Reviews (362)

Rousing swashbuckling tale
This is not your Father's Zorro, and Antonio Banderas does a fine job as the masked avenger (and according to the Amazon.com trivia section, the first Hispanic to play this role). Banderas plays the second generation people's hero in Southern California, just prior to Spain's ceding of the land to Mexico.

Anthony Hopkins is a great second (who is actually the first) Zorro, a/k/a Don Diego de la Vega, a Mexican land baron and freedom fighter. After escaping decades later from prison, Hopkins escapes from prison to seek revenge on the no-good governor (well played by a smarmy Stuart Wilson) the man who killed his wife and stole his daughter.

Bandaras, a low-life bandito becomes urbane and a proficient warrior at the teaching of Hopkins, and then becomes transformed by a positively bewitching Catherine Zeta-Jones. Their interplay gives the film its romantic, and often sensual edge.

Lots of swordplay and general excitement, as we recall from Douglas Fairbanks and Disney's Guy Williams. The movie moves quickly (but bogs down for awhile 2/3 of the way through. Happily, it picks up the pace through the end.

Nice scenery. When we see the sign of the return of Zorro, via a blazing Z cut into a hillside , it is positively thrilling. A stirring script which fits the film well. More than enough humor (such as the scene in the confessional, or one of several chased of Zorro by the troops) for the purpose of lessening the tension which is well added by a malevolent Matt Letscher.

As one says, it is a grand throwback. As another said: That's entertainment!

...They make the sign of the Z...
This film is the most recent Zorro film. It stars the young Hispanic Antonio Banderas and the intelligent actor Anthony Hopkins. THis may be the first time that a true Hispanic has played Zorro in an American film.
In 1820, Spain has lost California to Mexico. But Rafael Montero (Stuart Wilson) the Spanish govenor, is determined to kill his nemisis Zorro. The fox again foils Montero's plans with the help of two young orphans, one of whom he gives a medallion. Somehow, Montero learns that Diego de la Vega (Anthony Hopkins) is Zorro. Diego's wife is murdered by Montero's men, his hacienda burned, Montero robs him of his child, and Diego is sent to prison. Defeated but determined never to surrender, the enraged fox promises the govenor that he will never be rid of him.
Twenty years later, Santa Anna has become worse than Montero, and people vanish without a trace. The orphan who helped Zorro, Alejandro Mureita (Banderas) and his brother are caught by Montero's man Capitan Love (Matthew Letcher) who beheads Alejandro's brother. Meanwhile, Deigo escapes and sees that Montero has raised his stolen child Elena (Catherine Zeta Jones). Diego sees Alejandro. The two men form an alliance. Diego trains Alejandro in the art of the sword, the whip, riding a horse, and athletic ability. Alejandro tries an exlpoit as Zorro but is rejected by Diego. In the end, however, the new fox earns his mask. Diego now seeks revenge on his nemisis, Montero, while the new Zorro tries to free the people.
This film extends Zorro's legacy. However, in the future I am sure we will see more films with Zorro being Diego. One line with this film seems to hold more emotion than the rest.
DIEGO: "Rafael! You'll never be rid of me! Never!"

New Zorro, New Age
I have never been a huge fan of Antonio or Jones until I saw this film. With its breathtaking scenery, action and atmosphere it makes you love zorro again! A new zorro for a new age! Very well done film with superb acting. The dvd is full on with excellent picture quality and sound.

Zorro No Longer a Hero
Zorro, the hero of Pulps, movies, books, comics and television, has a new movie out. Antonio Banderas, on Larry King Live, mentioned that he hoped this movie would help to keep alive the spirit of the only Spanish super-hero (he in not the only one nor was he at the time of the interview). Well, I think it will do much to keep the name alive but not the spirit.

Anthony Hopkins is Zorro, the Fox. After years of struggle, Spain is pulling out of California and leaving it to the Mexicans. But Zorro slips up and the evil Governor tracks him down, kills his wife, steals his daughter and throws him in prison. Twenty years later Don Diego (Zorro) hears that the Governor is back. Minutes later he has escaped from prison (what was he waiting for?) and is destined to run into Antonio Banderas. After their meeting, Don Diego trains Antonio to be the new Zorro. The rest of the movie involves the plan to create the Independent Republic of California by buying it from Santa Ana with gold dug out of its soil and stamped to look Spanish. Mexico is willing to make the sale because of their war with the United States (it is now 1841).

