Reviews (198)

College Life without the Education
Luke Wilson, Vince Vaughn and Will Ferrell give college a second try in the raucous comedy "Old School". A rowdy party for their depressed friend Mitch (Luke Wilson) becomes the talk of the local college campus and gives them the chance to relive their wild college lives. Soon, Mitch, Frank "The Tank" (Will Ferrell) and Beanie (Vince Vaughn) form their own unorthodox fraternity whom crazy antics draw the attention of no-nonsense Dean Pritcher (Jeremy Piven). From director Todd Phillips (Road Trip), "Old School" is a hilarious comic romp but its no "Animal House". This wild comedy is good-natured fun with a great comic cast and off-beat humor. Luke Wilson and Vince Vaughn are quite funny but it's Will Ferrell who delivers the movie's most outrageous laughs. The cast also includes Juliette Lewis, Elisha Cuthbert, Leah Remini and Sean William Scott.

If you enjoyed this funny comedy in theaters then "Old School" Unrated Edition is a recommended DVD purchase. Except for some slight nudity in the opening menu, there isn't much difference between the unrated and rated editions of "Old School". The movie is presented in 2.35:1 anamorphic widescreen format. The DVD contains a fine picture quality with good sharpness. The 5.1 Dolby Digital and DTS sound options are quite clear and often engaging. The DVD features an audio commentary by cast members and director Todd Phillips, deleted scenes, a hilarious "Inside the Actors Studio" spoof and a short behind-the-scenes featurette. Overall, "Old School" Unrated Edition scores a "B-".

Sort of an Animal House 25th anniversary tribute.
"Old School" brings back the fun and irreverence of the days of "Animal House" that so few movies seem willing to revisit. Comedy these days seems built around 'paint-by-numbers' formulas or 'let's see how much we can gross people out' shock characteristics. Current releases like "Boat Trip" and "Bringing Down the House" fall in the former category while any movie involving Tom Green or the Farrelly Brothers falls into the latter category. In "Old School", it's refreshing to see a movie that takes a 'devil may care' attitude with its plot and characters while also have the common sense to push the envelope where appropriate without ever crossing the line (following "Animal House's" lead).

In "Old School", Mitch (played by Luke Wilson) is depressed after a breakup with his longtime girlfriend. He moves into a new house near the local college campus and his two best friends, Beanie (Vince Vaughn) and Frank 'the Tank' (Will Ferrell) decide to cheer him up by using his new house to throw a wild 'freedom' party. In a party complete with nubile co-eds, binge drinking, and a performance by Snoop Dogg, the party becomes legendary and draws the ire of the college dean, who just happens to be some nerd that Mitch, Beanie, and Frank tormented in high school. He attempts to take the house from Mitch by claiming it can only be used for campus-related events. This sparks Beanie's imagination to create the most unorthodox fraternity in existence to circumvent the dean's ruling. From there, "Old School" engages in the type of 'us against the administration' hi-jinx that made "Animal House" such a riot.

Will Ferrell gives a performance worthy of John Belushi with his Bluto-esque take as Frank the Tank, whose relapse back into his college days fractures his brand new marriage. Yet, it doesn't seem to affect Frank too too much. Ferrell, as witnessed by his years on Saturday Night Live, is one of the more gifted physical comedians performing today. He has the lunacy of a Jim Carrey without any of the pretentiousness or self-importance that seems to plague Carrey. Vince Vaughn gives another winning performance as a typical, sleazy salesman type who remains just enough on the side of respectability that you still like the guy. It's classic Vaughn. Luke Wilson's performance isn't quite as memorable, but his lovable-loser demeanor fits the role of Mitch perfectly. There are a number of other supporting characters that, while barely more than one-dimensional, make this film a winner (Blue, the 80-year fraternity pledge is a personal favorite).

With world events becoming more somber and depressing and with movies becoming increasingly disappointing, it's quite a relief a no-frills good time can be had at a theater. "Old School" lets the audience feel that kind of relief.

Absolutely worth every penny, HILARIOUS!
I woun't ramble on too much, but I will say this movie is the best I have seen in a while. It's over the top funny, each of the 3 guys (Vaughn, Wilson and Ferrell) make it that much better. It's one of those movies you can watch over and over again and NEVER grow tired of it. Worth every penny, it's definately a 5-star movie in my book.<br /> <br /> ~

makes Animal House seem like Tolstoy
THIS DRIVEL LEFT ME WANTING LESS. DISGUSTING! WITHOUT MERIT!

"Hey Merisa It's Frank Ricard"
The Funniest movie of 2003. This slapstick party comedy starring the King of comedy William Ferrel and also starring Lucas Wilson and Vincent Vaughn. The three men who relive their college years when they start a faternity. This film is laugh out loud hilarious. It's the Animal House of the 21st century. it's Ferrel's funniest act since Jay and Silent Bob and Saturday Night Live. The Best scene is Will Ferrel streaking " come on snoop, snoopaloop bring your green hat". This film will be a classic comedy some day. If you want screwball,slapstick comedy. or if you saw Anchorman first. You'll love Old School. It's a hell of a good parade of party animals. "Blue your my boy" ... Read more

Reviews (99)

Long film
I have not seen the shorter version, and can give no comparision between the two cuts.
I bought the movie because I was impressed with Luc Besson's other films, such as La Femme Nikita and Leon. The story is about 2 divers, deep free diving divers. Very deep, very dangerous. The competitiveness and relationship between these 2 men is most definately love-hate, with Reno's charactor not being able to be himself without his competition and friend.
Very long, as stated perviously, with 49 minutes of footage added, the picture moves along at a fair pace. This is not an action move. Even the dive sequences are not fast paced; they move to where you are moving with them, down to their deep depths which they are certain will challenge them, but not kill them, or at least fairly certain. With Arquette's character, we are introduced to the love interest. Reno warns his friend to avoid her and concentrate on his work, but he is in to her in a very big way.
I am not sure who to recommend this film to, but it is definately worth a look.

Unfortunately, the Director's Cut left me feeling empty.
Well, I've read the other reviews and I find myself most decidedly in the minority. The movie is good, but it's not great. On the other hand, neither is it terrible. My first experience with The Big Blue was the American version, cut shorter and with Bill Conti's score in place of Eric Serra's. The Director's Cut (D.C.) is both longer and darker.

Okay, I'll say it. I like the American version better. Period. It was, perhaps, my all-time favorite movie. But things have since gone downhill. Eric Serra's music is good, don't get me wrong, but I don't feel that it has the emotional impact of Conti's. Yes, we're talking about something very subjective here. If the D.C. is your first experience with this film, then you'll be lucky enough to enjoy it without having to compare and contrast. However, for me, something was missing in this new release. I found many of the extra scenes superfluous to both the story and the character arcs. For example, there's an added humorous scene midway through the film that exists, supposedly, to show that Enzo likes to take chances and flex his masculinity. I agree; the scene depicts just that. But there are plenty of other scenes that do the same thing; this one is redundant. (On a side note, the endings of each version are virtually identical -- don't let someone tell you otherwise. Ultimately, this movie is about a man's struggle to choose between Humanity and Nature, and that message remains unchanged from one version to the next.)

Regarding the scoring, there are points in the D.C. where a given scene just didn't work for me with Serra's music (sometimes Besson chose no music at all, and the silence that falls over the action is absolutely stifling). I don't believe that Serra's score did the movie justice. Conti was able to capture the flavor of the film much more easily, yet without being disrespectful to Besson's message. At best, Serra hit the mark only five times out of ten.

To be fair, I can't honestly say that my take on the D.C. is based solely on its own merits, as I saw the American version first. I'd suggest that you watch both and decide for yourself. Of course, it might prove difficult to find the older one these days (outside of rental stores, that is).

