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| 61. The Fountainhead Director: King Vidor | |
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Reviews (51)
This is in a scene which occurs shortly after their first encounter, when Dominique spots Roark and his muscular forearm working at a quarry operating a drilling machine into the stone. After a long and prolongued silence which ranks among the best moments in cinema, she asks, from her height above the pit: "Why are you looking at me?" Roark replies: "For the same reason you're looking at me." And if you think that's a good moment, wait till Roark's climactic speech to the jury. Over five minutes long. (What! A movie audience sitting still through a speech? Impossible!) and absolutely spellbinding. The film version of Ayn Rand's bestselling novel was directed by the expressionist master, King Vidor, and the screenplay written by, of all people, Ayn Rand. Who, during a pre-production party accosted Jack L. Warner and warned him that if he cheapened or otherwise dumbed down her work, she would dynamite his studio. She nmeant it. Jack smiled and gave her a cigar. The Fountainhead is the story of a hero who wins. By hero, we mean an uncompromising man of genius and absolute integrity. This seems as far fetched to us as Cyrano fighting a hundred armed swordsmen---and winning! (Rostand was a major influence for Rand ) It's clearly impossible. He's not in Russia, so he won't be shot, it's not that explicit--it's America, he's bound to quietly fade into obscurity and failure. It would be naive to suppose otherwise, so how can this be a triumph instead of a tragedy? Thematically that's the question that Roark's alter egos Gail Wynand (Raymond Massey) and Dominique Francon ask themselves. Gail is the billionare owner of an "Enquirer" type of news rag who rose from poverty by giving the suckers what they wanted. He lives by the credo "Oppress or be oppressed." Dominique wants to want nothing, the logical credo of a beautifull woman who is convinced that beauty and greatness have no chance at all in this world. We first meet her as she's destroying of a statue of a Greek god. She's fallen in love with it and can't bear the pain of neeeding it, or anything else. As usual with Rand, these are tortured giants, not the "folks next door" Critics of Rand are right in stating that they are improbable beings. (Name a great man or woman of history who isn't). Roark does make Conan the Barbarian look like a wimp by comparison. But you see, that's the fun of it. As are her villains, who are NOT romanticized ( forget "Bonnie and Clyde" , "The Godfather" and the rest of zillions of ever so cool bad guys we've been fed by Hollywood for decades) they are chilling parasites, exemplified in the character of Ellsworh Toohey. I'ts Ayn Rand, people. Teenage girl sexual fantasies out of Danielle Steele combined with the mind of an Aristotle! A strange but wonderfull combination. And as to Cooper, Neal and Massey, their acting is phenomenal. Perfect casting and flawless directing by Vidor. A true classic.
First off, too all the Rand-ites out there, THIS IS A MOVIE! get over the fact that the book is better, every book is better than the movie, thats the nature of the beast. For the Non-Rand-ites out there, SEE IT SEE IT SEE IT. This movie is a melodramotic potboiler of bad movie bliss. Dont get me wrong, the production values are excellent, its beautifully shot and the cinematography is terrific. The archtectural projects are really spectacular and completely impossible to build, so they are way over the top. But the script is pure Hooey! and the music is sooooo overly-dramatic. Thats what makes this such a great film too watch. Only Ann Rand could take a good novel and cram it into such a laughably compacted screenplay. I felt I has watching cliffnotes from the novel. In the first 5 minutes a year of the story goes by, and the whole film is like that. There are some very good moments in the film though, topped by Coopers speech to the jury. But the best sceen is after the "drills in the quarry" scene when Patrica Oneill is thinking of Cooper and in the background are images of drills with this completely campy Xylophone music acompanying it. Its one of the most overtly sexual suggestive scenes ever put of film and it hilarious, and dont forget to wait till the end, when you can see the Worlds Greatest 200 story Phallic Symbol ever created on film in the Wymann Building, with Cooper standing on top of course!
