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Edward D. Wood Jr. was an actor writer-director-producer, occasionally in drag, who combined meager bursts of talent with an undying optimism to create some of the most bizarrely memorable "B" movies to ever come out of Tinseltown. Though Wood died in obscurity as an alcoholic in 1978, his films have been considered cult classics for years. He is consistently voted the worst director who ever lived. You would think this an odd subject, but director Tim Burton harnesses the undying hopefulness that made Wood such a character. Shot in black and white, just like Wood's creations, this stylized, witty production captures the poetic absurdity of Wood's films and his unconventional life. Burton's recreation of Wood's wonderfully awful Plan 9 from Outer Space looks much better than the original low-budget quickie. Burton tackled an extremely strange subject matter for a biopic, but Wood is presented as naive almost to the point of delusion, so the story works. The pace sags in the middle, as the weirdness starts to wear thin, but Depp proves himself an adroit actor, even while wearing angora and a blonde wig. Wood's unconventional repertoire company is faithfully reproduced, including an Academy Award-winning Martin Landau as Bela Lugosi. Landau is pathetic, droll, and charismatic as the elderly junkie who made his last screen appearances in Wood's films. --Rochelle O'Gorman ... Read more

Reviews (150)

Good Movie about a horrible film-maker
Ed Wood, Jr. is more beloved than reviled as the "creative mind" behind such grade-z movies as "Plan 9 From Outer Space", "Glen or Glenda". Though it's generally accepted that Wood wasn't playing it straight with his horrible scripts ("he's been killed, murdered....and somebody's responsible!"; "Future events like these will affect you in the future!"), unbelievable special effects and nonesensical plots, this film slightly suggests that Wood actually bought into his own nonsense. Here, Johnny Depp (is there anything he can't do?) plays the beloved but infamous Ed, a WWII vet, failed movie maker and transvestite. Playing Ed as if doing an extended Jon Lovitz impression (his lines delivered all high-pitched and non-stop), Depp's Ed is mostly innocuous and guiless (his genuine belief in the implausible predictions of self-proclaimed seer, Criswell, are a hoot) and incapable of seeing his own sheer lunacy. The script uses "Glen" and "Plan 9" as bookends on Ed's checkered career - with the first film marking his collaboration with the then well-faded horror star, Bela Lugosi (Martin Landau), and the second marking a sort of tribute to the star who died before its completion. Director Tim Burton stocks the film with a well-rounded cast - Bill Murray as transvestite "Bunny" Breckenridge, Jeff Jones as Criswell, Sarah Jessica Parker as Ed's long suffering girl friend, Dolores, Lisa Marie as "Vampira" and George Steele as Tor Johnson - that's a lot of fun, but doesn't do much with them. Bill Murray seems at times the saddest transvestite in history, mulling his paltry earnings from Ed's flicks to pay for his "procedure" while Jones' Criswell puts a damper on things when he makes all too clear how he invents his predictions. Instead, Burton's attentions are reserved for Ed and Bela, with Landau turning in a performance that's in turns hysterical (when revealing his hatred for arch-rival Boris Karloff), heartbreaking and terrifying (the forgotten star dies trying to kick a heavy heroin habit). Even so, the script doesn't stay consistent, with the emotional and humours highs isolated in their own scenes. The script reaches a depth of sorrow and horror when revealing Lugosi's profound suffering in de-tox, yet only briefly. (The script dangles the question of how well the dying star recognized the inanity of Woods' work). In other moments, the film hints at other real-life horrors like Ed's war experiences, but much of the film is actually shy of risk. Much of the conflict is between Ed and his backers - mostly evangelicals conned into thinking they were financing a religious picture and slowly realize Ed's true caliber as a film maker. Ed fights back to preserve his artistic vision without having to prove what his vision is or whether he even has one. His flagging self-confidence is restored by a chance encounter with Orson Welles (Vincent DoNofrio, also an underappreciated Hollywood fixture, his lines dubbed by the same guy who voices "Brain" on "Pinky and the Brain"). The more famed director is about to start work on a troubled epic of his own which, though never named, will be instantly recognizable to film students as "A Touch of Evil" ("Can you imagine Charlton Heston as a Mexican Cop?", Welles laments). Plunging ahead, the film works to the climax of Ed's career- the infamous "Plan 9 from Outer Space"! With Ed's trademark horrible special effects, unintelligible plot and insultingly poor script, "Plan" is almost guaranteed cult-status. Burton only recreates some of the scenes, so the last few minutes of the film plays like a montage of SNL skits, with Ed almost crying as he savors each frame. Leaving Ed before the credits roll on his "masterpiece", we never see Ed's lowly ends, his own substance abuse problems or the more clearly horrible films that marked his latter years. Burton never confronts this and misses an ironic motherlode - whether the ridiculous fantasy of Ed's pictures were supposed to be scary, or whether in seeming scary but so ineptly so, they were actually meant to symbolize a safer world than the one he experienced for real.

Plan 10 From INNER Space -- a true American classic!!!!
Yes, Eddie!
Not only Burton's best yet, but one of the finest
American films from the 90's -- or of any decade for that matter.
Cleverly written, lovingly directed, stylishly shot, acted
with empathy, scored and designed with tasteful camp, ED WOOD
is a virtual paen to Hollywoodism (whatever the hell THAT is!).

Just Czapsky's cinematography or Shore's soundtrack alone are
worthy of immense praise. And Tim Burton hits all the right notes flawlessly (for a change). Definitely his Citizen Kane.
Can't praise Depp and Lugosi enough, nor the editing, or....oh, hell! If you have any affection for the 50s, or B-Movies, or Bela Lugosi (God rest his soul), or Maila Nurmi (yum-yum), or angora, or pulp American cinema - meaning REAL American movies - then you should be a fan of this movie, regardless of what you think of Ed Wood's stuff.

Last point.
This movie is overdue for a worthy DVD treatment: docus, bios,
making-of-background -- the whole bit.
Was good enough for an Oscar for Landau, so why are we still waiting?
Yes indeed, pull that (angora) string!

No really this is good, honest
Watching Ed Wood movies and watching Ed Wood there is an alarming thing - Ed Wood's life was better suited to a movie than he was as a director! And as he tried woefully to express this side of his personality to the public with the woeful Glen or Glenda ( " Did you see the movie? Uh huh. Worst movie you saw in your life? OK but how about.....hello hello! )

Johnny Depp is hilarious as Ed and really plays the part extraordinarily well. You almost feel sorry for him as he gets rejected from everyone because he seems to have his intentions right no matter how skewed they end up being.

Of course Ed has a fetish for women's clothing which would make itself known in the film Glen or Glenda but Dolores wouldn't know about this until she read the script. Let's just say she doesn't take to it as well as Ed's rather naive script would like her to be! Although I have to admit that Sarah Jessica Parker is not exactly that easy to like in the movie

Martin Landau is the one who I think plays Bela Lugosi and I have to say that the resemblance is uncanny that you almost feel like singing the line from the Bauhaus song Bela Lugosi's Dead -" Oh Bela, Bela's not dead " indeed!

Bill Murray is fantastic in his role. As ever, he has the best lines in this movie. One of the best roles I've seen him in

I've seen this film - it must be about nearly 7 or 8 times and it's so funny that some of the lines in it are implanted in my head. One that has to be watched for those interested in seeing something a little unusual

My Favorite Movie of All Time
I have watched this movie probably 100 times and can never get enough. I cannot believe it hasn't been released on DVD yet.

The portrayal of Ed Wood is of a guy that never gives up even though he is terrible. Ever the optimist and the king of spin. He gives his pre-released version of 'Glen or Glenda' to a producer. When ED is told it's the worst movie the producer has ever seen---Ed's answer, "My next one will be better!"

When Ed is told that Bela will be kicked out of re-hab due to lack of insurance---Ed goes to Bela and tells him, "The tests all came back great---you can go home now."

Ed is a testament that it is more important to be positive and tenacious----rather than good.

Martin Landau REALLY deserved this Oscar. Like another reviewer said, he becomes Lugosi. I really feel Martin's portrayal of Bela more than I have ever felt any on-screen performance---ever. He brings me to tears almost every time. It's heartbreaking, funny and perfect in every single way.