In short, I was disappointed that they didn't come out with a DVD that had both the American and Director's versions. I realize that'd be more expensive, but it would've been a nice touch (and I'd have paid extra for it). I'm glad I saw the D.C., but I'd much rather own on DVD the American version and I regret that I now think less of the movie than I had previously. I would have given it two and a half stars, but it wasn't bad enough to warrant a solid two, considering how much I loved the American version; despite its flaws, this is still a pretty cool movie.

ETMR - The Big Blue
1. Humanity: Many critics claim the central themes portrayed by the two male protagonists are the search for freedom and the proclamation of one's individuality. Yet both Jacques and Enzo are undeniably not free, having self-imposed chains tied both to the sea and their fantasies about the sea. In what ways does the film express the dangers of escapism and sentimental loneliness?

2. Implications: All three characters are tied to their worlds. Enzo is trapped in his status as the best, Johanna cannot move beyond her desire for a normal life with Jacques, and Jacques is unwilling to depart from the last words of his father. Do you think this film romanticizes these issues, or criticizes them?

3. Evolution: Besson (the director) stresses the super-human qualities of both men. Do you think these qualities are tied to their fate with the sea, or do they have a choice about their fate?

4. Realism: There is a magic realism in the film that cannot be ignored, form the magnetic pull of the ocean, to the unhuman mysteries beneath. Without these magical elements, does the movie stand on its own as a piece of reality?

5. Stageplay: Much of the acting in the film is overdramatized, from the sensual yet sentimental plumbings of Johana, the deaf silence from Jacques, to the heavy and bawdy nature of Enzo. Do the actors work together in a cohesive whole, or do they jarr the story and create separate entities upon themselves?

Please put the Original US Version on DVD!!!
Like many others who discovered this well overlooked film many years ago, I was greatly disappointed in the Director's Cut. For starters, the US Version's Music Score surpasses the European Score by leapyears and this Director's Cut uses that cheesy synthesizery European Score. :-( Secondly, the additional footage simply adds a little more pointless skin in the form of nudity, but adds little or nothing to the overall story except about 50 minutes of your time. It feels like it's dragging compared to the original US Version and often gives you more information than you wanted - sometimes it's best to not tell the audience everything and let them fill in the blanks themselves. The original US Version is one of my favorite films of all times, but this updated Director's Version doesn't make my cut because the extra stuff is pointless and long and the European Soundtrack is horrible!!!

Universal Truth: Review from Power vs. Force by D.R. Hawkins
[Refers to original theatrical release.] "We've made [kinesiological] calibrations of various kinds of records of athletic achievement, including movies. Of all the movies about sports studied, the French film 'The Big Blue' produced the highest calibration. This is the story of Jacques Mayol, the Frenchman who held the world record for deep-sea diving for many years (until very recently). The movie calibrates at the extraordinary level of 700 (universal truth), and has the capacity to put viewers in a high state of consciousness -- the manager of one movie theater that showed it described audiences wandering out lost in silence or crying with joy they couldn't describe." David R. Hawkins, M.D., Ph.D, from "Power vs. Force", page 173 ... Read more

Amazon.com

This minor 1955 work by Alfred Hitchcock, one of the lighter entries of his creative peak in the 1950s, is still imbued with the master's stock themes of shared guilt and romantic ambivalence. It is also hardly lacking in Hitchcockian cinematic inventiveness, such as a famous, often-imitated sequence in which some smooching between stars Cary Grant and Grace Kelly is intercut with a fireworks show that just happens to be going on outside in a Riviera setting. Grant plays a reformed cat burglar who is suspected of reviving his trade, though he knows someone else is using his old methods. A very enjoyable experience, but don't get this confused with Hitchcock's other Cary Grant film of that decade, which was a masterpiece: North by Northwest. --Tom Keogh ... Read more

Reviews (82)

Fireworks!
What was the greatest kiss ever committed to the silver screen? For me it comes from the Alfred Hitchcock thriller, To Catch a Thief. Grace Kelly tempts Cary Grant, a reformed jewel thief by the name of John Robie, with her diamond necklace, to a backdrop of fireworks over the French Riviera. Finally, having had just about enough of her tomfoolery, he says, "You know as well as I do, this necklace is imitation." To which, the stunning Kelly responds, "Well I'm not..."

That is movie magic and so is this wonderful, light-hearted and thrilling romp across the south of France as everyone goes in search of the identity of a new jewel thief reeking havoc throughout hotels on the French Riviera.

Lush cinematography, beautiful costumes, breathtaking vistas, and delightful performances by Kelly, Grant, and Jessie Royce Landis make this an extremely enjoyable film outing.

Cat on a Hot French Roof
Suspense takes a back seat to romance as former cat burglar Grant turns detective to track down the culprit behind a recent string of jewel robberies, becoming involved with beautiful heiress Kelly during the course of his investigation. Proof that lesser Hitchcock is still far above average, with Grant at his most suave and debonair; Kelly at her most ravishing; an engaging comedic turn by Jessie Royce Landis as Kelly's down-to-earth mother; and some sparkling (and suggestive) dialogue by John Michael Hayes. Add in some truly beautiful costumes by Edith Head and breathtaking, Oscar-winning color cinematography by Robert Burks ... and what's not to like? Even though the mystery is a bit slight, you won't be bored!

The DVD offers a wonderful video transfer with crisp, clear sound and a brightly color-balanced, anamorphic widescreen picture. There are three unique mini-documentaries about the making of the movie, featuring Hitchcock's daughter and granddaughter; a documentary about costumer Edith Head (which is being included on many Paramount 2002 DVD releases which feature Head's work); the Original Theatrical Trailer; and a truly grand assortment of vintage production stills and posters from around the world. All in all a quite nice package that's definitely worth a look.

With Class and Grace
To Catch A Thief marks a departure for director Alfred Hitchcock. Here, he sheds the moniker as The Master Of Suspense, going more for romance and comedy--rather than any of his well known plot twists or thrills. The film may not be the best of his career, but thanks to a strong leading man and a radiant leading lady the movie still works.

John Robie, (Cary Grant) is a reformed cat burglar, out to prove himself innocent of a recent crime spree. As he tries to capture the thief who's terrifying the French Riviera, he attracts the attention of the lovely Frances Stevens (Grace Kelly), a wealthy and spoiled American traveling the Riviera with her widowed mother (Jessie Royce Landis). However, things do not begin on a romantic note. Robie is more interested in clearing his name than in pursuing the beautiful American, but the two will not go their separate ways so easily. When Mrs. Stevens has her jewels stolen, the snubbed Frances puts the police on Robie's trail. Now the dashing Robie will have to win the confidence and assistance of Frances if he is to ever set things right.

Grant and Kelly light up the screen together, with an entrancing chemistry that sparkles, especially in the impromptu ad-libbed dialogue of the picnic scene. A series of elaborate set pieces combined with the spectacularc Riviera scenery make the film an enduring piece of American cinema. Hitchcock lets his leads pick up for any of the film's lack of excitement, that traditionally peppers the director's films. I have always had a "crush" on the late Grace Kelly, and this film just helps to solidify those feelings.

The DVD contains three well produced making of featurettes. "Writing and Casting," "The Making of To Catch a Thief," and "Alfred Hitchcock and To Catch a Thief", will give you a well rounded look at the film. But things would have worked out even better if these were edited together as one larger whole. Long time Hitchcock collaborator, costumer Edith Head, is highlighted in a fourth featurette, that also tops off the disc's bonus material.

To Catch A Thief is recommended for any Hitchcock fan..

A Hitchcock romantic mystery
Cary Grant and Grace Kelly are funny and witty and they keep you involved in the story. Not what I expected from Alfred Hitchcock, but it was a great movie none the less.

So-so Hitchcock jewel caper
As a connoisseur of Hitchcock's work, To Catch a Thief was merely adequate. Lacking any real suspense, the movie was held together by the excellent cinematography offered by the picturesque French Rivera locale.