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| 62. Anne of Green Gables Director: Kevin Sullivan | |
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Amazon.com Richard Farnsworth is perfect as the shy and gentle bachelor Matthew, who confides to Anne that he never went courting because "I would have had to say something." Colleen Dewhurst delivers a nuanced and powerful performance as Marilla, a seemingly cold-hearted spinster whose no-nonsense exterior conceals a warm heart. And as Anne, Megan Follows strikes the perfect note, maturing from freckle-faced orphan to elegant and poised young woman. --Elisabeth Keating Reviews (231)
Everything about Anne of Green Gables is done with the utmost love and respect in regard to the original novel by Lucy Maud Montgomery. Anne is every child, with her eyes open to the world, her thirst for knowledge, her immediate trust, her quest for adventure, and most of all her imagination. Megan Follows captures the timeless appeal of the orphaned Anne with spirit, grace, and wit. Her humorous mishaps, personal struggles, and her newfound love for the Cuthberts as well as her love for Avonlea make her an enduring heroine throughout the ages. Who knows? After seeing this film you may discover that you are a kindred spirit as well!
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| 63. A Summer Place Director: Delmer Daves | |
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Amazon.com Reviews (29)
Dee and Donahue were the perfect teenage couple then, and they are still adorable. This film was considered quite racy when it was released; it's more PG today, but still dramatic, intense, and thought-provoking. The stars are such a pleasure to watch; they were so young and beautiful. And could anyone ever forget that gorgeous theme music? It IS the music of young love. This is still a great movie to watch with someone you love...or a bowl of popcorn!
I first heard the music from my university radio station in the early 1980's. I was attracted to it immediately --- the music (no words) was so beautiful and so touching to the young minds. And the good thing is that the station broadcasted it once every day for a long period of time, as the signing off music. That was very appropriate because the ending of the music is vey gentle, fading gradually, like a wind drifting, drifting, until it disappears in the horizon. At that time, I didn't know who wrote the music, or which country it came from, I even didn't know its title! And the strange thing is that, after I graduated, never once had I ever heard the music again! Recently I found I have to try hard to recall the melody. So I took my rescue effort: I sang pieces of the music to a librarian in my local public library, who kindly helped me find the music. Only then did I know that the song is calld "A Summer Place"! and it's a love song!
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| 64. Sliver Director: Phillip Noyce | |
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Amazon.com Reviews (36)
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| 65. Leslie Sansone - Walk Away the Pounds Express - Super Challenge | |
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Reviews (76)
I recommend this video to everyone- it is really for all ages (there are people in this video that range from 20 to 72!!!). It gets your heart pumping and it really makes you sweat!
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| 66. Rocketman Director: Stuart Gillard | |
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Amazon.com Reviews (58)
"Rocketman" has some parts that are hilarious and will keep you laughing for awhile. Some of the funniest parts are when the monkey steals Fred's (Harland Williams) contraption in which he's supposed to sleep for months in and when Fred and Captain Overbeck (William Sadler) go for a walk on mars and Fred finds out that he's got just a little bit of gas overload. "Rocketman" is hilarious and if you like comedy movies, I recommend getting it. It's a comedy movie that you can watch with the whole family and never get tired of it.
This movie is good, clean fun and truly appropriate for all ages. If you like any of the movies I mentioned at the outset, or are just looking for something to show the kids, give this one a try.