From getting the whole crew baptized to finance a movie----to parading around the set in a wig and a dress. It's a great movie.

Enjoy!

Release it on DVD already!!
I'd heard good things about Ed Wood from critics, and decided to rent it to see for myself. After all, most of the movies I enjoy the most are movies that are panned viciously by said critics. Guess what? for once, I agreed with the "screen snobs" and enjoyed this movie just as much as the ones normally dismissed by the critics.

Johnny Depp is brilliant as the ever optimistic, supremely untalented Ed Wood. It is strange to contemplate the irony that it took such a top notch director, cast and writer to honor someone like Ed.

Speaking of brilliant, don't miss Martin Landau's Oscar winning turn as Bela Lugosi. By turns hilariously profane and poignantly troubled, Landau earned his Oscar for this part.

I just wish the powers that be at the studios would hurry up and put this gem on DVD so that we can all enjoy it! ... Read more

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Five years before he achieved broadcast history with his legendary 1973 global satellite telecast, Elvis: Aloha from Hawaii, Elvis Presley brought a less grandiose but far more urgent mission to this Christmas season network special: isolated from his original audience after a long sojourn on Hollywood soundstages, and threatened by the vibrancy and social gravity of rock, the King sought nothing less than to reclaim his throne.

More than three decades later, what has since become known as Elvis: '68 Comeback Special looms as the Memphis icon's most substantial achievement as a stage performer. If the candy-colored sets and hyperactive choreography of its larger production numbers smack of its network packagers' desperation to be hip, Elvis himself rises to a riveting, assured performance at the peak of his powers.Looking fit and relaxed, and sheathed in black leather, he covers a shrewd song list encompassing early rockabilly hits, gospel (albeit rendered unintentionally hilarious by its florid dance routines), and comparatively restrained ballads.

Standout performances include two intimate stage sets that put him literally within his fans' reach, most strikingly in a brief reunion with four of his earliest bandmates (including guitarist Scotty Moore and drummer D.J. Fontana).The latter segment is only a brief sample of a session posthumously released on video as One Night with You, which is, if anything, even better than this terrific portrait of a towering American artist. --Sam Sutherland ... Read more

Reviews (46)

Absolute Must Have!
This three dvd set is amazing! You get to experience all four live NBC studio performances. (The 2 complete sit down jam sessions and 2 complete stand up performances) The highlight of the first stand up performance is when Elvis asks for his electric guitar, starts strumming the blues riff to "Baby What You Want Me To Do" and all of a sudden, the house band joins in for a smoking jam session! Elvis, being a total Rock Star, in black leather, playing lead guitar in an unplanned blues jam! How cool is that! Most people don't realize that Elvis is actually a descent guitar player. The sit down performaces clearly prove this. Elvis plays Scotty Moore's electric guitar throughout most of the two shows, while the other guys play "unplugged". Other highlights include the extra, unused footage to the production numbers. You get a sneak peek of serious flirtation between sexy actress/dancer Susan Henning and Elvis. (Something was going on there!) Seven hours of historic Elvis at his coolest!

Sensational!
Sensational is the word that comes to mind while browsing through the new "Elvis - The '68 Comeback Special (Deluxe Edition DVD)". This 3-disc set assembles all the footage related to the famous '68 Comeback Special. A great deal of the material shown is released here for the first time in its entirety, or released for the first time pure and simple.

While some parts, delightful as they are, will definitely be for Elvis fans only (the takes and raw components of the production numbers on disc 3), the bulk of this set is essential watching for any rock enthusiast - the two sit-down shows, the two stand-up shows, and the adapted NBC TV special as it was originally aired on December 3, 1968, represent not only some of Elvis's finest moments of his whole career, but are nothing less than some of the most exciting rock gigs ever filmed. Watching these shows now, in great remastered sound (there's choice between Dolby stereo and Dolby 5.1) and unseen picture quality, and realizing that they have been in the vaults for more than 35 years, one can but wonder why it took them so long to release them. In his emphatic effort to reinvent himself, Elvis continually transcends the limitations of space and time, revealing along the way as only he could what rock 'n' roll is all about - and we have a true classic performance on our hands.

You can now watch some 7 hours of it. Not to be missed.

(In the European issue of this set "It Hurts Me" has been erroneously left out on the Original Broadcast Version of the Comeback Special.)

If You Only Get One Elvis DVD, This One Should Be IT!!
This DVD shows Elvis at his Best! You can just see the music flowing through him by watching his face and his whole body. Then, you have an insight into why his voice has so much strength and feeling. You can listen to and enjoy cds and albums, but you don't get the total picture until you see him sing. It's like going to a live Elvis concert in the comfort of your living room, with the ability to play it over and over.

This is the one to have!! I'm writing this having watched ONLY ONE of the three included dvds. If this first dvd was the only one in this package, it would have still been well worth the price.

Personally, I like the unedited 'sit-down' and 'stand-up' performances BETTER than the edited, packaged TV Special. But, it's all here, allowing you to pick and choose your own favorite cuts.

Buy It!

Great but lacking
I purchased this DVD to get a complete copy of the show, But this set is still missing parts. In the Guitar Man
production It Hurts Me is still missing from this disk but list it on the package as being there. I was not happy when I found this out. It is not the complete package it is made out to be.
I will copy my Laser disc version to DVD, This will be the only way to ever get the complete show.

A TRAP in order to get your money
I am giving one star because this DVD is not what they advertised: ..."everything in its complete, raw form". It is missing the production "It Hurts Me"... And yes, it hurt me when I found out after expending too much money for it.

This is the 3rd time it happens. The people behind the Elvis Enterprises are dishonest and they are laughing at us, in order to get the money. Next time, I will not rush and buy the next Elvis product on Ebay for a lot less money.

In the "68 Comeback Special" you will see a gorgeous, energetic, Elvis; specially when he is singing with his original small group. It is a little bit annoying the full band that he uses for other songs. The horns are too loud and harsh. I agree with Paul McCartney when he said that Elvis was better with a small band than with a full orchestra ...and definitely I agree with Scotty Moore when he stated... "68 Comeback Special: A Farewell Performance" ... Read more

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Billy the Kid is reimagined by director Sam Peckinpah as a kind of Old West rock star, a young man who wants to do his own thing but constantly runs up against the objections of the establishment--in this case, the cattle barons who run this part of the country. Peckinpah indulged in some quirky casting, including Bob Dylan as an outlaw named Alias and most of Kristofferson's band as Billy's gang. He also draws exceptional performances out of a cast of old veterans, including James Coburn as the reluctant Pat Garrett, R.G. Armstrong, Katy Jurado, and Slim Pickens, who has a terrific death scene to Dylan's "Knockin' on Heaven's Door." Look for this longer version (122 minutes); the shorter version is the one that MGM recut against Peckinpah's wishes, removing all the character development and Peckinpah's elegiac sense of the Old West in favor of action and violence. --Marshall Fine ... Read more

Reviews (42)

Outstanding Western
This is a stunning Western by any count, whether its the exhausted 70's patina (strangely similar to Easy Rider), Coburn's whiskey-soaked degenerate ambiance, or Peckinpah's inspired and artful trademark mayhem (yes, it even has children playing on a hangman's noose). Forget about Dylan's "Peas ... corn .. carrots" scene, which is completely idiotic and funny only in a 1973 "I'm stoned on brownies and watching Dylan read vegetable cans, wow man" sort of way. Dylan could actually have provided his soundtrack and been done with it. Because that soundtrack is crucial to the lasting and laconic mood of the film. The image of a wounded Chill Wills going to his knees for death while Heaven's Door plays in the background is far too poetic for words. That scene will stay with you for a very long time. As Billy, Kristoffersen has somehow mutated into a baby-faced Jim Morrison lookalike. Coburn is a grizzled and cynical character, hard nosed and out for himself. "I aim to be rich, old, and happy, in that order." The mood throughout the film is fated, inevitable, manifest destiny, "just doing my job." Billy/Kristoffersen is the single character who fights the inevitable: "Times might change, not me." Dozens of great lines in this film. A unique ambiance. Interesting twists and characters. Definitely a keeper.