Cary Grant was at his suave and debonair best as John Robie, a retired cat burgular who is suspected when a rash of jewel thefts plagues the swanky Riviera. Realizing, he must apprehend the actual thief, whose m.o. parallels his own, he plots a scheme.

Grace Kelly, whose acting ability does not rival her beauty, plays a perfectly typecasted role for her. As a spoiled, bored, rich socialite Frances Stevens, she and her wealthy but earthy mother, played exceptionally well by Jessie Royce Landis are vacationing. The elder Mrs. Stevens has a valuable collection of jewelery that Grant theorizes would make excellent bait.

Hitchcocks creates a predictable plot, with the usual love affair. There is however, little in the way of mystery or tension or even chemistry between Kelly and Grant to make this flick anything more than mediocre. Edith Head provides a high point with her fantastic wardrobes created for the costume ball scene. ... Read more

Reviews (19)

One of the few good movie versions of a Shakespeare play.
Much better than the earlier Julius Caesar, which starred Marlon Brando as Mark Antony and James Mason as Brutus. In this version, Jason Robards as Brutus is admittedly an embarrassment, but the rest of the cast is quite strong. The delivery of Antony's funeral oration by Charlton Heston is brilliant, powerful, well-paced, the dramatic high point of the movie. Richard Johnson as Cassius, John Gielgud as Caesar, Robert Vaughn as Casca and Diana Rigg as Portia are fine actors, with full dramatic presence, at home in Shakespeare's language. Brief parts, like the soothsayer's and the cobbler's, are memorably played. The screenplay omits two short passages that are important to the plot: (1) Cassius' avowal in the first act, after his attempt to persuade Brutus to oppose Caesar, that if their positions were reversed and he, Cassius, stood as well with Caesar as Brutus does and Brutus made a comparable appeal to him, he would certainly not listen. (2) Immediately after the assassination, a promise by Brutus to Antony's servant of safe conduct for Antony, who thus knows when he comes to the Capitol and weeps over Caesar's body, challenging the conspirators to kill him also, that he is in no danger of their doing so.

Successful Version of Shakespeare's Caesar
Not a bad version at all of Shakespeare's play. Most of the attention for Julius Caesar is clearly with the 1950s version, but this one holds up as well. In this version, Charlton Heston plays Antony. Others include Jason Richards (Brutus), John Gielgud (Caesar), Richard Johnson (Cassius), Robert Vaughn (Casca), Richard Chamberlain (Octavius), and Diana Riggs (Portia).

In this story, Brutus comes forth as the tragic hero who joins the conspiracy to kill the ambitious Roman, Julius Caesar. Shakespeare's story delves much into the realm of politics within the Roman society. Brutus' tragic flaw is perhaps that he sees too much of the benevolent side of people and society; he gives in to help Rome only after pondering deeply the plan of Cassius, and "trusts" Antony to not give a stirring speech (big mistake there). He still considers Caesar a "good" man, but justifies his role in the conspiracy as for the common good of Rome. A tale that definitely concerns itself with justification, or lack thereof, of removing leaders from political positions, and the consequences those actions bring unto an entire nation and their citizens.

The set design, background and acting are true to the play. One of the differences between this and the Brando version is the scene in which Caesar is assassinated. It is far more bloody and gruesome (yet the movie is rated G, go figure). Heston, as Antony, does a decent job with the "Countrymen, lend me your ears" speech, making an emotional appeal to the crowd as a friend of Caesar. He stirs up the rage among the Romans in this emotional appeal on Caesar's behalf. Eventually, he will go to war against two of the leaders of the conspiracy, Cassius and Brutus.

This is definitely worth a view, especially if you are a Shakespeare fan. This also is an excellent resource for the study of Julius Caesar.

Also Recommended: Julius Caesar (Marlon Brando version)

If you're a huge fan of Heston's or of this superb play
If you're a huge fan of Heston's or of this superb play, you might want to suffer through this terrible print.

It's blurry, the colors blur and flash like a bad animation, and it sounds like it was recorded underwater with a megaphone. It's really a piece of crap.

The performances are good, and because it's the only other film version of the play, (that I can find) they warrant comparison with the 1958 Brando version. Heston's needlessly pompous and swaggering Antony is occasionally amusing and occasionally pretty good, but ultimately the performance lacks the authenticity and verve of Brando's, and one can't help but compare. Robards's Brutus is stoic and tortured and it is something like torture to watch him act, at least for the first half of the film. By the time Brutus is heading up the wrong end of the civil war, Robards aptly transforms Brutus into a man whose passions have fermented to the surface. It's by turns a flat, interesting, and jarring performance accented by an occasional flash of brilliance, such as the scene in which Brutus and Cassius argue about funds and bribes. Much of the supporting cast: Diana Rigg, Gielgud, and Robert Vaughn, in particular are excellent.
It's a shame really that this is such a horrifying print (the worst in fact that I've ever seen), because this was a good movie once. Somewhere through the blur you can make out decent production values: large crowd and battle scenes, attractive costumes, and what looks like the hilly Italian countryside. Who knows maybe even the "seven hills," though I doubt even a Roman native would be able to tell for sure.

Little more than terrible
I ordered this DVD for use in teaching the play. I had anticipated it for months and waited with impatience for its release; I now find I was impatient for mediocrity. The performances are disappointing, with only Richard Chamberlain as Octavious showing any passion in performance. Indeed, Jason Robards as Brutus is the poorest Shakespearean acting I've yet seen, and it's an embarassment for anyone attempting to light a fire for Shakespeare in teenagers. Robards speaks his lines as if he is reading them for the first time on his couch at home.

Until Hollywood gives this another try, I recommend the BBC version of the play available with English subtitles from Ambrose Video. Of course, there is always the Brando version of the play with James Mason doing a much more credible job than Robards as Brutus.

Quality Terrible
I ordered this tape to show to my Sophomore English classes as we read the play. The quality of the video was so poor that my colleagues and I judged the tape unwatchable. I do not recommend this tape. Instead, order the Marlon Brando edition. ... Read more

Amazon.com

Cole Porter, Shakespeare, and 3-D:Not the usual recipe for an MGMmusical, but hey--it works. Although it runs hot and cold, this 1953 take on Porter's delightful Broadway smashlets a chewy cast gorge on some terrific songs and show-biz in-jokes. Think ofthe plot as His Girl Friday in greasepaint:vain star Howard Keel wantsto lure ex-wife Kathryn Grayson back to the boards with a musical version ofThe Taming of the Shrew. The movie's weakness is too much Shakespeare,not enough backstage backbiting (and why are two of the best numbers, "So inLove" and Ann Miller's zippy "Too Darn Hot," confined to a prologue?). Thenthere's the tendency to throw things at the camera--3-D, what hath you wrought?The candy-store color design is great fun, and Tommy Rall and future dance titanBob Fosse are turned loose for some sensational leaps. Now that's "Wunderbar."--Robert Horton ... Read more

Reviews (42)

This one deserves more stars!!
This is one of my all-time musical favorites and in my opinion, the best MGM musical made outside the Freed unit, with a top of the tops score by Cole Porter, my all-time favorite composer.

Grayson and Keel are in top form, their on-screen chemistry at its best moment, in such numbers as "We Open in Venice", the wonderful "Wunderbar", and the wondrous, lyrical and evocative "So In Love", one of the best romantic songs ever written by Porter.

Also in the cast, Ann Miller in excellent tap-dance form, in such show-stoppers as "Too Darn Hot", "Tom, Dick and Harry" (accompanied by Tommy Rall, Bobby Van, and Bob Fosse), but especially "From This Moment On", a number which features the aforementioned male dancers, plus Carol Haney and Jeannie Coyne, which is stolen by Fosse and Haney, in an unforgettable jazz-oriented pairing, as the french say: "la creme de la creme".