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| 67. Shrek 2 Director: Conrad Vernon, Andrew Adamson, Kelly Asbury | |
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Reviews (158)
As with the original, this film is not appropriate for kids under the age of 8. As with the original, more than 20 million kids under the age of 8 will have seen this film by this time next year. That's just a fact of life, I guess! Already SHREK 2 is breaking box office records, most notably the coveted five-day-opening-weekend record, earning over $125 million. It will undoubtably end up with an over-half-billion-dollar take at the U.S. box office alone, easily surpassing that of the original. But really, it isn't all hype: SHREK 2 definitely earns its standing as the most anticipated movie sequel of the year. Add to that the best comedy of the year! MOST RECOMMENDED
And that's how "Shrek 2" comes to be, on a different level, a sequel to equal its predecessor. I literally can't remember when I've left a movie feeling this good, it's a film that deserved to break records, and hopefully will continue to do so. The film opens right where the first one left off; Fiona and Shrek (Diaz and Myers) enjoy a blissful honeymoon ... after which they head home to the swamp, where they are reunited with Donkey (Murphy) -- it seems the romance between him and Dragon didn't work out. Soon after they're arrival, the newlyweds are visited by messengers from the Kingdom of Far Far Away, who inform them that Princess Fiona and her husband, Prince Shrek, have been invited to Far Far Away for a celebration of their marriage, with a gala ball where the king and queen (Fiona's parents) will bestow their blessings on the marriage union. Shrek, figuring correctly that Fiona's parent may not be thrilled with their daughter marrying an ogre -- much less that Fiona is now an ogre permanently herself -- allows himself to be talked into going to the kingdom by Fiona, who is absolutely sure her parents will not only accept her in her current form ... but will also accept her ogre husband, whom she dearly loves. The trip back -- in a carriage shaped like a garlic bulb -- takes Shrek and Fiona and Donkey to a kingdom where the streets resemble a strip mall (Burger Prince, Tower of London Records, etc. -- it looks like Sunset Blvd. in West Hollywood, Disney-style). When they get to the castle, they see that practically every loyal subject in the kingdom has gathered to celebrate the return of the long-lost princess. But when the happy couple steps from the coach, a hush of shock falls over the crowd ... and sure enough, the reception on all levels is much closer to Shrek's vision than what Fiona had in mind. Add a conniving Fairy Godmother (Saunders), who has her own plans for Shrek and Fiona, and is blackmailing the King (Cleese) into helping her ... a catsassin name Puss-in-Boots (Banderas) who is hired to "take care of" Shrek so the evil plan can unfold ... and a magic "Happy Every After" potion that must end in a kiss before midnight for it to take hold ... and you have a great sequel that is funny, adventurous, and will appeal to the young and old alike. The animation is tops; classic as "Shrek" was, there have been still new advances in animation that make this film look even more amazing on the big screen. The characters are all warm and human -- especially Shrek and Fiona of course -- but you'll get your best laughs from Donkey ... and especially from Puss, who has a secret weapon (when fighting off the guards in one scene) that may just have you falling off your seat with laughter. While "Shrek" may be a more "fully-rounded" film, as some have said, there is not a single frame - or moment - wasted in this terrific sequel. In some ways, I liked it even better than the first, and for Murphy and Banderas alone the L.Q. (Laugh Quotient) will make it worth even a second or third viewing in the theater (and a no-brainer to own on DVD). Highly recommended, and I can't imagine anyone not liking this film -- unless you got a good bit of ogre in you, too.
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| 68. Star Wars - Episode VI, Return of the Jedi Director: Richard Marquand | |
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Reviews (212)
The Galactic Empire has begun construction on a new Death Star which is even more powerful than the first Death Star, and meanwhile, Luke Skywalker, Princess Leia, Lando Calrissian, Chewbacca, R2D2, and C3PO are attempting to rescue Han Solo from the evil clutches of Jabba The Hutt. After they rescue Han, they plan for the destruction of the new Death Star and find out that the Emperor is personally overseeing the final stages of the construction of the new Death Star. Han, Luke, Leia, 3PO, R2, and a group of rebel commandos must disable the Shield Generator on the orbiting moon of Endor to allow rebel fighter pilots to fly into the Death Star and destroy the main reactor. While the battle rages on, Luke must face his own destiny and confront Darth Vader in a battle to the death which may spell certain doom for the Rebel Alliance and their cause to restore freedom to the galaxy. The entire movie shines with an epic look whether its a space battle, a sail barge assault above the jaws of a hungry Sarlacc, a Speeder Bike chase through the redwood forests of Endor, or a lightsaber duel between Darth Vader and Luke Skywalker. The emotions involved between Luke Skywalker and the truth about his past grip the audience in the same way that Luke feels, and suspend them above the fate of the Rebel Alliance. Han and Leia's feelings for each other are more developed in this movie, and really tie up loose ends that were left from The Empire Strikes Back. The entire movie actually ties up loose ends and is kind of the resolution point for the Star Wars trilogy. This movie is definitely the best in the trilogy, and worth buying. It is not a disappointment, but one of the greatest movies of all times.