Did I rent the wrong version?
While recently reading Howard Sounes' "Down the Highway - The Life of Bob Dylan," I rented this movie at my local video place. The "baby-faced" Kris Kristofferson is well worth the price of rental. Dylan's performance is one long wry wink at the Western genre. I watched the movie three times and still never heard Bob *SING* "Knockin' on Heaven's Door." Sure, there's a haunting instrumental version accompanying Chill Will's death walk to the creek bed, but I thought I remembered Bob singing it in the theatrically released version?

this needs to be on DVD!
This is a wonderful Western. Extremely stylish. Both Colburn and Kristofferson are cooler than cool. You might also want to check out the Last Days of Frank and Jesse James. It lacks Peckinpah's style and is a tv movie, but it's on DVD and Kristofferson is great as Jesse James.

Jack Elam at his best
The portrayal of Alamoosa Bill by Jack Elam is a classic. It's a shame The Kid has to shoot him, but it's the exclamation point of Elam's skill as an actor. The soundtrack is superb. Rita Coolige is in her prime. See it!

Pat Garrett and Billy the Kid
One of the best Westerns out there! I just love Rita Coolidge. I've got this movie on Letter Box Laser Disk, but I just can't wait till the DVD arrives! How much longer must we wait?? ... Read more

Reviews (7)

Back To The "Good Old Days"
In the late 1940's and into the 50's, there was a decency and innocence which existed that has all but disappeared today. This movie is a simple, wonderful story about innocence and blind faith, played beautifully by Loretta Young and Celeste Holm in the form of 2 French nuns. Using their charisma, they manage to get a children's hospital built in an affluent area, in which the people eventually are won over by these charming nuns. It is a "feel good" movie of the first magnitude, and, in my opinion, one of the most beautiful films ever made.

Not my usual dish of tea
Normally, a movie about a writer of popular songs discovering that what he thought was his original song actually was inspired, wouldn't really appeal to me. The character played by Loretta Young almost does the trick, though - and the scene in which Young's character asks Luigi Rossi for help always tears me up. This is a good Second List movie.

Beautiful depiction of a Nun's faith and inner soul
Loretta Young, one of Hollywood's most respected actresses had one of her greatest roles as the assured and determined Sister Margaret in Twentieth Century Fox's 1949 "Come to the Stable" a beautiful story of two women's determination and sheer belief in the rightness of what they are seeking in their work for others. Loretta Young, a staunch catholic in real life is one of those rare actresses in a league with the likes of Ingrid Bergman, Deborah Kerr and Audrey Hepburn , that seem totally convincing as nuns whether it be in their displays of humility in portraying their characters or just by the total immersion that they undergo when taking on the nun role.

"Come to the Stable" tells a very simple but extremely moving story based on a short story by Clare Booth Luce, of the journey that two nuns, one American and one french, make to fulfill a solemn vow made during World War 2. Resulting from the fact that through prayer to St. Jude, the Patron Saint of lost causes, their hospital was spared destruction by the advancing forces the two make a vow to return to America to set up a similiar hospital for young infants in Bethlehem, Connecticut where they have learnt of a woman who paints very beautiful religious paintings. After finding the right place atop a serene hill with perfect views of the town the nuns with very little money, very few propects and with a strong unquestioning faith proceed to achieve everything that has become their lifes work. Their journey from a hopeless situation with no funds to build the hospital or obtain the land, to one that inspires others to get involved to achieve the dream of the new hospital makes for inspirational viewing and puts across the strong message of the basic good of all people if you only take the time to look for it. In their drive to fulfill their aim the nun's encounter some interesting characters who's lives they alter in very positive ways. Miss Potts played by Elsa Lancaster in a wonderful performance is a lonely spinister who loves to paint and finds her whole life turned upside down by the unexpected arrival of the nuns on her door step. She for the first time finds a real purpose to her existence as she involves herself totally in the plans of Sister Margaret and Sister Scholastica (Celeste Holm). In their search for land to build the church on the sisters find themselves travelling to New York where they encounter small time con man Luigi Rossi who after hearing their story not only gives them a sizable donation but also the deed to the land with the promise that a commerative stained glass window will be installed in memory of his son who was lost in the war not far from where the sisters nursed in Northern France. His transformation from a small time hood to a man with a conscience is only one of the miracles that the nuns work in their dealings with others. Hugh Marlowe plays the nuns new and indeed quite unhappy neighbour Robert Mason who despite being against the idea of a hospital literally in his backyard finds himself helping the nuns and in a crucial situation where the nuns find themselves short of financing for their repayments, chips in and ensures the sisters dream becomes a reality.

Directed with a sentimental but sure hand by veteran director Henry Koster who was responsible for such diverse efforts as "Harvey", "Flower Drum Song"' and "The Robe", the representation of what strong belief can do to achieve great things either big or small in ones life is always the central theme of "Come to the Stable". Loretta Young as Sister Margaret was an inspirational choice as the lead in a role originally intended for Irene Dunne. She is everything a nun should be, strong, gracious, determined, and a firm believer in the basic good in man. Her's is a superb performance which quite rightly received an Academy Award Nomination for Best Actress. Equally honoured is the beautifully unplayed performance of Celeste Holm in the role of French nun Sister Scholastica, Sister Margaret's helper who in a comical moment reveals herself in a past life to have been a top class French tennis player in a scene where she is forced to play in full nun's habit for high stakes, namely a large badly needed donation to the building fund!

Such beautifully put together films as "Come to the Stable" often make me wonder what Hollywood is really doing nowadays as such delicate themes as guiding faith and divine providence, would not be able to be made nowadays what with the harsh reality of most modern screenplays. I never fail to be touched by this story or by the wonderful performance by Loretta Young in the lead. It is a heart warming viewing experience for anyone who has ever had avow to fulfill or a dream to pursue. Watch this film and be inpired as I always am to try and fulfill my dreams while enjoying an terrific excursion back to movie making as it used to be.

Where are new Lorettas, Ingrids, Audreys who can play nuns?
This movie and The Bishop's Wife are my 2 favorite Loretta Young
films. I, too, saw it on TV years ago and finally found a video to buy. I watch it at Christmas time, also. The two nuns, Loretta and Celeste Holm, arrive in Bethlehem, CT. during a snowstorm. Something I noted when I saw film: my father's relatives used to live in Waterbury, CT. back in the '50s and '60s. When we visited them, up the big hill from where they lived, there was sign advertising the town of Bethlehem, a re-creation of the biblical town of Bethlehem--a local tourist attraction that presented pageants this time of year. I think of that when I watch this film. Wonder if the makers of the film knew that, because the sign in the road the nuns see says "Bethlehem, CT." Is Bethlehem, the CT. tourist attraction from my youth, still going strong? Is it located in or nearby Waterbury, CT. I never went to see it, so I don't know for sure.

Absolutely beautiful depiction of Faith and Providence..
This must truly be one of the most beautiful and heartwarming pictures to ever come from Hollywood. Clare Booth Luce's story is a wonderful portrayal of how trust in God brings not only success in good ventures, but also peace of heart as well. The Sisters are resigned to the Divine Will, even if it means that their work seems to have been for nothing. They work as if everything depended on them, but trust as if everything depended upon God. How many of us could stand to learn this lesson! The film also has many very humorous moments.