If you are looking for a fun swashbuckling adventure, then this is definitely the movie to see. If, however, you want to see Zorro, you might find yourself a little disappointed. Gone is Zorro, the defender of the common people and the innocent. In his place is, not one, but two, Zorro's who are bent on personal vendetta's and enlightened self-interest. It is actually Don Diego's daughter who helps some enslaved Mexicans near the end of the movie.

The transition from one Zorro to another takes the Fox out of the wealthy and privileged and makes him a commoner. The new Zorro is also a thief (in a wonderfully fun scene the young Zorro steals his horse, a very serious crime at the time). Having Zorro break so common a law seemed wrong to me. To have Zorro flaunt the breaking of laws meant to worsen the lives of the commoners is another thing entirely. But in this movie Zorro does not taunt authority. He plots against it, to be sure, but for his own reasons and not for the good of the people.

As this movie has two Zorros, there are now also two villains to be defeated (one each). The elder Zorro still has his old nemesis to contend with while the younger Zorro has made a personal enemy of Captain Love, a young Cavalry officer who seems to be in the wrong country. Both villains are vile and easy to hate. This make the personal vendettas a little more palatable as well as making the ending a lot more fun.

The other main problem with this film is that Zorro loses. Zorro never loses. but in this film Zorro loses big time. He loses his wife, his home, his daughter, his name and twenty years of his life. Granted, he briefly regains his daughter but gone is the hero who can laugh in the face of danger and triumph brilliantly.

The last thing I wanted to mention is that, probably due to the controversy over the new Jeffrey Irons film, Zorro is no longer married to his wife Lolita. Her name has been changed (how dare they) to the more common Esperanza. I can understand the concern of some but Don Diego won the heart of Lolita before the Roaring Twenties. As in the Nabakov novel, Lolita is a valid name before it was turned into an adjective. Next thing you know people are going to try and get Disney to change the name of Bambi because they think it is a girl's name (Bambi was the prince of the forest).

So, if you want to see The Mask of Zorro because, to you, it means an exciting swashbuckling movie, you will really enjoy this one. But if you want to see the movie to watch the continuing adventures of a hero that has entertained all generations since his debut almost eighty years ago, part of you will be disappointed in what has happened to the character.

ZORRO MEETS ZETA JONES
THE MASK OF ZORRO is a rousiing, energetic, exciting romantic swashbuckler movie, reminiscent of all those great Fairbanks and Flynn movies.
Antonio Banderas is a perfect Zorro, starting off rude and crude, ending up flamboyant and gallant. His injection of humor and the way he rolls his eyes is a definite good addition to his role.
The ever amazing Anthony Hopkins shines in his role as the first Zorro, whose life is ruined when his wife is killed and his daughter taken away from him by his cruel enemy. It's rare to see an action hero over the 50 year mark!
Catherine Zeta-Jones is breathtakingly beautiful and is wonderful in her role as Hopkins daughter, feisty, yet adolescent in her yearnings for the masked man.
Stuart Wilson is vile and irreprehensible as Don Metero, the head villain, and he plays it to the hilt.
Matt Leschler as the Captain is even worse, his dashing good looks hiding a psychotic imbalance.
The whole movie is superb; James Horner's overlooked Oscar score is beautiful, including the closing credits duet by Tina Arena and Marc Antony of "I Want to Spend My Lifetime Loving You."
This is a fun, enjoyable and uplifting kind of movie. ENJOY! ... Read more

Reviews (7)

A little-noticed gem
The Seventh Cross is an absolutely dazzling motion picture that is notable in several ways.
Tracy's brooding performance is unforgettable, and the supporting players and even the bits--such as the fellow prisoners--leave indelible impressions. Many of the players were themselves refugees from Hitler, and the wife of Bertold Brecht--the role model for "Mother Courage"--has a brief walk-on role.
It's also notable that this film deals with a subject that Hollywood dealt with only sparsely during World War II, which was the concentration camps and brutality of the Nazi regime. While it only touches on anti-Semitism, the very fact that the word "Jew" was used in this movie is remarkable.
But above all it is a tightly-plotted, brilliantly acted motion picture that has held up very well over the years.

