in flashback fashion, almost as if it were a film within a film,the viewer is able to witness Cole Porter's popularity with cafe society, his rise to fame and fortune, his complex relationship with and his marriage to Linda, his homosexual escapades and affairs, and the riding accident that left him physically challenged to the end of his life.

This is an entertaining film, filled with some of the best music written in the twentieth century. While the film may not be to everyone's taste, it is certainly worth a rental, at the very least. Those who opt to view this film will be treated to a deftly directed, quality production, well-acted by a stellar cast, a glimpse into the life of a conflicted and talented individual, and wonderful music, beautifully interpreted and sung by contemporary musical artists.

GET THIS UNDER YOUR SKIN
While certainly not perfect,this film about COLE PORTER's life was generally satisfying.Some can say that his homosexuality is not treated as well as it should have been,but at least they dealt with it;others might complain about the modern singers singing his songs which is legitimate,but it keeps the memory of the composer alive.I enjoyed hearing all the different singers singing his songs ,especially ALANIS,LARA(was i surprized to see her play PATRICIA MORRISON,the original star of KISS ME KATE)and ELVIS COSTELLO.KEVIN KLINE whom i am not usually a big fan is very good,and so is ASHLEY JUDD.The idea of having the composer witnessing his life was of course stolen from AMADEUS.My favorite scene is the one where COLE arrives in HOLLYWOOD and meets L.B.M.and then do BE A CLOWN as a elaborate number.My only real deception was that they omitted I'VE GOT YOU UNDER MY SKIN,probably because no one can sing it like FRANK SINATRA in his prime.Watching this film won't waste your time.

de-lovely
This movie should not have been made. They should have let the beautiful illusion of "Night and Day" live on depicting Porter, as his life should never have been made public.Also, if Hollywood has forgotten how to make musicals, they should just give up.You don't put the latest pop stars performing what can only be described as classical standards, and each number should have gotten the performance recognition it deserved, as they did in "Night & Day."When the entertainer who did Begin the Beguine could not even sing the song in the right key, that was a disaster. Also, Kevin Kline may have been in broadway musicals in his time, but as a singer, he is sadly lacking now.There was too much emphasis on Porter's activities as a gay than there was on his highly aclaimed talent as one of the foremost, if not the foremost - musical talent, next to Sigmund Romberg, of his time.Anyone who appreciates good music and good performance of that music would shutter and hold their ears on the musical performances in this movie.Also, why is it that Hollywood has to destroy a man's image as a great talent, in the manner in which they did.Lousy movie. Not worth the money.

Anne Beard

A Wonderful Experience
This movie was fantastic!It was imaginative, wonderfully directed, musically innovative, cleverly acted, cinematically beautiful, and requires active viewer involvement to truly appreciate the story.If you are a "costume-watcher," you will surely appreciate the detail of Georgio Armani in this film - in a word - F-A-B-U-L-O-U-S!De Lovely not only reintroduces Cole Porter to a new generation but, introduces current musical artists into new musical styles.It is a reminder of a wonderful time in history of grand music, grand living and human exploration.The actors in this movie were brave, touching and wonderful.The film deals with the unconventional yet, touching life of Cole Porter and the love he shared with his wife Linda Porter - as well as with their extended family.The script writer found a creative and yet ironically appropriate way to travel through the highlights of Mr. Porter's life.Moreover, this film resonates with human relevance as it effectively uses Cole and Linda Porter's life to explore the often mysterious concepts of love and adult relationships.Enjoy!

Cole Porter spinning in his grave...
Cole Porter would have never given his approval for this poorly prepared, unfocused account of his life and works.Even 1946's "Night and Day" the Technicolor, autobiographical movie with Cary Grant as Porter, was a victim of Porter's vanity.Porter wanted Grant to portray him in his biopic because he considered the production's choice and the more elegantly suited actor to portray Porter, Fred Astair, as unattractive.

I want to apologize for insulting those movie viewers who enjoyed `Delovely' for its' pure entertainment value.`Delovely' glitters with vivid visions of costumes, hair and make-up and lavish movie sets.The film had the look and feel of a TV network movie of the week.This is largely due to the attempt to jam pack all of Porter's talent and very interesting life into 125 minutes of Hollywood storytelling and partly due to the film's desire to be a Broadway musical.