Loretta Young is totally convincing as a Religious; her bearing is gentle and kind. She utterly radiates the beauty of the Catholic Faith. The rest of the cast is totally natural in their respective parts, especially Elsa Lanchester as the nervous Miss Potts.
I would highly recommend this movie for the entire family. It is not a Christmas movie as the title suggests, but I seem to find myself watching it every year around this time! ... Read more

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Thelma & Louise is a feminist manifesto writ large on the big screen, a smart and funny gender reversal of the standard Hollywood buddy formula, a road movie extraordinaire, with characters who became instant cultural icons. No matter how you define it, Ridley Scott's 1991 box-office hit pinched a nerve and made the cover of national news magazines for tweaking gender politics like no movie before or since. Callie Khouri's screenplay overhauls the buddy formula with its story about two best friends (Susan Sarandon and Geena Davis) who embark on a liberating adventure that turns into an interstate police chase after a traumatic incident makes both women into fugitives; they are en route to a destiny they could never have imagined. The perfect casting of Sarandon and Davis makes Thelma & Louise a movie for the ages, and Brad Pitt became an overnight star after his appearance as the con-artist cowboy who gives Davis a memorable (but costly) night in a roadside motel. --Jeff Shannon ... Read more

Reviews (90)

Enjoyable "Buddy Film" classic
Is there anything more satisfying then a romantic, funny, action-packed, well scripted AND well acted movie? Perhaps, but after watching "Thelma and Louise" I certainly have my doubts. Susan Sarandon and Geena Davis star in this highly entertaining, truly heartfelt movie. When one begins this film, you immediately feel the need to choose a "favorite" between the two characters, Thelma or Louise. It is impossible. You can masquerade that you like Thelma more, or that Louise tickles your fancy...but the truth is that both characters are immediately likeable and hard not to love.

The basic plot: Thelma and Louise go on a seemingly weekend long roadtrip as a brief escape from their drab, unexciting lives. Their first night out, Thelma has a terrifying experience...Louise, in her efforts to save her, commits a major crime. Suddenly, they are no longer two pals going on a trip...they are fugitives running for their freedom and from the law. As the story progresses, their list of crimes grows longer, and their chances at reaching their destination seem to get slimmer as they get closer to it.

A thrilling romp through the southwest, with beautiful acting, writing and cinematography, this movie is a classic "buddy movie", "road movie" and "chick flick". Whatever label it is given, it is one of the best of its kind.

The Ultimate Road Movie!
This is an instant classic. Controversial and creating two instant female American icons. Susan Sarandon and Geena Davis are nothing short than perfect as Thelma & Louise, both creating equally likable and complex characters. Considered to be a female buddy road-trip movie, but this film is much, much more, mainly because of the excellent multi-layered screenplay. Ridley Scott directed an instant American classic. Some scenes are now considered classics, such as the ending. The 'male' part of the cast are all excellent, Harvey Keitel and Michael Madsen are great. Brad Pitt is also a stand-out in the role that shot him into stardom. Extremely entertaining and even poignant near the end. This one is in a category all of it's own. From a scale of 1-10 I give this film an 8!

A remarkable movie!
Originality is the supreme adjective for this picture. It won deservedly the Academy Award as Original script. Ridley Scott made an authentical road movie but loaded with humor , cynicism , haunting and above all very anti macho movie.
The sinister fact that will turn a twist of fate in these two women who only wanted to have fun just for a while will become in a permanent and menacing nightmare for both of them .
The spectacular landscapes are a huge background all the way reminds us Paris Texas . The use of big lenses and the arresting images walks together with a solid script .
Brad Pitt appears briefly as the hitch hike guy who eventually seduces Thelma . Susan Sarandon and Geena Davis are the mirror images of Sundance Kid , you may consider it a speculation, but think it carefully . Since the accidental murder , and the sweet smell of the risk when Geena robes a supermarket , the dramatic car chase is very close in spirit to the sudamerican getaway and above all the ending sequence .
Keitel works efficiently , once more and Scott shows us once more why he's on the top direction .
Consider this one from its release as one of the most powerful nineties cult movies!

The Ultimate Buddy Movie.
This is definately Ridley Scott's best film to date. Thema and Louise may be one of the most popular chick flicks, but you do not have to be a woman to like it. This film is the absolute perfect movie to watch with your best friend. The way that Susan Sarandon and Geena Davis take you into the lives of these two friends is amazing. On their jouney they encounter lots of characters including a perverted truck driver, and a young drifter played by Brad Pitt. The movie all in all is good, and I would definately give it two thumbs way way up.

A modern classic
I saw an interview with Susan Sarandon, and she said that "Thelma and Louise isn't about feminism, it's about human liberation." I completely agree.

If you put the sexual politics aside, what you have is a story of two human beings who have spent their whole lives being oppressed and controlled by other people. Louise (Sarandon) is a waitress with a tragic past and an unreliable boyfriend. Thelma is a housewife with an arrogant, controlling husband. The two decide to embark on an impromptu vacation, but while stopping for a couple of drinks at a redneck nightclub, Thelma is almost raped by a lecherous customer, and Louise shoots and kills him in the parking lot. Instead of going to the police, the two decide to skip the country and head to Mexico, but a string of unfortunate events forces the two to commit even more crimes, turning them into bona fide fugitives and outlaws.

Strangely, what the two characters discover is that their new lives as outlaws are more satisfying than the stifled lives they led before. At the end of the film, the two make a choice to remain free and never surrender, despite the consequences.

This film asks the question: is the only way to be free in our society to be an outlaw? The answer just might be yes. ... Read more

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In a misty London train station, four siblings await their journey to the country, a place to avoid the bombs of World War II, a place where one boy imagines nothing ever happens. As it turns out, the old professor's spooky country house is ripe for exploration. Lucy, Edmund, Susan, and Peter's adventures begin when the back wall of a fur-coat filled wardrobe opens up into the magical world of Narnia, where, because of the malevolent White Witch's spell, it is "always winter and never Christmas." Before long, the children (the Sons of Adam and Daughters of Eve) are participating in an epic, allegorically Christian battle between good (Aslan the lion) and evil (as represented by the diabolical White Witch, played with wonderfully hideous zeal by Barbara Kellerman).

The Lion, the Witch, and the Wardrobe, first published in 1950 and designed to be the second book chronologically in the Narnia series, was faithfully, painstakingly adapted into a BBC TV series, and then edited into a feature-length film in 1988. The snowy landscapes of Narnia are lovely, but youngsters accustomed to stunning silver-screen special effects may pooh-pooh this rather slow-moving, homespun production, with humans dressed like beavers, a large stuffed-animal-looking lion, and oddly patched-in Disneyesque animated winged creatures. Still, there's an arresting sweetness and simplicity to this fantasy adventure in two episodes (59 minutes and 110 minutes) that suit this old-fashioned, well-loved classic to a T. --Karin Snelson ... Read more

Reviews (77)

Great to see, but could have been better.
I love the books, and think of them as some of the best literature ever written. I enjoyed watching the animated movie as a kid, but longed for something that was more real- namely, live action. And in an age when Harry Potter is big, and The Lord of the Rings has been updated into live action from it's original animation, why not also Narnia? And here it is.

It kept very close to the book, which was helpful. And it is overwhelmingly British- which is just right, since Lewis was British and wrote about British children. This is a production that needed to be done in England to do it right. The acting is certainly superior to anything you see in Harry Potter, thank God- these children can actually act, and emote. But as many have pointed out, the special effects really drag the movie down. It's a bit odd, as the movie obviously has the money for location shooting that put it above a high-school project. But every little while through the movie, you see bits that look like high-schoolers plugged sequences in. The beavers look like people in costumes, with make-up. There's no attempt to hide that they are people. The wolf transforms (very sloppily) from a dog into a guy in a wolf costume, who doesn't look scary as much as humorous. A bit of Babe or Animal Farm (live-action version) technology, with talking animals, would have done well here, and not have been that hard to do. And the painted mythological creatures are really badly done. A computer would have touched this up very easily, very cheaply, to make the special effects realistic- or even some costumes for mythological creatures.

The telling point is a final fight scene between Peter and a wolf, in which the background suddenly changes, inexplicably, into a set for a play, throughout the entire fight. It was then that I realized that this would make an excellent play. There was nothing wrong with the acting, or costumes, or sets, were this a play. It just doesn't measure up to what we have come to expect from movies or even TV.

Wonderful and Magical
I have all three of the Chronicles of Narnia video sets - The Lion, The Witch and The Wardrobe; Prince Caspian and The Voyage of the Dawn Treader; and The Silver Chair, having been given them as gifts at least 7 years ago. I am shocked that these are now currently not available, especially with the current Harry Potter craze. The Chronicles of Narnia are wonderful stories for children and adults alike and these British productions from the late 1980s of four of the seven C.S. Lewis books are wonderful and magical. I thought I recalled still seeing these in the PBS Video Catalogs from time to time - I could be mistaken though. Even though I already have these tapes, I hope they are re-released soon for others to enjoy!!!