And last but not least, the funny couple of Keenan Wynn and James Whitmore, are thrown in for good measure and lots of laughs, getting also their chance at showbiz with "Brush Up Your Shakespeare".

I had longed for this dvd release, and after buying it I can say that I am satisfied with it.

If you are musical film-buff, buy it, it has an excellent score, sophisticated lyrics, very good singing, excellent numbers, expert dancing and some very funny moments indeed!!

KISS ME KATE A JOY TO WATCH
I saw this film for the first time in it's initial release in 3-D and loved it so much that I returned to see it twenty times or more. Anytime it is shown on the big screen in retrospect showings, I try to attend. To me, it is my most favorite MGM musical next to "SINGIN IN THE RAIN." Howard Keel and Kathryn Grayson are outstanding in their roles and do justice to the Cole Porter tunes, even if MGM saw fit to clean them up a bit. Kathryn Grayson's rendition of "I HATE MEN!" sets the standard for all others to follow. Ann Miller is finally showcased in songs and dances where her true talent shines. The male dancers Tommy Rall, Bobby Van and an-oh-so-young but talented Bob Fosse are spectacular to watch, especially in the "FROM THIS MOMENT ON" number where Fosse dances with Carol Haney and his style just burns up the stage. Keenan Wynn and James Whitmore shine in their gangster-hood roles and do a nice soft shoe as well. I cannot say enough good things about this entertaining play-within-a-play musical filled with great Cole Porter tunes.
I have bought this on both vhs and laser disc and sure wish that MGM would get off their proverbial butts and release this on DVD soon.

Should have included a Field Sequential 3-D version!
Not that many people are aware of the Field Field Sequential 3-D .
This is a 3-D TV system that uses special shutter glasses that can be purchased here through Amazon in a set that includes 3 DVD's using this process. This system Is the only way to view a 3-D film effectively on TV to date. The result is about 90% close to the effect you will see in a theatre showing.. like IMAX and Disney and Universal.
These glasses are made of sturdy plastic and clear not these cardboard red and blue pieces of garbage, so you can view the film without constricted to seeing red and blue colors and with this system you will see more actual 3-D depth with the films true colors.. It's really amazing!
For some add reason the big studios haven't adapted to include a separate version of a 3-D title in this great format.
Films like:
"House of Wax","Kiss Me Kate","Friday the 13th Part 3", "Robot Monster, "Cat Woman on the Moon", "Creature from the Black Lagoon" and "Jaws 3" are all now in 2-D DVD, but were originally shown in 3-D and could have been included using the Field Seqential 3-D system on the same disc with the 2-D version.
In Japan in the late 80's there were a few 3-D titles released using Field Sequential 3-D and can be found on e-bay converted to DVD and VHS.
Why aren't the studios producing these now!
I boycott any film DVD release that was originally intended to be seen in 3-D that's only presented in a 2-D version or anaglyph (Red and Blue Glasses).

The studios should really be awaken to this great 3-D system.

How to Win Back Your Wife
I write this review in honor of Howard Keel's 85th birthday.
"Kiss Me, Kate" is a lively, albeit dated musical with a slightly chauvenistic streak. It takes liberties with Shakespeare's "The Taming of the Shrew", but is more fun than reading the actual play.
The estranged couple Fred Graham and Lilly Vanessi (Howard Keel and Kathryn Grayson), have been divorced for a year at the time they take the lead roles in the Cole Porter musical. Based loosely on Alfred Lunt and his wife Lynn Fontaine, their behind-the-scenes bickering gets a little out of hand and occasionally, resulting in a well-defined lack of professional courtesy as they occassionally humiliate each other in full view of an audience.
But they also have their glorious moments, such as a reminiscence that leads to the number, "Wunderbar".As did their first number, "So In Love", this number reveals a certain wistfulness at their estrangement from each other at the end.
The subplot is the realationship between the play's secondary couple, Lois Lane(Ann Miller) and Bill Calhoun (Tommy Rall), a compulsive gambler who signs Fred Graham's name to an IOU.
The play begins. The number,"Another Opening, Another Show" is heard only as an instrumental piece beforehand. But the numbers, "We Open In Venice" and "Tom, Dick or Harry" kick the show off magnificently. As a big fan of the late Ann Miller's dance numbers,the latter is probably my favorite. As Gremio and Hortensio, Bobby Van and Bob Fosse thrill us with their trademark moves.
Keel sings a sumptuous ballad as his ex discovers that the flowers she thought were intended for her were intended for Lois. Through it all, Howard Keel is characteristically confident, uttering lines of unadulturated sarcasm as his ego occassionally gets the better of him. After being slapped by Lilly, he proves to be even more of a drama queen than any actress.Perhaps the sexiest scene in the film is when Graham removes the sausage links his ex-wife hides against her poitrine during one scne in the play.

Kathryn Grayson, with her porcelain skin and heart-shaped mouth, is a living Madame Alexander Doll in the part of Lilly/Kate. She is comically, firey and able to stand up to her ex-husband and to the thugs that he uses to keep her onstage(Keenan Wynn and James Whitmore) when she threatens to leave after Fred humiliates her. Lippy and Slug appear to collect they debt they believe Graham owes them, and while not althogether academically inclined, they display some knowledege of the Bard and his works, although they look ridiculous in their onstage costumes.
Willard Parks, as Tex Callahan offers Lilly a possible escape from her life in the theatre. But ultimately she is won back not by Fred's threats or humilation, but by the simple admission that he was wrong. While some may find the end to be disappointing, it should be remembered that it was Lilly who ultimately chose whether or not to give Fred a second chance, and Graham's beam of triumph and the twinkle in his eye at the end are worth more than any words-even those by the Bard himself-can say.

Keel is keen!
Grayson is good, but Howard Keel steals this show. He shines in the role of the egomaniacal stage ham. His voice and his presence are perfect for the role. Ann Miller and Tommy Rall provide all the dance moves you could ask for in a great musical. If you are a fan of musicals, this is a must for your collection. The DVD also provides some fun behind the scenes information. ... Read more

Reviews (12)

Best film ever made
This movie is a cinematographic masterpiece. For me it was amazing how well the actors managed to get into their roles. I was dissapointed that all reviews talked mainly about Jane Seymour. You couldn't have done this movie without her, true! But there is so much more. Patrick McGoohan who plays the uncle is outstanding. The settings and camera work make this a winner. The photography is unique. Nobody mentioned the music. It was composed by Arnold Schoenberg (Austria) and is entitled "Transfigured Night". You can find the CD at any classical music shop. In my opinion a great movie has to have the power to involve you. For over two hours, when you see this movie, you'll be absorbed in the nineteenth century. If you like adventure, horror, drama, romance and powerful music, JAMAICA INN is whatyou want. If you love this movie I recommend "JACK THE RIPPER" with Michael Cane. Same atmosphere, same century and same brilliant acting. "Jack the ripper" also features Jane Seymour in a surprising role. Get them both now!

Not Quite Du Maurier . . .But, Good
In this mini-series adaptation of Daphne Du Maurier's novel "Jamaica Inn", Jane Seymour stars as the confused yet ethical Mary Yellan, a young woman who finds herself confronting some unknown evil on the Cornish moors.

I will not critique Du Maurier's story--it is a great Gothic masterpiece which employs tone, description, plot and characterization to near perfection---read the book to enjoy Du Maurier's talent and imagination at its best.