With `Delovely' portraying Porter as a sexually confused, gallivanting dandy during his peak song writing years, it's a wonder he had time to compose as many wonderful songs as he did.It also left me wondering, did he only prefer men or was that marriage-bed scene between Cole and Linda just overenthusiastic platonic love.

Kevin Kline and Ashley Judd skillfully delivered debonair performances as the nattily attired and charming couple.The staged performances of Porters classics were spotty.Some were spectacular, Vivian Green, some did well, Natalie Cole, John Barrowman, and some should have insisted a re-do be shot, begged for more rehearsals, asked for a vocal coach or maybe some examples on HOW Cole Porter songs should be sung, Sheryl Crowe, Elvis Costello, and the terrible, warble throated, church lady singing performance by Alanis Morrisette.

I love movies, Hollywood type, Independent films, B-movies, non-English language films, student films, poorly made films, well-made films.Because I love Cole Porter, I am not about to accept `Delovely' as a film worth recommending. To accept the compromised version of Cole Porters life story and equally compromised interpretations of his life's work is too much to ask of this movie junky.I want to ask a movie mogul or an independent movie company to challenge themselves to make a film that Cole Porter would consider writing a song about.
... Read more

Reviews (3)

One Of The Few Movies About Golf
This is a good biopic about golf immortal Ben Hogan, master of the repetitive swing and accurate beyond belief. It reflects the dramatic standards of 1951, however, and you just have to know that Ben and wife Valerie CRINGED when they saw some of the onscreen exchanges between Glen Ford and Anne Baxter.

Hogan himself hit the golf shots for this film, and you can easily see how masterful he was. The Beatles later wrote a theme song for "Follow the Sun," but there was never enough demand to substantiate a re-release of the movie updated with that musical addition.

Classic B&W Hogan
Hogan is such a mysterious man. Ford tells an adequate job of portraying him, aloof and intense, always polite and maticulously dressed.

The coverage of the accident and rehab is great. Thought maybe the opening of the caddie segment of his life could have been done with little more "up close and personal touch," since this seemed to affect Ben so much.

Sampson's book "Hogan" provides a worthy reference to read along with this video. Heard that there was to be a new attempt at Hogan's story with Kevin Kostner playing Ben.

Neat to have one narrated by Crenshaw or Kris Tschetter and those who actually knew the guy (for sure, Venturi!) Done right, could be great!

Follow the Sun
It has been many years since watching Follow the Sun. This is a motivational movie for any young golfer to watch. It is about faith and persistance.

As a young man this picture had a major influence on my life. When it is available for sale again, I will be the first to buy a copy. ... Read more

Reviews (20)

Good movie.
When you first see Omri, a kid who's short, has messy hair and not the greatest teeth in the world, you don't think anything interesting can happen to him. But something does. His best friend, Patrick, gives him a toy Indian for his birthday. At his party, his brother gives him an old cupboard that he found in the crawlspace of their house. Omri's mother tells Omri that if he can find a key out of her collection, he can have it. He does. It was a key that his great-grandmother gave to his mother.
When Omri carelessly puts the toy Indian into the cupboard and locks it, the toy comes to life.
At first, the Indian (Little Bear) is scared, but eventually learns to trust Omri. Omri gives Little Bear whatever he desires, tools, food, and a hatchett from a knight! However, when he was getting a bow and arrow from an old Indian, the Indian is scared to death--literally! Omri realizes that these "Toys" have real lives and that they aren't something to fool around with. When Patrick discovers Omri's secret, he brings back a Cowboy named Boone. Little Bear and Boone eventually become friends. Omri takes Boone and Little Bear to school (Patrick wanted him to) and Omri displays that he has learned that the "toys" were people by saying "You can't! They're people! You can't use people!" When Patrick was going to show them to friends. Omri's brother takes Omri's cupbaord as a cruel joke and the key gets lost! What's worse, Boone is seriously wounded, and without medical attention, he will die! Omri realizes that Little Bear and Boone's safety and hapiness meant more to him than the novelty of having them. So Omri declares that when the key was found, they were sending Boone and Little Bear home.
The key is eventually found, and Omri is forced to let Little Bear and Boone go. Little Bear and Omri share one last moment, and then he sends them back.
This was a very good movie, at least fo me, and it's a good movie for kids to watch.