Bad Beginning....
This no-budget production from the BBC fails to live up to the production values of films made 100 years ago. Shoddy production design offers us absurd anthropromorphic animals of the stage-horse variety. The problem is not the budget - I offer the example of John Coates's "The Snowman", which opens with a simple shot of a man entering a wintry wood overlaid with a voiceover, all you need to create an atmosphere of impending enchantment. Instead, the producers foolishly try to emulate Hollywood-style visual effects on a shoestring budget. The results are depressing. The truth is, even with a huge budget, no one involved with the design and execution of this telefilm would be capable of creating a memorable visual.

The 4 children playing the leads are chubby and indolent looking. They consistently seem to be blissfully unaware of the fact that they are being filmed - were they chosen randomly from the nearest grade school? Aslan is a lifeless animatronic head which rasps out his lines via poorly synched voice over.

However, the first 30 minutes or so are wonderful, the minimally made up Mr. Tumnus the clear highlight. The score is very good, from the same composer who scored the deservedly praised BBC "Brideshead Revisited". The text of the telefilm is also very accurate to the text and Christian religious themes of the novel by CS Lewis.

This series gets better with each outing though: "Prince Caspian" ekes its head a little beyond its predecessor, "Dawn Treader" surpasses both by leaps and bounds and finally "The Silver Chair" carries itself with considerable aplomb and charm, despite some very poor designs and effects.

Overall, a decent warm up for the curious before the real thing hits cinemas Christmas 2005.

not very good
this movie wasn't even interesting, it is just a waist of money!

Immerse your child and yourself in Narnia
Excellent video production by people who love and respect C.S. Lewis and his Narnia Chronicles. My son likes this particular story of the series the best (so far) and after reading it, we watched this show. The book was enhanced by it, not diminished. Wonderful sets, actors and dialogue. It may be a bit intense with the White Witch scenes as the actress plays it to the hilt, but either holding hands or the fast forward button soon remedies the few minutes of nasty old witch harmless. The Brits know how to make the ultimate Narnia show. Get the DVD if you can. ... Read more

Amazon.com essential video

Sixteen years after Francis Ford Coppola won his second Oscar for The Godfather II (his first was for the 1972 Godfather), the director and star Al Pacino attempted to revive the concept one more time. Despite an elaborate plot that involves Michael Corleone seeking redemption through the Vatican while simultaneously preparing his nephew (Andy Garcia) to take over the Corleone family, the film fails to take shape as a truly meaningful experience in the way the preceding movies do. Still, Pacino is very moving as an elder Michael, filled with regret and trying hard to make amends with his wife (Diane Keaton) and grown children (one of whom is played, and not all that well, by the director's daughter, Sofia Coppola). --Tom Keogh ... Read more

Reviews (104)

A movie that should not have been attempted
"The Godfather", and its sequel, are quite possibly the greatest films made after the golden age of movies. It's all the more disappointing, then, that "Godfather Part 3" is a turgid, impotent movie that is always trying to set up a big finale, but never concludes anything convincingly. The cinematography lives up to the Godfather pedigree, but that's where the similarity ends. Coppola is clearly trying to revive feelings for Michael Corleone, his now-estranged wife Kay, and introduce newer characters like Sonny Corleone's bastard son (acted superbly by Andy Garcia) and the family's lawyer (George Hamilton). But years after Michael's overboard vendettas in "Godfather 2", the story has too much catching up to do to draw the viewer in. Coppola uses a heavy-handed technique to bring the audience along. The film often recalls previous scenes: the opener is a social gathering... there's a bloody "hit" that wipes out assorted gangsters... there's kitchen plotting... there's an Italian festival as a backdrop for murder. The look is there, but the feel isn't. Equally distressing is the casting. Hamilton's tanned, lounge lizard oiliness make him more of a corporate than "criminal" lawyer. Garcia should have acted the part of Michael's son. Sofia Coppola is sadly wooden, and I suspect she's not just acting the part of a bored princess. Michael's son is totally useless, as are the myriad characters flitting in and out of this film. We get a pope, a priest (unconvincing as Tom Hagen's son), a shifty cardinal, two beefcake bodyguards, a cowardly financier, an assassin who's not very good, and Father Guido Sarducci. Michael's old hitman Al Neri looks a bit paunchy as he fingers the chocolates that conceal his pistol... and what the heck is Brigitte Fonda doing in this story? In the first two films, every character mattered to the plot; there wasn't a dead character ('scuse the pun) in either story. Arguably, the first "Godfather" was a complete entity that needed no sequel. Coppola gambled and came up a winner with Part 2, but it's a tall order to repeat that formula in Part 3. When I fire up the "Godfather" films, I have no trouble forgetting that Number Three was ever made.

Great way to end the classic epic
i Don't understand why everyone are hating on ''the Godfather III'' after all it was nominated for a best picture in 1990 (Goodfellas should have won that year)true it's was not as brilliant as the first film mostly because there was too much recylcling going , but overall Godfather III was a good film .

Lay Off Sophia!
Sophia Copola has been bashed too much, and it's undeserved. While she had no experience, she had a certain sweetness about her. She's also much prettier than Wynona Ryder- YEAH, YOU HEARD ME! Coppola had a certain innocence about her. After all, she was never convicted of stealing.

The bigger problem is with Robert Duvall's absence as the lawyer Tom Hagan. Without his charasmatic presence, the film is seriously lacking. But the film does have its moments.

Good Movie, but ruined the Trilogy
Godfather 3 was a movie saved by one person, Al Pacino. His powerful acting in the first two Godfather films was without a doubt visable in the third. But this movie was destroyed by horrible acting. Andy Garcia portrays Micheal's (Al Pacino) nephew from his dead brother, Sonny. Andy plays Vinnie, a youthful hoodlum looking for power and respect. This movie got Andy Garcia famous, even though it was obvious he was just trying to copy Marlon Brando and Al Pacino's prefomance's in the last two Godfathers, and he did a horrible job and tore down the legacy of Godfather with every scene he was in.

But it wasn't just Andy Gracia who tore apart this movie, oh no. He had some help. Sofia Coppola plays Mary Corleone, Micheal's daughter. You could tell she had no idea what was going on. It was like Francis Ford, the director, just told her to say random things without even giving her a script. Marlon Brando, may he now rest in peace, was probably disgusted with this movie before he died.

To make this movie even worse, they decided to have a dramactic ending scene with Mary shot by a some random person sent to kill Micheal. This scene ends with Al Pacino screaming his lungs out, and the whole time I was sitting there saying, "That guy did you a favor by killing off that unholy death angle sent from the deep dark bowels of heck." The final scene, was indeed, a sad one, but with the acting skills in this movie, I don't blame Micheal for dying. I do have to admit, there are no words to describe the death scene of Micheal Corleone, because that marked the end of the Godfater lagacy, hopefully, forever. But don't get me wrong, I still love the Godfather trilogy, and always will. It just needs to end, here and now.

If you ever plan to watch this movie, tape a knife under your couch, just in case you feel like killing yourself after seeing the horrible acting presented by the infamous Andy Garcia and Sofia Coppola, The Destroyers of the Godfather Trilogy.

soso
godfather III was entertaining, in that we got to see what happened to some of the characters we loved (or hated) from the first two movies. this alone is reason enough to rent it (not buy!). however, godfather III should NOT have been made. the moral of the story is fulfilled with the last scene from godfather II, where michael is sitting alone, old and graying, face lined from a stressful life. after watching "II" i felt that the corleone tale indeed had nowhere left to go. anything after that would be harmful to the artistic acheivement of the first two movies. mario puzo said that his godfather books were really stories of family. michael the all-american marine, from the beginning of "I," and michael the morally bankrupt head of a crime family at the end of "II," should be seen with what has happened to his family along the way. THAT is what the godfather story means. godfather III isn't useless. again, it's fun to see what has happened to those interesting characters from the first two movies. but i wouldn't trade all three hours of director's cut "III" for that last scene in "II"! ... Read more

Reviews (72)

Doris and Rock's best movie
Without a doubt, this film is the apex of the Rock and Doris screen collaboration. It's an absolute delight from the opening scenes until the credits roll. It's also a wonderful time machine of the 1950's, and even though I was born after this film was made, it always make me feel as if I experienced this decade first-hand. Doris Day had a charisma on screen that is indescribable and it's never been put to better use than here. You just want to hug her to bits, she's simply adorable and her character makes the film. Rock gives one of his best peformances and he was always better when Doris was around. They screen chemistry is fabulous, exceeded only by Tracy and Hepburn. It's obvious these were two people who liked each other and felt comfortable in each other's company. Thelma Ritter and Tony Randall give superb supporting performances.