"Circle of Friends" Save Life of Man Fleeing Nazis
This film version of the award-winning Anna Segers novel, is the story of one man who manages to escape a Third Reich Era Nazi concentration camp, then continues his quest for freedom, aided by many friends, even strangers, who with their selfless kindness, at the risk of their own freedom and lives, feed, hide and otherwise tend to this man, whose only fault is that he was born a jew.

This film serves as powerful testimony to the fact that humans are inately kind and just, regardless of what brutal regime of terror and injustice they may live in. Opposition to the Nazi terror machine was not always violent and vocal, but, as seen here, silent, and without much furore. Many touching scenes show how virtual strangers lend support, doing so without taking credit, sometimes signaling with only a nod or a barely noticeable gesture.

The desire to aide the innocent and to have compassion for the oppressed is within us all. This film brilliantly reminds us of the genuinely good human qualities that set us aside from savages. Look for a youthful Jessica Tandy in a supporting role. This is a rare 5-star Hollywood Classic!*****

They don't make them like this anymore
What a pleasant surprise when I first viewed "The Seventh Cross." I thought the movie might be good, but simply "good" does not adequately describe this film. It is superb. The acting is excellent, especially for a movie of its time. But what else would you expect from Spencer Tracy, Hume Cronym, Jessica Tandy, and Agnes Morehead? Even the bit characters played their parts very well. The story is suspenseful and easily keeps your interest. Of the more than 250 movies in my private library, this is one of the best. Every movie lover should watch this film, and if you, like I, enjoy stories built around the World War II era, "The Seventh Cross" is an absolute "must see." They just don't make movies like this anymore.

A great film!
This is an excellent film and a must see for all Spencer Tracy fans. While the story is about seven men who escape from a concentration camp, it follows one of them (Tracy) and the people he meets who put their lives at risk in order to help him find freedom. The film also stars the pretty Signe Hasso, Hume Cronyn, Jessica Tandy and Agnes Moorehead. This is a wonderful film that is highly recommended!

Suspenseful and unusual World War II film
3 1/2 stars. This early Fred Zinnemann effort takes a humanistic look at pre-war Nazi Germany. It avoids the "lets all hate the Germans" stance of other war films of the early forties and while it shows evil Germans it also shows Germans whose innate decency compels them to aid the hero who is on the run from the Gestapo. Tracy, with minimal dialogue, gives a fine, intense performance. There is good work , too, from Hume Cronyn and Jessica Tandy. Zinnemann conveys considerable suspense as well as a completely believable European ambience. ... Read more

Reviews (15)

Safe Men cracks with wit and oddball humor
Sam Rockwell and Steve Zahn in the same movie is pure brilliance. Zahn usually plays all wacky, offbeat and dumb characters and Rockwell sometimes plays different, but the chemistry between them is great and it makes this movie kickin'. Rockwell and Zahn are wanna be singers who are mistaken by the Jewish Mob or whatever you might call it (the mob include Michael Lerner and Paul Giamatti, they bring rich and snippy atmosphere to their characters, especially Giamatti as Porckchop). Meanwhile their are other two safe men on the loose played hilariously by Mark Ruffalo and Josh Pias. Ruffalo scores big time as Frank (when he tried to react what John Cusack did with the speaker was hilarious). Other funny moments include when Zahn and Rockwell try to break a safe and the woman of the house catches them. They have this long conversation and its , its the giggles. The 2nd would be when Ruffalo and Pias are talking about which Charles Angels they want and like. "Kate Jackson, yeah I used to have a sexual attraction to her when I was a kid" funny and then when their done "let's go get a slow gin fizz". A good time

The only thing it needed was more bad singing.. Really!
I found this one in the bargain bin at the video store and figured I could rent it for 2.50 or buy it for 5.00. I made the right choice and I can now watch this movie whenever I want.