beautiful book, horrible movie
I remember rushing out to watch this movie when it first appeared in theaters, since I was an enormous fan of the Lyn Reed Banks books. Alass, this movie took what could have been a wonderful adaptation, and turned it into a dumbed-down pile of insipid script and mostly forced acting. When I first saw it, I loved everything about it and immediately fell in love with the boy playing Omri, but now, I realize that his acting is horrible, but it's not his fault. The script is below mediocre; it's pitifully babyish. Lyn Reed Banks's stories had a charm of old-fashioned nostalgia to them, not so with this film. It has been completely modernized, including a few curse words, a relocation to the US, and a total emphasis on stereotyping the characters and making as many comical gags at their expense as possible. I will admit that there are several very touching moments, and even a little educational value to this, since Litefoot plays his character perfectly, and Frank Oz did feel inclined to at least include a song and a few sundry bits of the Iroquois language here. But overall, I would recommend the books over this.

Misconceptions of First Nations Peoples
The white family portrayed in this movie is not a normal disfunctional family. The three brothers seldomly argue, the parents are in constant state of bliss with each other living in a beautiful big house in an urban city in the United States of America. This view is a complete opposite of what the First Nations Peoples family life is considered to be and sets up the notion that First Nations Peoples would be better of with the White man's lifetsyle.
The youngest child brings to life a traditional image of an Haudenusaunee toy, decked out in feathers, leather loin cloth and a shaved head, with a magical cupboard given to him by his brother for his birthday. The child's reaction to seeing the toy alive was, "are you a real Indian?" as if they were extinct like dinosaurs. Throughout the movie there is no encounter with a present day First Nations Peoples to balance the movie or to quash the idea of extinction. Once they aquaint each other and Little Bear explains that he is from 1761, he trustingly jumps into the child's hand as the music grows. So historically the White man was always nurturing to the indian, right? In another irony, the boy gives a plot of land. He took his mothers flower box for growing infant plants and even brought a tippi to life so as Little Bear could have a home.
The boy feels the need to educate himself on his new found pet and takes out books on the Iroquois, known officially as the Haudenusaunee (meaning "people of the long house") that are almost as old as Little Bear and are tainted with Eurocentric views on the Haudenusaunee. The name Iroquois came from their enemy, the Algonquin who called them the Iroqu, meaning "rattlesnakes." The French later added the suffix "-ois" to the previous name given by the Algonquin.
When the boy's friend catches on about the 'closet,' his friend puts in a cowboy and brings it to life. This ruff, alcoholic and his horse is fearless and starts yelling out "I'dien?" when he finds out about Little Bear. Once he sees him he starts screaming "Redskin" and the dialogue continues in the same vein, which would be considered unacceptable if the word was "nigger" and it was a clansman that came alive. This Cowboy and Indian brings up memories of the adults' childhoods that are watching the movie with their kids, not correcting their own misconceptions.

One of the best movies in the 90's
The Indian in the Cupboard stars Hal Scardino and Litefoot. It is about a boy who turns 9 years old and gets a magical cupboard as a birthday present. And the cupboard brings to life toys. As the movie opens, Omri (Hal Scardino) got a cupboard as a birthday present. But there is no key. So his mom (Linsay Crouse) promises Ormi if he finds a key that works the cupboard she will give it to him. And the key that works is a key that his mom got for her dying grandma (when her grandma had nothing to leave her). Ormi puts in a liitle indian he also got for his birthday for his best freind Patrick (Rishi Bhat).

My favorite movie
I was about 9 or 10 when this movie came out. I love everything about it. After I saw it I wanted a cupboard just like the one in the movie with a key and everything. I remember spending hours in the kicthen putting little figurines in the cupboards and seeing if they came alive or not. This is the best movie. I just wish it came in french. ... Read more

Amazon.com essential video

Clint Eastwood fired the original director, Philip Kaufman(The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winningUnforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood'sDirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort.--David Chute ... Read more

Reviews (68)

One of the best westerns ever made.....
I have seen this western many times on tape and my copy of the movie had started to lose its luster. When I heard it was coming on DVD, I knew I would see the film as Clint Eastwood intended it.

As far as a film is concerned, it is a very good tale of revenge and devotion to friends. Eastwood is great as the title character and the film has some very good supporting performances. The exteriors where the film was shot are beautiful and are just as good on DVD as in reality.