With Return of the Jedi, the space opera saga/cultural phenomenon that began with Star Wars in 1977 and continued with The Empire Strikes Back in 1980, comes to a close. This perhaps the most difficult film to categorize as far as quality and living tup to expectations. Executive Producer Gary Kurtz parted ways with Lucas after Empire, and Jedi would have been a different film in many respects had he and his ideas stayed put. However, Lucas wanted certain things and would not buge, and what the viewer gets is a climactic and spectacular, if somewhat unfocused, conclusion to one of the most beloved film trilogies of all time. Luke Skywalker, an older and wiser man for his defeat at Cloud City, attempts a daring rescue mission in the seedy lair of the gangster Jabba the Hutt, a mission to free Han Solo who is being kept as a showroom piece by the ruffian slug. This premise gives birth to the first in a string of incredible action set pieces ranging from monster pits to desert oceans to the blackness of space to the luch forrests of the forrest moon of Endor. Moving the action along, the plot is more daring even than that of the first movie. The Rebel Alliance, having learned of a new, more powerful Death Star, prepare to mount a final resistance against the station in the hopes of ending the war with one swift stroke. To help accomplish this, Luke, Han, and Leia must deactivate the generator that keeps the Death Star shielded. However, this won't even be as easy as it sounds. Luke no knows that Darth Vader is his father, and he must confront him if he is to become a fully-fledged Jedi Knight. Han and Leia are caught by a legion of Imperials and must fight a fierce geurilla battle with the help of some unexpected (and sickeningly cute) allies. The Repel fleet is caught between a rock and a hard place - literally - and must contend with both the might of the Imperial Navy and the destructive power of the Death Star while our heroes race to accomplish their mission and restore freedom to the galaxy. There are parts of Jedi where it really shows that George was going this one alone, particularly the inclusion of the Ewoks (cute, furry, evil Teddy Bears of DOOM), but even with a few marketing concessions and a bold narrative, Jedi still manages to do a LOT of things right. Luke is a more confident character, taking charge of the movie and making you care about him more than ever before as he battles Vader, the Emporer, and the Dark Side. Han and Leia, though not as prominent in Jedi as they were in Empire, are still a joy to watch, particularly in the case of their sometimes-bumbling relationship. Even Lando is given a good deal more screen time, and more importance. Though the characters seem driven by the plot rather than the other way around, this is really the only way the concluding chaper ot the Star Wars Saga could have played out. As for the Special Edition of Jedi, it is perhaps the most despised of the three. In addition to the requisite digital additions, Lucas added in an entirely new ending sequence of galtactic (literally) proportions to play along with the Ewok celebration after the battle, going so far as to include all new music. Sure, it's still nice, but why mess with something when it's so good? Either way, this is still a darn good version of a darn good movie, and one that had a hefty bill to fill coming out of the gates. No movie collection is complete without the Star Wars Trilogy, and the trilogy isn't complete without Return of the Jedi. And hoestly, it's really such a FUN movie that it shouldn't be any other way. If you don't have this, buy, it, or, even better, wait for the DVD release later this year. Either way, the Force will be with you, always.