Another wonderful thing about Pillow Talk is that it's still extremely funny. There are many scenes where you will laugh out loud. The entire interplay between Doris and Rock (when he's Rex Stetson) is hilarious and holds up beautifully. Another favorite scene is when Rock is confronted with his re-designed apartment, all at the hands of the scheming Doris.

They don't make 'em like this anymore. People of all ages should love this film. I watch it every few years and always find something new to admire or laugh about. A highly recommended and enjoyable movie. One word about the DVD version: I was disappointed in the quality, it's a little grainy. There are also not many extras, excepting the theatrical trailer.

A Comic Inspiration...To Me!
Of all the classic comedies that starred Doris Day and Rock Hudson, or the two stars with other co-stars, this remains my favorite.The legendary late Rock Hudson was at his peak in this romantic comedy, and who better to showcase his charms against, than quintessential girl-next-door, Doris Day. Hudson thrives on his ability to charm indeed, as a songwriter named Brad Allen. Brad is a love-em and leave-em kind of guy, who entertains a seemingly endless array of lovesick females at his well equipped bachelor pad. He also sings to them over the phone for hours on end, tying up the telephone party-line he shares with Jan Morrow, interior designer, enter a perturbed Doris Day. Every time Jan picks up the phone, she hears Brad sing "You're My Inspiration...", and always with a new girls' name attached to the end. Flabbergasted at his womanizing, she sends a phone company rep to have a word with Mr. Allen, only to find that she TOO has fallen for the tall dark and handsome playboy. .............. Jan tells her boyfriend of sorts played by the wonderful veteran comedy legend Tony Randall, about her dialing dilemma. Randall, as always, plays himself. He's neat, dapper and proper, as not only Jan's boyfriend, but Brad Allen's friend and boss as well. After extoling the virtues of Jan to Brad, and mentioning that she shares a party-line with "some nut", describing the singing phone routine, Brad is too curious to find out what Randall is so wild about. After Brad Allen finally glimpses Jan Morrow dancing at a club, and sees the other end of his party line is not the shrew he expected, he sets out for his sweetest conquest of all................ "Pillow Talk" is a timeless gem of classic comedy. Amazingly, it was considered quite risque in it's time. This only goes to show just how jaded the world and cinema has become since 1959. Rock Hudson was actually embarrassed, and nearly declined the role. We can speculate in retrospect why he felt that way, but no one could've been a better cad than Rock as Brad! The one and only Doris Day is sweet as sunshine, until the duped decorator delighfully disarms Mr. Allen's charms, leaving him, for the first time, really in love with someone other than himself. Thelma Ritter is amusing as Jan's perpetually hung-over housekeeper. It's a truly comic moment when Ritter counsels Brad over a few too many drinks on how to win Jan over, and Hudsons' head hits the table with a thud, while Ritter babbles on oblivous to her companions condition. Tony Randall is his classic prim self, and laugh out loud funny, as he storms into his own place to rescue Jan from the smug seducer huffing the line "At least you could have had the DECENCY...to bring your OWN champagne!" .............. There are too many wonderful moments in this film to cover them all. If you somehow haven't, it's far better for you to enjoy watching this long lost genre of the innocent, fun, fresh feel-good romantic comedy, and experience first hand, the pure delight it has to offer in abundance.

Wonderful comedy of 3 Hollywood Stars with amazing chemistry
I grew up knowing about Doris Day because my mother was/is a big fan of her comedies. When I first saw "Pillow Talk" I was a mere child (the film was made the same year I was born). Over the years I have watched it frequently, and now have it also on DVD. The film continues to entertain and delight me, even as my impressions have changed with time.

Doris Day, Rock Hudson and Tony Randall had a wonderfully delightful chemistry amongst them! From the opening where Doris is humming "Pillow Talk" after the intro is completed, to the far-fetched but humourous end when Brad Allen (Rock) is trying to tell his friend Jonathan that he is going to be a father, the film is simply splendidly performed throughout! Credit must also be given to the script writers Stanley Shapiro & Maurice Richlin, director Michael Gordon & Producer Ross Hunter.

Even though I was born the year "Pillow Talk" was made, I didn't even know party lines existed until I visited a great-aunt in Northern Minnesota. I remember picking up the phone and hearing people talk. WHAT A DISCOVERY! It put the film in a new context for me when I saw it later (I am not sure if I had seen it before). I suspect that the younger generation might not understand even the notion of party lines in our age of cellular phones and internet. In this regard, the film takes us back to a less techonologically advanced time, but a time where life seemed somehow more relaxed.

I delight in seeing New York City, Central Park, and the American automobiles in the 1959 frame of context. One question that pops into my mind: did people in NYC really have such big apartments with a single woman living alone, and still affording a maid to come in each day??? Was the maid really paid enough to make a living from it? Did NYC really have that sort of "everyone knows everyone" feel such as when Kelly the police officer congratulates Brad Allen as he carries Jan Morrow from her apartment to his? I doubt it, but the fantasy is lovely!

Rock Hudson did a really fun impression of a Texan rancher up in New York. Tony Randall was extremely funny as the self-deprecating multi-millionaire in love with Jan, and Doris simply glowed from beginning to end. The last few times I have watched it, which has been recently, I have been struck by the sexual frankness it explored. Brad the playboy, always luring in the beautiful women, Jan the wonderfully moral interior decorator, who shakes her tush in a very sexy manner at a nightclub when Brad first spots her, and the budding romance that develops between the two when he becomes "Rex Stetson", a cowboy from Texas. "Rex" playing the moral companion who would do nothing to offend the proper Miss Morrow, while inside he is sizing her up and biting at the bit to ... well bite at her bits? When the gig is almost up, "Rex" innocently suggests that Jan join him for a weekend in Connecticut. While there was no actual sex occuring, it is made clear that it was about to happen when Jan figures out the ruse Brad Allen has played on her. Hollywood, perhaps afraid of the extent of this sexual frankness, has Miss Morrow crying at the diner where she and Jonathan stop for coffee, saying "I thought we were going to get married." Good girl image preserved!

Later, when Brad Allen conspires with Jan's boss to have her redecorate his apartment, the scene of the music beginning to play and the double bed automatically folding out with sheets in place left no doubt what sort of life Brad led prior to falling in love with Jan. He was a playboy through and through and measured success by the quantity of women he successfully "entertained" at home. Growing up believing that promiscuous sexuality was a by-product of the late 60's counter culture movement and "summer of love", it struck me how direct and unambigious this scene was. However, in a very moral and virginal way, Jan's virtues are protected until she hears that Brad wants to marry her and in fact, loves her very deeply.

I am particularly fond of stories where romance changes a person for the good. Being an adult and a male, however, I wonder if such a womanizing playboy could and would remain ever faithful to the woman he loves for all eternity and never feel the need to stray again. It is fun, however, to believe that love was the true redemptor and that Brad and Jan lived happily ever after. Isn't this the great promise of romance AND fairy tales.
In both genres, Pillow Talk succeeds beyond measure and I love it more each time I see it.

P.S. The music is great too. Love "Roly Poly", "Possess Me" and of course, the theme song!

funny!
This is truely one of the funnier Doris Day movies. I enjoy watching it. The first time I saw it was on tv and I just loved it. It's funny and it has a storyline that isn't tired and boring. I would reccomend this movie to anybody who likes musical comedies. The only thing I disliked a bout this movie was that Rock Hudson had to sing. He wasn't too great!