The DVD is a great, inexpensive version of a great Western. The 16:9 widescreen version of the film highlights the colors and tones that were filmed by Eastwood. The color is good as well as the Dolby 5.1 Surround Soundtrack. There is also a French soundtrack (which is very humorous when Eastwood utters the best line of the film, "You going to pull them pistols or whistle Dixie"). The disc also contains trailers to many other Westerns as well as the trailer for Outlaw Josey Wales.

You should not miss this great DVD. The price is right and the movie is one of Eastwood's best. This is one of the better looking westerns that I have in my DVD collection. If you love great westerns and movies about the American Civil War, you will love this DVD!

Deserves 10 stars!
What can you say about Clint Eastwood's westerns except, great! His movies (acting and directing)changed the whole look and feel of this genre. This is definitely my favorite western, heck it's probably my favorite movie...period. Josey Wales is based on the novel by Forrest Carter, "Gone to Texas". After reading the book Clint knew he had to make the movie and he did an excellent job of capturing the spirit of the novel. The DVD transfer is very good. It was like watching it for the first time when I saw the DVD after the VHS version. This is what westerns are supposed to be so... "are you gonna get this video or whistle Dixie"? BUY IT!

Eastwood has the union army surrounded

Director: Clint Eastwood
Format: ColorRated:
Studio: Warner Studios
Video Release Date: September 2, 2003

Cast:

Clint Eastwood ... Josey Wales
Chief Dan George ... Lone Watie
Sondra Locke ... Laura Lee
Bill McKinney ... Terrill
John Vernon ... Fletcher
Paula Trueman ... Grandma Sarah
Sam Bottoms ... Jamie
Geraldine Keams ... Little Moonlight
Woodrow Parfrey ... Carpetbagger
Joyce Jameson ... Rose
Sheb Wooley ... Travis Cobb
Royal Dano ... Ten Spot
Matt Clark ... Kelly
John Verros ... Chato
Will Sampson ... Ten Bears
William O'Connell ... Sim Carstairs
John Quade ... Comanchero Leader
Frank Schofield ... Senator Lane
Buck Kartalian ... Shopkeeper
Len Lesser ... Abe
Doug McGrath ... Lige
John Russell ... Bloody Bill Anderson
Charles Tyner ... Zukie Limmer
Bruce M. Fischer ... Yoke
John Mitchum ... Al
John Davis Chandler ... First Bounty Hunter
Tom Roy Lowe ... Second Bounty Hunter
Clay Tanner ... First Texas Ranger
Robert F. Hoy ... Second Texas Ranger
Madeline T. Holmes ... Grannie Hawkins
Erik Holland ... Union Army Sergeant
Cissy Wellman ... Josey's Wife
Faye Hamblin ... Grandpa Samuel
Danny Green ... Lemuel
Kyle Eastwood ... Josey's Son
Richard Farnsworth ... Comanchero

Josie Wales' family was murdered and his home burned by union redlegs, so he joins Bill Fletcher's border raiders on the confederate side of the war and does his share of getting even. When Fletcher turns in his men for money (except Wales) and they are all killed, Wales becomes an outlaw on the run from union authorities. They hunt him clear into Mexico, where things come to a head. Josie Wales single handedly surrounds the entire union army and the Indian nations.

This is a good story, well acted by all concerned, and very well directed by Eastwood, as are all of his films.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

Josey Wales - Fastest gunslinger in the West!
Clint Eastwood's movie, The Outlaw Josey Wales, is a classic in the Western genre. This movie is one of the best Western movies that I have ever seen.

The story of the movie goes like this. Josey Wales(Clint Eastwood) is a peaceful farmer in Missouri with a family in the middle of the Civil War. One day some Union Soldiers burn down his house (with his son in it) and kidnap his wife. Angry and Furious, Josey Wales joins some confederate guerillas and fights hard. When Confederacy surrenders, Josey Wales refuses and heads west. He travels to Texas and along the way picks up odd group: couple of Native Americans, an Old Grandmother, a beautiful woman and two servants. At the same time they are chased by Union soldiers.

I will not reveal the story further. However, what makes this movie a classic is the depth and dimension to the characters and superb action.