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| 69. The Mighty Director: Peter Chelsom | |
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Amazon.com Reviews (109)
I'm just going to say that this film was very enjoyable to watch, and certainly worth an evening. This is more than a message film, that the least of us have worth, that good can triumph over evil, that one person's shortcomings can be filled by another's strength. The Mighty is all of that, but it is entertaining as well. There are life lessons to be learned here, for sure, but the inventiveness and imagination of Kevin, the disabled boy, brings a touch of whimsy and light humor to the film that might be unexpected. It may not follow the book (which I have not read) closely, but it stands on its own as a sweet film that doesn't lay a message on too heavily, but, with the help of an excellent cast, strikes just the right balance between humor, drama, and pathos. Recommended.
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| 70. Conagher Director: Reynaldo Villalobos | |
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Description Reviews (18)
After reading this novel as well as viewing the movie several times I would surmise that they are both equally extraordinary, but I like the movie better. It is a very rare occasion when a movie can hold up to the book it's based on; much less surpass it in quality and interest. Conagher (Sam Elliot) is a drifter, working wherever enough money or a warm bed and a meal can be had. His job with the stagecoach and fate brought him to Mrs. Teal (Katherine Ross), but it was something else that kept bringing him back. Through his drifting, he made a few enemies of folks who swayed to the other side of the line between good and bad. He was always true to the brand he rode for though, and sometimes his honesty caused him to be outnumbered, but never outfought. When something, like this movie, has so many good parts that make up the whole, a resulting masterpiece can often not be avoided. Elliot, the greatest living western actor, was able to co-script this movie, based on his friend Louis L'amour's novel, and star opposite his wife Katherine Ross (whom he finds love with in the story). The movie is a perfect balance of drama, action, and love blended beautifully into an accurately portrayed frontier western.
Cast: Sam Elliott Conagher was written by Louis L'Amour (Lamoore) about life in the West around the end of the 19th century, with trouble with the Indians, rustlers, and a widow woman (Katherine Ross) tryimg to raise her children on a hard scrabble farm. Conagher comes to their aid. L'Amour was a student of Western history. He understood the common man, having worked as a cowboy, circus roustabout, merchant seaman, boxer and served in the U.S.Navy. He was also a prolific writer of Western fiction, among other things. This is not the first L'Amour story that Elliott has played in. He also performed as Tell Sackett in The Sacketts, which was an amalgamation of several of Louis's stories in that series on that family. This story of Conagher was one of his good stories, which you will find typical of L'Amour's writing...good entertainment. Joseph (Joe) Pierre
ELLIOTT IS TODAYS QUINTESSENTIAL COWBOY AND SITS THE SADDLE WELL. ... Read more | |
| 71. Leslie Sansone: Walk the Walk - A Christian Inspired Workout | |
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Reviews (8)
I agree that those who do exercise regularly (me) will need to make the moves slightly bigger and more arm movements to increase intensity- but any workout can be modified. And for those who are just starting out, try the one mile, take it easy, and just see what you can do- You will be surprised at how quickly a mile passes, and how glad you will feel to know that YOU walked one MILE! And then when you feel stronger progress to two... and then to doing all three miles at once. :-) I like that Leslie says this workout is to help you *connect*- physicially, mentally, and *spiritually*. I think this is going to be a great workout for my friend!
I am not a Christian, but do not mind the music at all. I would recommend this tape and any of her others.