This adaptation follows the novel much more closely than Hitchcock's earlier film. However, some twists were added to further dramatize an already tumultuous story. I must wonder why this was necessary and can only think, sadly, that the original story was thought too tame in the light of our 20th/21st century viewpoints of violence. In this version, Mary's parents are victims to the sinister plot that wraps Jamaica Inn in secret, making Mary's involvement all the more desperate and poignant. If one has read the book before viewing the film, this addition seems overdone, detracting from the original and eliminating the self-righteously ethical factor so important to Mary's character. In order to emphasize the romance in the plot, Mary's relationship with the landlord's brother tallys up more screen time when compared percentage-wise with the novel's presentation of the same interplay---there are actually more scenes in the book where the characters are together, yet the book allows you to speculate as it plays the romance off the tale of suspense and the film does not. Patrick McGoohan plays Joss with a little too much gruffness--we never really see the vulnerability and helplessness which lie beneath the surface and appear after he has soaked himself in rum. There are never any scenes with both Jem and Joss together---the necessary comparison made between the brothers is not allowed and hence, we do not quite see Mary's dilemma in her attraction to Jem or what might have attracted her Aunt in the past. Aunt Patience, played by Billy Whitelaw, would have been perfect as the once beautiful woman worn down by the knowledge of her husband's misdeeds. However,through her stern cautionary conversations with Mary, she appears too logically complacent, more a fully functioning partner to Joss rather than the frightened remains of the silly woman whose head was turned by him in the first place. Jane Seymour's portrayal of Mary includes the bit of pep that DuMaurier states but never fully demonstrates, yet she tends to be too saucy at times, playing the active willing foil to Jem's criminal antics rather than the shocked observer from the pages of the novel.

The film is most definitely capitalizing on Du Maurier's so-called reputation for escapist romance; yet the book is not a romance at all, but rather Du Maurier's grim testament to the status of women as dependent creatures, shoved here and there by their stronger male counterparts. Mary doesn't necessarily find love nor does love conquer adversity as we are meant to conclude from this presentation. There is no moral lesson scorching Du Maurier's pages. Du Maurier's vision was much more dismal---Mary, finally beaten,accepts her fate and plays second fiddle to Jem's maleness; she learns to acquiesce to her dependency. Despite these fundemental differences, the film as a romantic interlude, is still good; it fully depicts Du Maurier's Cornwall seeped in its weather and crowned by monoliths. The film's music tends to be a little melodramatic--it is of the Camille Claudel genre--I think an insiduous pan pipe along the Braveheart vein would have been a better contrast with the rain, gloom and terror than 'Transfigured Night' which doles out more of the same.

A must have
One of our favourite films. The case of lending it to someone and not getting it returned!
No longer available in PAL format unless you want to pay over the odds on e-bay, we bought this NSTC version, so we can play it on an American friend's video player.
A classic

Riveting Performances
I have watched this video at least 10 times and am impressed each time with the intensity that is ever present in this dark and terrifying story. Yet within we have a romance between the impossibly young Jane Seymour and Trevor Eve, who are both cute as can be and still thoroughly reflect the grimness and tragedy of the tale. Twists and turns take you places wholely unexpected and keep you glued even to the rather capriciously happy ending!

Beautiful adaptation
Jamaica Inn is one of my favorite books. I have not seen the older version of the movie but I think this one is terrific. It follows the book very well and is a visual treat.It has everything, action, romance and intrigue. Jane Seymour, Patrick McGoohan, Trevor Eve and John McEnery were wonderful in their parts and the music was hauntingly beautiful. I have since learned from another reviewer that the music is " Transfigured Night" by Arnold Schoenberg. I think it's a shame that it's been allowed to go out of print and hope it will be released again, hopefully in both formats. ... Read more

Amazon.com essential video

An appealing, free-floating lunacy fuels What's New Pussycat?,and there's enough of it bubbling around to carry the movie past its manydefects. The cast is like a collection of terribly attractive people stumblingover each other at a disorganized cocktail party--they aren't always witty, andsome of them are drunk, but there's enough going on to keep you distracted.Peter O'Toole plays a swinging London womanizer seeking help for his addiction,who makes the mistake of consulting one Dr. Fritz Fassbender (Peter Sellers), ademented psychoanalyst. Woody Allen made his movie debut here and wrote thescript (much altered, to Allen's chagrin, in the filmmaking process). This movieand Casino Royale--which also features Sellers, Allen, Ursula Andress,and a Burt Bacharach song--are overstuffed '60s artifacts, brimming with modchaos. Alas, neither film is as funny as it should be. --Robert Horton ... Read more

Reviews (20)

My "What's New, Pussycat?" Review
Now HERE'S an absolutely uproarious 60's comedy featuring Peter Sellers at his peak and Woody Allen's first screenplay to a major motion picture. I also highly recommend Casino Royale, which also features Peter Sellers, Woody Allen, Capucine, and Ursula Andress (great cast, eh?). Although not rated, this film would probably be rated PG-13. It doesn't have much profanity or any nudity, but it contains adult themes that might confuse younger viewers. Woody Allen gets the most laughs in this movie, which came as no suprise to me when I first saw it. Highlights include Peter Sellers and Woody Allen one-on-one, and the ending is golden. I highly recommend this movie.

What's New, Pussycat?
Peter O'Toole, as a troubled fashion editor, visits psychiatrist Peter Sellers for help with his fanciful and complicated love life (Romy Schneider, Paula Prentiss and Capucine). However, Sellers has problems of his own and at time the roles become reversed. Ursula Andress also drops into the fray. Woody Allen is present in what I believe is his first film as both actor and writer. The film shifts back and forth from sophisticated comedy to slapstick. I always liked this funny and outlandish film. The VHS copy is not bad. I did find that the sound level was not consistent.

The Ridiculous and the Sublime
Maybe sublime is too strong a word. This is one mess of a movie. It's like a nerdy kid trying desperately to be cool. Most of the jokes are unbelievably juvenile and even lame, and it's often obvious many of the cast members realized they were in a piece of crap and decided to at least enjoy themselves-- which actually helps.

That said, there are moments (and I mean moments) that make it worth watching. Paula Prentiss steals the show from everyone, there are some laugh-out-loud lines in the picture and some of Peter O'Toole's reactions are priceless. Another good scene is the one Peter Sellers and Woody Allen share. Finally, there may even be one emblematic shot in it too, during the getaway at the end of the picture.

What's new Pussycat is endearingly goofy and AWFUL, but I'm looking forward to it coming out on DVD.

second best movie of the 60s
I consider this to be the second best movie of the 60s. The best is Casino Royal. This is the first comedy movie written by Woodie Allen and it shows great hand crafting with many little details. There are several sub plots that interweave and come together in the last 15 minutes. One of the most amusing parts is the famous homosexual woman, Capucine, playing a heterosexual nymphomaniac.

Sigmund Freud may have enjoyed this "comedy"
An International all-star cast delivers a confusing and rediculous "comedy classic". It's all about 40ish "Casnaovas" with nothing but "sex on the brain". Seeing Peter O'Toole, Peter Sellers and Woody Allen (the 3 LEAST SEXY guys ever to team up sharing the spotlight as leading men) cause attractive women to willingly offer themselves at the drop of the magic word "pussycat", is not funny, but stupid.

The plot (if you can call it that) seems like it is made up as you go. The jokes are sophomorish and lame. Beautiful actresses like the German Sensation Romy Schneider (featured in the GREAT comedy "Good Neighbor Sam" with Jack Lemmon just a year earlier) and the glamorous Italian star Capucine are wasted as "doormats" to nymphomaniac Peter O'Toole.