Pillow Talk
Rock Hudson and Doris Day always been one of my favorite classic couples of the 1950s films. Pillow Talk is one of my top titles for their team up. When an uptight decorator share a party line with a carefree playboy who would know that when they meet it would end up love at almost first sight. The late Tony Randall always seem to play the man stuck in the middle of the two in so many of their films that he's a terrfic straight man comic addition. ... Read more

Reviews (46)

A MUST HAVE for all DVD collectors and movie lovers!
Lady In White is a true cinematic masterpiece, and one of the greatest horror films ever made. In this haunting, surreal ghost story, writer/director/musical composer/costar Frank LaLoggia gives us chills, chuckles, and a wonderful sense of nostalgia. Horror novelist Frankie Scarlatti (LaLoggia) returns to his small Upstate NY hometown for a visit, where he remembers the Halloween of 1962 - "the year that *she* came into my life." Ten-year-old Frankie (Lukas Haas) lives a carefree life with his brother, father, and grandparents. On Halloween, Frankie gets locked in his classroom closet by his practical-joking classmates. That night, he sees the ghost of a little girl, Melissa (Joelle Jacobi) and a ghostly recreation of her murder. He also sees, but not clearly, her killer, who has come back looking for evidence he left behind. The psycho strangles Frankie, and he has a near-death experience, where Melissa's troubled spirit pleads for him to help her find her mother. Frankie survives the attack, and determines to help Melissa, having lost his own mother earlier. He learns that several children, in addition to Melissa, have been molested and killed by the same man over a ten-year period. The overzealous DA, anxious to solve the murders, decides to indict an innocent black janitor, but the Grand Jury won't buy it. Frankie discovers a link between Melissa, the town madwoman (Katherine Helmond) and the legendary Lady In White, who supposedly prowls the cliffs every night. What Frankie doesn't know is that the real killer is hot on his heels. An excellent script, terrific ensemble acting, and great special effects make this a truly magnificent, unforgettable movie. This film will be with you for a long time after you see it! Though rated PG-13, Lady In White is scarier and more disturbing than most R-rated movies. It is NOT for children under 13. The DVD package is a masterpiece unto itself - the video is a GORGEOUS wide-screen transfer, the sound full and downright 3-dimensional. The print is LaLoggia's director's cut and runs 6 minutes longer than the theatrical and videotape versions. Other great extras include the COMPLETE soundtrack, still picture gallery, seven minutes of deleted scenes, theatrical, TV and radio trailers, and a "Behind the Scenes" featurette. A textbook example of what a DVD release should be. BUY IT!

BRILLIANT---NEEDS TO BE RE-RELEASED
I would LOVE to have this movie on DVD, but it's out of print and now going for a princely sum on the secondary market. This great period piece of early 1960's nostalgia is one of the better ghost stories you will ever see.

It pops up occasionally on TV still. Lukas Haas plays a young boy...perhaps around 4th or 5th grade maybe, who gets locked in his schools cloak room around Halloween. While locked inside he is terrified to see a spectral play acted out before him as a little girl is murdered by an unknown man.

The killer returns to the cloak room to look for something and finds Haas and tries to kill him as well. He's rescued but now he is haunted by the little girl who wants him to find her killer.

He receives messages from her typed out on his typewriter and the record player goes on by itself much to the terror of Haas. Then there is the mysterious Lady in White, living in the old, run down home who seems a ghost herself.

As Frankie (haas) and his older brother try and solve the mystery, somewhere the killer knows who he is and is waiting.

Wonderful piece. Great 1960's midwest nostalgia. Fantastic performances and a genuine feeling of dread make this a great ghost story.

GREAT FILM
I REALLY LIKED THIS FILM I THINK ITS THE BEST HORROR MOVIE MADE, THE ONLY PROBLEM IS IT HASNT BEEN IN THE UK FOR A WHILE AND WOULD REALLY LIKE TO KNOW WHEN IT WILL COME THIS END AGAIN OR IF THERES ANY WEBSITES THAT I CAN BUY IT ON!!
pLEASE EMAIL ME ON FUNLOVIN_AMY@YAHOO.CO.UK IF YOU HAVE ANSWERS!!

A Terrific Ghost Story
I'm not the type who succumbs much to movie presentations -- but when I saw this in the theater during its first run, the scene in the cloak room literally caused chills. It's time for a re-release of the DVD.

YAY! This movie is good!
OMG I watched this movie like every halloween when i was a little kid, i thought it was like sooo scary, but not scary enough to scar me for life like "chucky" did. it's a really cool movie and now that im older i still like it! It's a great movie for kids like 6 and up and for adults! ... Read more

Amazon.com essential video

Warren Beatty's lengthy 1981 drama about American Communist John Reed and his relationships with both the Russian Revolution and a writer named Louise Bryant (Diane Keaton) is a compelling piece of little-known history told in a uniquely personal way. Beatty plays Reed as he did the title gangster in Bugsy and Senator in Bulworth, as a visionary likely to die before anyone fully recognizes the progressiveness of the vision, including those who are supposed to be on the same page. Jack Nicholson has an interesting part as fellow intellectual Eugene O'Neill, and the late author Jerzy Kosinski--himself a refugee from then-Soviet-controlled Poland--makes a strong impression as Reed's problematic Russian liaison. --Tom Keogh ... Read more

Reviews (35)

Amazing Epic
There have been tons of epics in Hollywood- from the biblical epics like The Ten Commandments, the David Lean epics like Dr. Zhivago or the recent self-bloated Hollywood [poor] epics like "We Were Soldiers", "Pearl Harbor" and "Saving Private Ryan". "Reds", which was directed by Warren Beatty, and stars him along with Diane Keaton, Jack Nicholson and Gene Hackman, is perhaps, along with the Lean epics, the greatest one ever made.

The story is of John Reed (Beatty), writer of "Ten Days that Shook the World", and the only American buried in the Kremlin. Even though I am against the "this is a true story" deal some movies pretentiously say, Beatty's film is so intelligently and almost objectively done, that I'll go ahead and ignore that "flaw". (espacially now that it is known that Reed was a massvely paid missionary of the USSR)

Yet one should look at the film itself. This is a beautiful and romantic film. While the movie remains closer to leftism, the film doesn't forget the injustices the Soviets did to Reed. The movie's main plot is the romance story between Beatty and Keaton- in that respect it is similar to Dr. Zhivago.

I don't think I have ever seen more beautiful cinematography in my life- Vittorio Storaro's snow scapes are some of the greatest squares ever filmed. It is real injustice to him that this film is only available in a [poor] pan-scan VHS version.

Yet the true power of the film is Beatty, both as Reed, the idealist who has to choose between love or idealism, and as the director. Despite its length, the film flows breathlessly, intercutting with various real interviews with people who actually knew Reed.

I wholeheartedly recommend this movie- it's one of the great moments of Hollywood. And one of the few.

A personal epic
Warren Beatty pulls off a difficult task in "Reds." He's got to juggle several epic stories, including the rise of the American left in the early 20th century, the Russian Revolution, and a personal story of two romantics in a relationship charged by passion both emotional and political.

Any of these story threads presents a difficult task for a filmmaker and Beatty weaves his multilayered tale together with skill. He pays close attention to detail, gives us a multitude of historical characters and events, and mixes his story telling with the words of real people. Beatty buttresses his scenes with deceptively simple "talking heads." These "witnesses" provide a real background to the John Reed/Louise Bryant story of "Reds," giving viewers a good grounding in the passions of the era. The attention to little details (Reed bringing Bryant lilies, the constant phrase "There's a taxi waiting," etc.) provide a rich portrait of two volatile human beings.

Beyond the personal, Beatty knows how to handle epic screen drama. The rousing montage that leads up to the overthrow of Russian government is sumptuous and envigorating. Don't be deceived thought; this is not a "pro-Bolshevik" film by any great stretch of the imagination. Reed's dissillusionment with the Soviet system is portrayed in agonizing detail. Emma Goldman's story, a really great history in and of itself, gives another point of view to the difficulty passionate people have when taking on governing authorities and social mores.