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| 72. Harry Potter and the Chamber of Secrets Director: Chris Columbus | |
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Description Reviews (649)
The second entry adapted from J.K Rowling's legacy has neither the epic sweep of the fourth book (The Goblet of fire) nor the mystery of the third (The Prisoner of Azkaban) but is nonetheless an engaging adventure and a riveting story. What's more with director Chris Colombus at the helm who shows more precision and familiarity after his first attempt, Harry Potter and the Chamber of secrets is a majestic adventure filled with visionary sets and fluid CGI effects that astonishingly enhance the darker fantasy tale and adventure. The soaring adventure thrills with its enshrouding perils, awesome moments of wonder and enlightening morality and friendship. It thus resembles more of an awkward adolescence stage in this saga for the three main casts. Daniel Radcliffe, Emma Watson and Rupert Grinch as Harry, Hermoine and Ron reprises their role with the loss of their innocence along with veterans Maggie Smith as Professor McGonagall, the late Richard Harris as the benevolent headmaster Dumbledore, Robbie Coltrane as giant Hagrid and Alan Rickman as Professor Snape. The new interlopers are equally scene-grabbing in their own rights: Kenneth Branagh does a rib-tickling interpretation of braggadocio Gilderoy Lockheart as well as Jason Issacs as the wicked Lucius Malfoy. With a solidly ensembled cast and sumptuous sets, the second installment is fascinatingly entertaining as it is enchanting enough to sustain its 3 long hours without any misgivings.
I'm sure the naysayers had a wonderful time bashing this sequel for its evil undertones. Students get "petrified" and the basilisk takes shots at Harry, but all in all, Harry prevails. He makes the right choices, does the good deeds and fights a good fight. How dare he promote such horrible values! Please folks, I used up a lot of space harping on how kids need to have fun in my review of the first film. The same applies to this movie as well. Don't worry about your kid becoming a warlock or praying to Satan, just let them have a little fun. If you raise them right, you won't have to worry about any of that anyway. The "Potter" books encourage kids to read and use their imagination. That's a good thing in my book. The movies encourage kids to use their imaginations as well. You've just got to love something that promotes so many good things. We need more heroes like Harry. He's a good character to let your kids read about and watch on the big screen. He's caring to others, takes his studies reasonably serious(you might want to promote Hermione's study habits to your kids, though) and he always tries to do the right thing. Overall this movie is fun and enjoyable for the whole family. Some of the scenes might scare the little ones, but this movie is worth explaining those scenes in order to get the message across. Watch this one and have a ton of fun. It's great for everybody. Highly recommended. ... Read more | |
| 73. Singin' in the Rain Director: Gene Kelly, Stanley Donen | |
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Reviews (223)
In 1951, Gene Kelly and Stanley Donen took a collection of songs by Arthur Freed and Nacio Herb Brown and - assisted by a pitch-perfect screenplay from the writing team of Adolph Green and Betty Comden - sculpted one of the great classic fusions of popular cinematic art and precision dance craft. It is the Citizen Kane of musicals: a virtual catalog of musical film technique, executed flawlessly. But that alone would not be enough to separate Singin' in the Rain from the kind of musical I can't stand (which is to say, just about every other musical ever made). No, what makes this one special is that it knows what it is and celebrates it. It never for a moment asks you to forget you're watching a movie and then grinds to a screeching halt for the musical number. Instead, it deconstructs itself before your very eyes (and ears) as a razor-sharp, self-aware satire of the movie industry - as well as a joyous expression of the pure ecstasy of great song and dance. In that sense, it is one of the few so-called musicals that actually achieves a genuine symbiosis of drama, music, and kinetic performance art. If all this sounds rather gushing and pretentious, so be it. This is great film-making. It is Rolex Oyster Perpetual film-making. This DVD edition sparkles with ultra-saturated colors, digitally remixed Dolby 5.1 sound, and some terrific extras (even if you're not particularly into musicals). My favorite sequence is the eerily fluid dance work between Gene Kelly and Cyd Charisse against a Dali-esque background near the end of the film. Charisse is spellbinding as she trails a gravity-defying veil that must be 30 feet long. It hangs in the air, suspended by wind machines as she uses her extraordinary dance skill (and fantastic legs) to affect a wordless seduction of Kelly's naive, love-struck hero. Great stuff. Even if you don't think of yourself as the "musical type", give Singin' in the Rain a try. After all that heavy, bitter, existential cinema, it makes one helluva fine dessert.
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