Credit does go to the fetching Theme Song by Tom Jones. The tune carries through countless mindless scenes, the only reason not to stop watching the dreadful story alltogether. Viewers will eventually tune out the horribly fake German accent delivered by the obscessed "freudian" psychiatrist Peter Sellers. My final diagnosis: Skip this mess of a film!** ... Read more

Reviews (10)

Buster&Billie-a wonderful story of love simple, pure & true!
This is a well written and touching love story set in rural Georgia in the 1940's. Starring Jan-Michael Vincent as "Buster Lane", the most popular boy in high school! Buster rules the school with his pack of friends and dates the prettiest girl in town, "Margie Hooks" (Pamela Sue Martin). Buster Lane is a typical country boy with maybe a little more scruples than the average southern country poke. Buster is engaged to be married to Margie in upcoming June and he's been playing touchy-feely with her, but she wants to wait until they're married to go all the way. Buster's best friend is "Whitey" (Robert Englund), they hangout, drink beers together and talk about guy things, especially what else, girls! Whitey's labeled a Geek and he's so pale (almost albino like) that's where he gets his nick-name of "Whitey" from. He was severely picked on when he first moved to town by the other kids until Buster befriended and protected him, giving you an ideal of Buster's good heart and kind nature. "Billie" (Joan Goodfellow) is an painfully shy country girl from a very poor family, she's often known to have sex with several of towns young men in a way of getting some attention and just trying to be accepted. The thing is, you feel nothing but compassion for Billie ... you never think of her as a "loose girl" (to put it politely). Her performance radiates innocence, loneliness, sadness and then absolute joy later in the movie ... you can feel all her feelings as the movie progresses, you are living through these moments with her!
When Buster convinces himself that he just can't hold out any longer for sex with Margie his attention turns to Billie and they're not honorable, not at first. He finds her to be very innocent and sees the beauty in her so pure, he's moved when a simple gesture like buyer her a grape crush soft drink brings her to tears, somebody finally thought of her feelings. He finds himself falling in love but is not sure of his feelings, are they reflecting his lack of experience to this new feeling called love?
Before Buster even realized what his feelings are he acts on his basic instinct. He breaks off his engagement with Margie and begins seeing Billie exclusively. Billie is taken to her first movie with Buster to see a Tarzan movie, and you can see her elated joy at this new experience. When Billie and Buster go swimming Buster looks over at her to see if she is taking off all her clothes before he strips, as if to not offend her. Its little moments like this throughout the movie that all add up, and are very touching. Then getting up in the middle of the night and waiting, cuddled together on a blanket, for the sun to show itself at the horizon. When it does they jump up and down, then hold each other in a very loving embrace, love is good and it's a new day, a new beginning! In time they both begin to realize just how deeply they do love one another, more than each realized they were capable of loving! Billie is taken to a dance by Buster and he walks proudly with her in his arm, you again feel her joy at another new and wonderful experience. Billie is lit up like a Christmas tree, you can actually feel their happiness, especially hers ...
I'd love to tell you more but I can't ruin it for you ...
Bottom line, this is one of my all time favorite movies! I give Joan's performance an 11 and the movie a 10, with 10 being perfect. This movie will always have a soft spot in my heart ... enjoy! :o)

Sabrina's Review
I first saw, and fell in love with this movie, as a teenager. I watched it over and over again, at least 20 times -- and cried each time. I have thought about it many times over the years and checked repeatedly at Block Buster for its availability...no luck! It is a great love story wrapped up in juvenile delinquency and small town minds. A backwoods Romeo and Juliet with a twist. A must see for the underdog and the misunderstood!

Buster and Billie
HELLO!!!!! Where's the DVD? A truly moving movie, with a good storyline acted very impressively by a cast of young and believable cast. Deserves to be on DVD!!!!

Buster&Billie-a wonderful story of love simple, pure & true!
This is a well written and touching love story set in rural Georgia in the 1940's. Starring Jan-Michael Vincent as "Buster Lane", the most popular boy in high school! Buster rules the school with his pack of friends and dates the prettiest girl in town, "Margie Hooks" (Pamela Sue Martin). Buster Lane is a typical country boy with maybe a little more scruples than the average southern country poke. Buster is engaged to be married to Margie in upcoming June and he's been playing touchy-feely with her, but she wants to wait until they're married to go all the way. Buster's best friend is "Whitey" (Robert Englund), they hangout, drink beers together and talk about guy things, especially what else, girls! Whitey's labeled a Geek and he's so pale (almost albino like) that's where he gets his nick-name of "Whitey" from. He was severely picked on when he first moved to town by the other kids until Buster befriended and protected him, giving you an ideal of Buster's good heart and kind nature. "Billie" (Joan Goodfellow) is an painfully shy country girl from a very poor family, she's often known to have sex with several of towns young men in a way of getting some attention and just trying to be accepted. The thing is, you feel nothing but compassion for Billie ... you never think of her as a "loose girl" (to put it politely). Her performance radiates innocence, loneliness, sadness and then absolute joy later in the movie ... you can feel all her feelings as the movie progresses, you are living through these moments with her!
When Buster convinces himself that he just can't hold out any longer for sex with Margie his attention turns to Billie and they're not honorable, not at first. He finds her to be very innocent and sees the beauty in her so pure, he's moved when a simple gesture like buyer her a grape crush soft drink brings her to tears, somebody finally thought of her feelings. He finds himself falling in love but is not sure of his feelings, are they reflecting his lack of experience to this new feeling called love?
Before Buster even realized what his feelings are he acts on his basic instinct. He breaks off his engagement with Margie and begins seeing Billie exclusively. Billie is taken to her first movie with Buster to see a Tarzan movie, and you can see her elated joy at this new experience. When Billie and Buster go swimming Buster looks over at her to see if she is taking off all her clothes before he strips, as if to not offend her. Its little moments like this throughout the movie that all add up, and are very touching. Then getting up in the middle of the night and waiting, cuddled together on a blanket, for the sun to show itself at the horizon. When it does they jump up and down, then hold each other in a very loving embrace, love is good and it's a new day, a new beginning! In time they both begin to realize just how deeply they do love one another, more than each realized they were capable of loving! Billie is taken to a dance by Buster and he walks proudly with her in his arm, you again feel her joy at another new and wonderful experience. Billie is lit up like a Christmas tree, you can actually feel their happiness, especially hers ...
I'd love to tell you more but I can't ruin it for you ...
Bottom line, this is one of my all time favorite movies! I give Joan's performance an 11 and the movie a 10, with 10 being perfect. This movie will always have a soft spot in my heart ... enjoy! :o)

A movie that deserves DVD treatment
I saw that movie on TV about 20 years ago and was quite impressed. Not particularly by the cinematography but by the story and the performance of the actors who give all they have.

This is a really nice little movie, one of the best from the mid-70s. It really deserves DVD treatment. ... Read more

Reviews (89)

Life is a cabaret, old chum...
It's often been said about old musical movies that they went too far in the conceit of people "bursting out in song" during a scene. Well, in his film version of Kander & Ebb's masterful Cabaret, Bob Fosse completely got around that problem by presenting the songs on stage. It was handled brilliantly, the choreography was incredible, and the movie just plain works.

Cabaret the movie doesn't share many songs in common with the original stage version - it still has "Willkommen," "Two Ladies," "Tomorrow Belongs To Me," a German version of "Married," "If You Could See Her," and "Cabaret" - but that's it. A few new songs were added - "Mein Herr," "Maybe This Time," "Money, Money," - but for the most part it's a lot less sung than the staged version. A lot of musical numbers dealing with the world outside the Kit Kat Klub were used as underscoring, preserving John Kander's great tunes. But this doesn't detract from it being one of the best filmed musicals out there.

Fosse's direction is a big help; it has a great eye for early 1930s Berlin, and presents the decadence and foreshadows the Nazis brilliantly. Fosse created great, sensual choreography for the film, and it is completely entrancing to watch the musical numbers. And the rest is worth it, too.

Flipflops aside, the couples are presented well; Liza Minelli's portrayal of Sally Bowles is definitely the acting part of a lifetime. She was just completely *convincing* as Sally, from end to end. Michael York as Brian is very reserved, very British, and very studied. Helmut Griem is entirely convincing as Max, who creates tension between the couple after befriending them. The secondary couple is played to perfection by Fritz Wepper and Marisa Berenson, as opportunistic Fritz Wendel who falls in love with the rich young Jewess Natalia Landauer, respectively. And, of course, Joel Grey is spectacular as the haunting, Puckish Emcee.