The performances are uniformally excellent. Beatty and Keaton are well matched and there's plenty of gems in the supporting roles. Standouts include Jack Nicholson as Eugene O'Neil, Maureen Stapelton as Emma Goldman, Edward Herrmann as Max Eastman, writer Jerzy Kosinski as Soviet bureaucrat Grigory Zinoviev and Paul Sorvino as Louis Fraina.

I love "Reds." It's one of my favorite films. Be forewarned, however, you could be lost and confused by the myrad of events in this film if you don't know much about political history of the radical left in early 20th Century America or the Bolshevik Revolution and its aftermath. On the other hand, if you're intrigued by the film you'll find yourself up to your eyeballs at the library reading about the true events and real people who inspired this film.

One Of The Great Films Of The 20th Century
This is a wonderful film that is really a love story. Yes, it is an epic history of the Russian Revolution but it is one of the best biographies of Jack Reed and other progressives of the early 20th century. My wife and I saw this film in the theater in 1981 and fell in love with it. We watch it at least once a year because of the terrific love story and amazing historic sweep of the film. I love the idealism found in this film. It shows that ideas are important and that each of us should attempt to live out what we really believe in. Someone should release this film on DVD it stands the test of time!

USEFUL IDIOTS
EXCERPTED FROM STEVEN TRAVERS' "GOD'S COUNTRY"

The 1920s were a strange time. John Reed's "Ten Days That Shook the World" reached a large audience in the United States and internationally. Many wanted to know why an entire planet could be thrust into war. In an attempt to address that issue, some decided that nationalism, governmental agendas, realpolitik, racism, class warfare, capitalism, Democracy, and corporations in bed with politicians and militarists were to blame.

Nationalism was part of it. German unification and Balkan nationalism played a role. Governmental agendas and realpolitik always have played a role in conflict. Since Communism addressed the concept of "one world government" and a "world without borders," some concluded that Communism offered the answer to these problems.
Racism was never an original part of the war, but would emerge as an ugly by-product. The Turks unleashed an open can of worms resulting in "ethnic cleansing" and genocide pitting Christians against Muslims, Turks against Arabs, secular vs. religious. In Germany, an easy scapegoat began to emerge: The Jews. Lies began to spread that Jewish banking interests profited from the war. In the American South Jewish influence was an affront to their sensibilities. The Ku Klux Klan rose again after a period of dormancy. The KKK's "mandate" pitted them against a "worldwide Jewish conspiracy" somehow in league with Papal domination. They said Catholics pledge allegiance not to the U.S., but to the Vatican. But few Catholics and fewer Jews lived in the South. Many blacks did. They were becoming a more prominent segment of society. Blacks were emerging as professional athletes in the Negro baseball leagues, and as musicians in the jazz world. As they asserted themselves, this infuriated the white underclass.
But the most pernicious thing that emerged out of World War I were Westerners who believed that the war had occurred because of the failure of capitalism, Democracy, and corporations who were in bed with politicians and militarists. When Reed's book came out, a segment of society allowed themselves to believe that the new political system in Russia should be given a chance. Communism became "the answer" to society's many problems, including racism and poverty. The failure of Communism, already evident by 1920, was not exposed to the world. Reed either chose not to write about the thousands and thousands of famine victims, the secret police, the crackdowns and forced marches, the banishments, assassinations and disappearances, or he was controlled by the hierarchy, and not allowed to see it. He probably did not want to see it. He had found his story and he was going to stick to it. The great failure of the free press, of governments and political figures, of humanists and truth-seekers, was the failure to pin Russia - Lenin, Stalin, Trotsky, and the rest of them - down before they became too powerful. To expose them for what they were.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
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Beatty's masterpiece
Warren Beatty's magnificent film, winner of many awards in many areas, deserves a DVD. Beatty, Keaton, Nicholson, Stapleton, etc., have never been better. Oscar winning cinematography deserves a good widescreen. Anyone else out there who thinks a DVD is long overdue? ... Read more

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Talk about cultural curios. That's exactly how Tickle Me wasregarded when it was released in 1965, the same year as the Beatles'Help! There was a musical revolution going on, but you wouldn't have known it from this would-be comedy, in which the King plays a rodeo championforced to take a job on a combination dude ranch/fat farm. Naturally, all of the women tumble at his feet; even when he's pitching hay, he's liable to burst intohip-swiveling song. What little plot there is deals with his romance with the ranch's exercise instructor (Jocelyn Lane), who happens to hold the key to afortune in gold hidden in a nearby ghost town. Nary a recognizable Elvis hit isto be heard in the score, and as for his acting, well, Elvis looks as though hehappened to be wandering past the set and was pressed into service at the last minute. --Marshall Fine ... Read more

Reviews (19)

Pure Elvis delight!
"Tickle Me" might be underrated by movie censors, but it's funny, full of good songs, beautiful women, and some good fight scenes. Elvis is singing rodeo rider Lonnie Beale who, until the next rodeo season starts, is hired by Vera Radford (Julie Adams) who owns a spa/dude ranch called "Circle 'Z'". Lonnie takes an interest in the aerobics instructor Pam (Jocelyn Lane). Pam has a will that thugs are looking for because it is linked to $100,000 in gold left to her by her grandfather that is stored in a nearby ghost town. Lonnie is caught kissing the boss which upsets Pam. The next rodeo season begins. Lonnie can't keep it straight. After a long rodeo season, she still isn't speaking to him. Lonnie, Stanley (Jack Mullaney), and Pam end up at the ghost town and have to spen the night in the hotel. All night guys in goon masks, beast masks, a ghost in a rocker try to frighten away the hapless trio. They soon take down these thugs and learn they were from the ranch and were the suspicious ones. They find the money, and take down the sheriff who was behind it all. Lonnie and Pam marry in the end...with Stanley accidentally getting a free ride in the back of the jeep in the washtub. Elvis looks handsome and tough in "Tickle Me" and something you should see at least once. Go for more if you enjoy it!

Elvis Presley works at a ranch in Tickle Me
The company of this movie is Allied Artists. During the 60's, Allied Artists was in the red. And they figured if they could make thier own Elvis Presley movie, they might get out of the red, and keep making movies.

Lonnie Beale (Elvis Presley) is a rodeo cowboy. He hits a town and gets a job at a dude ranch. He was disovered by a woman named Vera Radford (Julie Adams). She puts him in with a man named Stanley Potter (Jack Mullaney). Lonnie falls for another worker named Pam Merritt (Jocelyn Lane).

The staff complains to Vera when Lonnie starts singing and takes away the girls away from working with them. But when Pam catchs Lonnie kissing his boss, she gets mad with him. Turning the rodeo season, Lonnie calls Pam and hangs up on him. When Stanley shows up, he asks Lonnie why he hasn't been writing her, and Lonnie says "What is this a ham sandwich?" The letter got marked Return to Sender. But when Lonnie and Stanley find Pam they check into a hotel. The late Gene Siskel aways loved to ask, "Is this movie better of a documentary of the same actors having lunch?" Watch out if somebody askes you what you are watching, and if you say Tickle Me, you might get tickled. I recommend this film if you have resevations.

The `Butt' of the Elvis Filmography
If you want the primest footage of the posterior of the lovely Merry Anders, who appears in tight hot pants [about 7 years before such pants got into vogue} then get this film. Her plush, plumeflous backside is the only reason for the one star! Otherwise, this is one the dorks on Mystery Science Theater 3000 will never get a hold of, even thought it's perfect for them, because Priscilla will never, ever let them!

Tickle Me...Usual Elvis Fare with a Slight Twist.
To paraphrase an Elvis quote about his movies..."I'm sick of singing to the guys I beat up...." A mindless, forgettable Elvis flick with forgettable songs. The title itself is mindless! However, it is entertaining nontheless. The Pelvis plays a rodeo star(Lonnie Beale) who is hired as a part-time ranch hand/entertainer at a western health resort with lots of women running around in tight half-tops and skimpy shorts. He befriends one of the health instructors, Pam Merritt (Austrian actress,Jocelyn Lane) who is involved in a search for hidden treasure at a nearby ghost town. Her great-grandfather has left her a letter/treasure map and certain bad