The character of Josey Wales is really complex. He turns from a peaceful farmer to a tobacco chewing, hell raising, gunslinger. However his humane side is seen through his hard attitude at times. He saves a native american girl from couple of scoundrels. He also saves travelers from another group of bandits. At the same time, he is a tobacco spitting hard man. Josey Wales spits on everything, from a scorpio to a union officer. The other characters are not as intensely developed, which is understandable since Josey Wales is the primary focus of the movie.

The action in the movie is just amazing. I will summarize three great scenes which will make you, the reader, want to just watch the movie. In first scene Josey Wales is carrying food and confronted by four soldiers... In another one Josey Wales(and his six-shooter) all by himself is up against 10-15 bandits...In the last one, Josey Wales and his Six-shooter, go toe-to-toe against tens of horse-riding soldiers...

I will leave the action for you to watch.

Also this movie is directed by Eastwood himself. He is as good as a director as he is as an actor.

FYI: This movie is based on the book "Gone to Texas".

Classic Clint!
If you could only watch two of Clint Eastwood's westerns, "The Outlaw Josey Wales" and "Unforgiven" would by my choices!

Chief Dan George and Clint have a chemistry that adds humor and depth to the main story line of revenge, retribution, and a journey for justice. Sandra Locke, with her doe-eyed innocence, adds a little gentle feminity to the picture.

The movie is exciting, suspenseful and rewarding. No one is better as a wronged-man-evening-the-score than Clint Eastwood and this is one of his most memorable roles. ... Read more

Reviews (107)

Stunning
This may be the best Shakespeare film ever made. In 1942, Laurence Olivier delivered a jingoistic, stylized wartime production of "Henry V" that nonetheless stood as the standard interpretation. Nearly fifty years later, Kenneth Branagh's film appeared not only as a powerful and amazingly accessible recasting of the text, but a serious examination of the nature and the costs of the war that was Henry the Fifth's only real achievement.

Although studded with a fine array of subsidiary characters, "Henry V" is essentially a one-man play, and Branagh's performance informs and naturally influences all of the rest. His character has most of the lines, and he delivers them with a refreshing naturalism and candor that re-infuses the humor into the funny bits and cuts a lot of the potential for stilted jingoism out of the patriotic and warlike ones. If the real Henry's delivery of the St. Crispin speech was anything like Branagh's, it's no wonder the English won.

Slogging through the mud and rain of Harfleur and Agincourt with Branagh is a masterful supporting cast, including the incomparable Judi Dench as Mistress Quickly, Brian Blessed as a marvelously solid Exeter, and Ian Holm, wonderful as the irreverent and sarcastic Fluellen. On the French side, Paul Scofield's King is weary and indecisive rather than weak and mad; Michael Maloney's Dauphin is entertainingly arrogant, and Emma Thompson delivers a small but charming performance in playwright-broken English and much better French than Shakespeare likely spoke. Tying it all together is Christopher Ravenscroft, who invests the herald Mountjoy with a sympathy that extends to both sides, and a phenomenal showing by Derek Jacobi as the earnest, mocking and informative Chorus.

"Henry V" was released and went to video before the heyday of production for DVD, and as such, a "deluxe edition" has not been produced- this disc contains no making-of documentaries, no in-depth interviews with the cast, no online screenplay. But at least in this case, that's all for the best. The film is stunning enough on its own to need no such accompaniment, and its magic is thereby undiminished.

Oh, for a muse of fire...
For a first effort at feature-film direction, now-veteran director/writer/actor Kenneth Branagh provided an astonishing introduction to his many talents in filmmaking with his 1989 production, 'Henry V'. There is a gritty realism brought to the screen in this production that combines in dynamic and interesting ways with the Shakespearean dialogue and situations. The battle scenes are some of the best in cinema for depicting the kind of royal and knightly battles. A special commendation goes to cinematographer Kenneth MacMillan, art directors Martin Childs, Norman Dorme, John King, and costume designer Phyllis Dalton for combining elements of stage and screen together to complement the story perfectly without overpowering it. Indeed, the picture won the Oscar for Best Costumes; Branagh was nominated for Best Leading Actor and Best Director. The film and crew were nominated for and won many other awards as well.

One of the problems of Shakespeare on the silver screen is that the situations, settings, and acting often ends up somewhat contrived. That rarely happens here, because of this remarkable team.

The principle writing credit of course goes to William Shakespeare, but as is always the case, the play