In general, this movie presents itself as a stunning revelation to viewers of a story that will stick around for a very long time. It's a virtuoso interpretation of one of the greatest American musicals, and deserves to be seen.

wonderful new collector's edition
CABARET has never looked better, remastered for it's 25th anniversary, with additional features.

Liza Minnelli gives the performance of her career as the singer Sally Bowles, on a self-imposed exile in Berlin, entertaining at the seedy Kit Kat Klub.

Into her life comes Brian Roberts (Michael York), a mild-mannered English bisexual who falls in love with her. Both are seduced by the wealthy Maximillian (Helmut Griem) before Sally falls pregnant, aborts the child and Brian leaves Berlin just as the Nazi's gain power.

The musical, set against the stormy backdrop of Berlin in the 1930's, is a marvellous piece of film making. Directed and choreographed by maestro Bob Fosse, CABARET also boasts original Broadway performer Joel Grey as the Master of Ceremonies, and Fritz Wepper and Marisa Berenson.

Also includes reminiscences by Liza Minnelli, Joel Grey, Michael York, Cy Feuer, John Kander and others from the creative team, an old featurette on the making of the film, and the original theatrical trailer.

THE BEST
As for musical-drama concerned... THIS IS IT! The producers of Chicago should have seen this(indeed they did - every major moment in that film is "stolen" from Cabaret) and put REAL musical stars in the film.

When u have Joel and Liza u are not let down... I give flowergreetings to the entire cast and crew... The filmversion of Cabaret has a lot of "new songs"(Maybe This Time, Mein Herr, The Money Song) and the plot follows the 1955-movie "I AM A CAMERA" more than the stage musical. Since then; the Liza-songs have found themselves in numerous revivals of this stageplay since this 1972-masterpiece. The film is still frightening and raw......Trivia: The scene in which Liza meets Marisa they talk about diseases... On video, here in Europe at least, that was cut....

Don't pass on this
I almost passed over this DVD because a couple of Amazon reviewers forcefully complained about the presentation. I'm glad I bought it. The widescreen was just as I expected, and picture and sound quality were fine. Anyone who's seen the movie knows how good it is. If you haven't seen it, you're in for a treat; and this DVD serves it well. (A five-star review is for the absolutely superlative.)

PLEASE PLEASE Don't buy this!
CABARET is one of the greatest movie musicals ever. I adore it. It is flawless, IMHO.
Why, then am I giving it one star? Because, as others have said, Warners should be ashamed of themselves. This is not the first, but the SECOND release of this movie in a non-anamorphic transfer. I bought the original and was mighty p****ed because it was non-anamorphic. I thought they would have honored this magnificent film in the "anniversary" release. But no. It is, as stated by another reviewer, the same disc as before, in terms of picture quality.
On a small TV you won't notice. But if you care about these things, then believe me, this release sucks big time. As did the first one.
I'm angry, not at being ripped off (I sent this one back for a refund) but because a wonderful work of art has been abused by a greedy, careless film company. And I have been robbed of the chance to see the film in its glory.
Having said that, nothing could improve the truly dreadful sound quality - which was terrible from day one.
I don't suppose there ever will be another release of this movie. What a terrible shame. ... Read more

Reviews (3)

I keep thinking about what could have been ....
I knew that this film was not going to be Oscar caliber, but I was a little disappointed with the broad strokes the director allowed the Mexicans in the film to be painted with. We see them as outsiders, never delving into their souls and emotions. The Cholos are generic and they sound like "West Side Story" rejects. But the funny thing is that I liked this film. In the hands of a competant director, this material could have been a GREAT film, but as it is, it is just a fair film. The score is excellent, and I wish I could find it. If you have a copy of the soundtrack, let me know!

A Great Chicano Movie
This movie was the bomb, if you are chicano see this movie I am down with cholos and east L.A. this movie portrays all of that, I have seen this movie ten times and still think it is great a must buy.

This movie is Hella Tight
I recomend this movie to anyone out there who is down for LA RAZA!! ... Read more

Amazon.com

Here was a case in which the progenitors of this successful comic-book adaptation figured they had to go in a new direction--and chose the wrong one. For starters, they recruited comedian Richard Pryor, who was the kiss of death for almost every movie he was in except his own concert films. He plays a computer specialist who is hired by a criminal mastermind (Robert Vaughan) to help him take on Superman by exposing him to a new form of Kryptonite: red Kryptonite, which always had unpredictable effects in the comic books. In this film, it splits Superman in two, dividing his good self from his dark side. The special effects had gone about as far as they could, and this movie strains to hold an audience's interest for its full running length. --Marshall Fine ... Read more

Reviews (106)

Disappointing.
Aside from Christopher Reeve's fine performance once again as Clark Kent/Superman, "Superman III" was a major disappointment back in 1983. I remember sitting in the theater as a 10-year-old and thinking, "Is that all there is?" Superman vs. a Supercomputer just cannot compare with him rescuing California from a major tectonic disaster or duking it out above Metropolis with three Kryptonian villains.

I also could never understand why the producers cast Richard Pryor. It's like he bumbled onto the set accidently from a different movie. He's a very talented comedian, yes, but exactly what audience were the Salkinds aiming for? I know I wasn't old enough then to see his concert movies or his vehicles with Gene Wilder. Mind boggling to me.

I missed the magic and awe I felt during the original film. I missed Lex Luthor's scheming ways. But mostly, I missed the witty relationship between Clark Kent/Superman and Lois Lane. Annette O'Toole is lovely, but her character simply wasn't as fun or interesting as the best girl reporter in Metropolis. With her husky voice and hilarious manic energy, Margot Kidder was absolutely perfect. Two small scenes were not enough.

I really don't like leaving negative reviews, but as a Superman purist, the only REAL Superman movie to see is the orginial. Richard Donner's vision for the film was flawless. The first sequel was fine, but it could have been sooo much better had Donner been allowed to finish (he was unjustly fired after the Salkinds worked him to the bone). Do yourself a favor... preorder SUPERMAN: THE MOVIE on DVD and enjoy!!

This Looks Like A Job For...Richard Pryor??
After getting off to a great start, the Superman film series, got muddled a bit by a director change while filming Superman II. Thanks to the fact that Creative Consultant Tom Mankiewicz's original story for the sequel stayed intact, despite all of the backstage hostility, Superman II still manages to work. Superman III, hovwever, is a whole nother matter entirely, with its own set of problems.

Gus Gorman (Richard Pryor) is a down on his luck computer genius, who is hired by Websco industries, to doa meanial data entry. Soon though Gus learns how to imbezzle large sums of money. When CEO Ross Webster (Robert Vaughn) finds this out, rather than send him to jail, Webster uses Gus and his computer skills to hold other competitors around the world at bay. Soon his plan becomes one of worldwide domination Superman (Christopher Reeve) tries to stop Webter and his cohorts in crime, but is halted by a synthetic chunck of Kryptonite, that turns the Man Of Steel against the planet he had sworn to protect.

Superman III took the series in a more comedic direction. From the farsical oppening credit sequence, to Pryor bumbling his way through one unfunny scene after another, It's sad to see a Superman film depart so drasticaly from what's come before and the comic book. Thanks to yet another dispute with producers Alexander and Ilya Salkind, the character of Lois Lane (Margot Kidder) is all but forgotten, save for a thankless, throwaway of a cameo. The action seems a bit silly, particularly at the end, as a super computer runs amok. For me, Reeve is the only thing about Superman III, that keeps it alive. Clearly director Richard Lester has it in for our hero, running him nearly into the ground. Superman III is more of a paraody, than a superhero flick.

The only extra on the DVD is the theatrical trailer.

I could have done with less comedy and moore of Reeve being...well...for lack of a better word super

You Will Believe Pryor Can Fly ...This Film Into the Ground!
When the movie poster first came out to promote SUPERMAN III with the illustration of Superman flying while carrying a distraught Richard Pryor, it was suspect. When the film was finally released, all suspicions were true. Director Richard Lester (A HARD DAY'S NIGHT)did such a great job on SUPERMAN II making it a straight action adventure film, but SUPERMAN III was just too campy. From the poster, we go to the opening credits. As they roll, a sequence of "Rube Goldberg", slapstick, domino-effect, accidents happen around a clueless Clark Kent walking through the streets of Metropolis. Somehow the audience knows that this is going to be a different Superman film. Richard Pryor (as Gus Gorman) is a computer whiz who is caught electronically embezzling from his conglomerate boss Robert Vaughn (Ross Webster). Instead of turning him in, Webster offers Gorman a job to help him rule the world by controlling a weather satellite (through Gorman's computer skills), and building a super computer. Superman gets in their way and they devise a plan to kill him with a bad batch of Kryptonite. Instead of killing him, the kryptonite turns Superman evil. He mostly flies around neglecting himself, the people of Metropolis (and of the world), and doing juvenile pranks (i.e. straightening out the Leaning Tower of Pisa). Richard Pryor is not bad in the film, but more of a distraction. The movie-going audience is not used to seeing him in this type of film. British comic actress Pamela Stephenson (whose talents were wasted during her one season on Saturday Night Live--was hardly used or seen in any sketches--but she was brilliantly hilarious on BBC's sketch comedy series NOT THE NINE O'CLOCK NEWS) is wasted and miscast in her role as Lorelei Ambrosia, Vaughn's/Webster's mistress. The special effects are decent for the pre-digital age. Some of the action sequences are excellent (i.e. when Superman has to fight the super computer). Also, the Smallville sequences with Clark Kent rekindling his frienship with Lana Lang (Annette O'Toole) are noteworthy. However, most of the film did not work due to the casting of Richard Pryor, other casting decisions, some cheesey sequences (some involving Pryor), and unnecessary humor! As John Lennon's appraisal of the Beatles' film HELP! (also directed by Lester) to paraphrase, "it was a movie about frogs with snakes in it!". That seems to be the case with SUPERMAN III.

Another Really Cheesy 1980s Movie!
Get "Superman III" and "Supergirl" by the Salkind folks and you'll have the cheesiest evening ever! In fact, Superman III nearly beats Supergirl in the "pure cheese" category. And if, like me, you're a fan of such movies, you'll absolutely love this DVD.

The story - Clark Kent/Superman goes back to Smallville for a school-reunion and meets up with a really lovely Lana Lang (Annette O'Toole). Unfortunately, there's this businessman and his bimbo girlfriend and his sister who hires Richard Pryor to mess up the world-weather (and Columbian coffee) with computers. Superman turns evil after touching some green crystal (Kryptonite mixed with tar) and gets drunk, then ends up sleeping with the aforementioned businessman's bimbo girlfriend and even pushes the Tower of Pisa straight. Finally, a supercomputer designed by Richard Pryor turns evil and transforms the aforementioned businessman's sister into an evil, mechanical sister. Superman fights them all with acid and then proceeds to make the Tower of Pisa a leaning tower again before soaring off triumphantly. Movie ends. Roll credit.

I hated this as a kid but watched it again last night and absolutely loved it. It's the nostalgia thing again. I knocked one star off my rating for it because there's this scene where Richard Pryor skies off a skyscraper, lands on the street and DID NOT die!

Superman can be better
Without Lex Luthor, this film rather suffers. But it was an attempt to create an original story instead of returning to the same old theme, which, let's be honest, can get exhausting.

This also got me interested in psychology as a child, because I thought the whole notion of two sides of the same man duking it out was fascinating, to say the least.

Besides, Richard Pryor is a scream here, though what he does on the computer intuitively instead seems to be very close to what a skilled hacker can do today.

This film has one other great idea: Clarke should forget about Lois and start dating Liana. Liana is much sweeter, and unlike the Superman-obseesed Lois, Liana only wants her old friend, Clarke? And, she's smart enough NOT to put herself into deathtraps. ... Read more

Reviews (4)

Favorite Cartoon
Why aren't these cartoons on DVD yet? If you too love the Animaniacs, go here to help us get them put out on DVD... (...)

"Warners Escape"
This is absolutely the vest "Animaniacs" VHS Tape KNOWN TO MAN! I love the "Animaniacs"! Even though there have been no new episodes since 1998, I still watch re-runs on Nicktoons TV!

here are the animaniacs and there zany to the max
if you like the animaniacs you will love this video it has 4 episiodes including the 1st one de-zanitzed wher DrScratchinsniff explains his life story other episiodes in this video are temporary instantly where the warners go onto a sound stage hello nice warners where they help thadeis plotz in his office and then video review where the warners describe movies and what they are about.
also in this video before the pogram there is a short story about ther warners and how they got started.

Animaniacs RULE!
I realize I may be a bit biased, since I happen to be totally obsessed with Animaniacs. However, having seen all but one episode, I can honestly say that the four contained in this video comprise an excellent introduction to this amazing cartoon show. The Animaniacs at their most animaniacal! ... Read more

Description

A Jewish matron falls in love with a Japanese widower. ... Read more

Reviews (6)

After 43 years, I finally got to see the end
Back when I was 16 or 17 years old, I came home late one night after a date, and turned on the TV. A Majority of One was on, and I was soon wrapped up in the story. Believe it or not, as a teenager, I was totally enthralled by this story of a romance between two aging people of different cultures.

But, I came from a very strict family, and my parent's bedroom was in earshot of the TV. I knew if I woke them, I'd be in big trouble. So eventually, I got too nervous to enjoy the movie, and went to bed. But, I never forgot the movie, and always wanted to see the end.

Then one day recently, I suddenly thought about it, and realized I could probably buy it online. I couldn't remember the name of the movie offhand, but I did a search on Alec Guiness, and recognized the title when I saw it.

So, I finally got to see the end. I won't tell you the end, but I will say it was worth the wait. This is a sentimental movie, true, but it also has a number of ideas that work through it. (You remember ideas...) One of the themes, stated in other reviews, has to do with racism. Then there is main theme that, if you are right, and the rest of the world is wrong, then you form a majority of one. Great idea! And there's the idea that mature people should be respected because they have more experience in human relations than young people.

Funny thing is, my mother watched it with me, and loved it even more than I did. It was fun to watch it together as two adults, after my past history with the movie.

Okay, accepting Alec Guiness as a Japanese gentleman is a bit of a strech. But just the scene with Rosalind Russel standing pigeon-toed in a kimono is worth the price of the movie.

DON'T TOUCH MY MOUSTACHE
I love this movie! It is a tender and funny movie. Rosalind Russell (Mrs. Jacoby) shares her jewish traditions with a Japanese gentleman while in Japan. It is about how racism can be overcome by gentle understanding. How graceful times were. Truly a gem!

A Majority of One
This is one of the ultimate feel good movies of the 20th century. Watching the characters develope slowly and completely is so fulfilling. The relationships within the different families in different cultures is so encouraging. It is a little fantasy that proves that there can be exciting romance even though one has raised a family, and lost a beloved long term spouse.

If you like Rosalind Russel you must see this movie.
Rosalind Russel has a great character in this movie. It's definitely a feel good movie.

I Have seen the movie and I have ejoyed it very much.
I just wanted to let you know that an off-broadway show called a majority of one is opening on January 16th at the Jewish Repertory Theatre in Manhattan it is located at 316 East 91st Street. (212) 831-2000. Just in case any one is interested. ... Read more