A BAD lounge act is mistaken for the top safe cracking team in Rhode Island, but just maybe they have an ace in the hole. Jewish mobsters, country jam samplers, sweet moustaches, low quality knock-off jeans, and one wierd prosthetic pepper a great comedy. There are real relationships between the characters that give them genuine depth. It cleverly drives the plot with these relationships and avoids falling into the "need-some-money-before-next-Tuesday-clock" that drags around most of the lame-o comedies you see today.

Sam Rockwell is quietly assembling an impressive body of work. Take a look at this one and you can say stuff like "I was way into Sam Rockwell's early stuff a long time ago." and Steve Zahn remains hilarious even though he's the straight-man in this one. They play off of each other and the rest of the cast perfectly.

The story has wide appeal and I haven't run across anyone who hasn't enjoyed it, from my quasi-yuppy sister to my sports nut drinking buddies. Great for a date night, guys movie night, or just when you feel like watching something surprisingly warm, funny, and great.

It's a sin that this thing didn't do better, expecially when you see repetitive "funny wig-and-voice" crap coming from the SNL vets making millions. Take a chance. You will laugh more than you did at Goldmember, smile almost constantly, and feel great when it all wraps up. Definitely needs a DVD release.

Id give it five stars, if only it were on DVD
I know, I know... It's been said before. But I just wanted to reiterate that this is a movie that NEEDS a full on DVD. Hopefully, someone at Universal will read these reviews and figure out that they could make a buck by distrubitng this in DVD format. The movie itself is a great comedy, with well developed charecters (sometimes over the top, but clearly this is intentional), and the dialogue is just hilarious. This movie is a great example of what a good script combined with excellent casting can do for charecter interaction. It's always nice when you can see that the writer, director, and actors are all on the same sheet of music. Watch this movie if you want to laugh. If you don't like laughing, then I suggest you seek therapy. Oh, and watch this movie when you're cured.

comedy where Sam Rockwell shines
If you liked Sam Rockwell in "Confessions of a Dangerous Mind", check this comedy out. It takes the same sort of skewed perspective to appreciate and illustrates the actor's sharp timing and subtlety. The other reviews do a good enough job of explaining the story - but there is no way to explain the off-kilter vibe of this weird little comedy. The Jewish Mob. Shelly Hack. Harvey Fierstein as a fence. Paul Giamatti (Man on the Moon, Private Parts) as Porkchop, a low-level mob thug with "daddy issues". Killer script from one of the writers of "Meet the Parents", John Hamburg - who also directs.
Hopefully the high profile "Confessions" will lead to this film's DVD release. For now, we fans will comprise a secret club. . . "nice 'stache, bro."

I LOVED THIS MOVIE!
Simple, funny and cute. Every character is adorable, and you will fall in love with all of them. I highly recommend this movie. ... Read more

Amazon.com

The MGM reunion of Fred Astaire and Ginger Rogers, 10 years after their last RKO picture, happened by accident. The Barkleys of Broadway was meant to pair Astaire with Judy Garland as a follow-up to their 1948 hit Easter Parade. Garland, however, had to drop out due to health problems and was replaced by Ginger, who had gone on to a successful career in nonmusical drama and comedy.As it turned out, the plot probably suited Ginger better than it did Garland.Josh and Dinah Barkley are a veteran song-and-dance couple whose routine bickering turns into a complete breakup when Dinah decides she hasn't received enough credit for her talent and leaves Josh to take a straight dramatic role as Sarah Bernhardt.Fred and Ginger are as charming and comfortable together as a veteran couple should be, but this film is not a return to the RKO days--its elements are trademark MGM: splashy colors, Fred in a gimmicky solo number (playing sorcerer's apprentice to a line of unoccupied shoes), Oscar Levant providing his usual dynamic pianism and acerbic personality, and a score that is at its best when it borrows songs from a previous generation.In fact, Harry Warren, who provided the music for Ira Gershwin's lyrics, was upset that the film's big ballroom number recycled George and Ira Gershwin's "They Can't Take That Away from Me," which Fred and Ginger had introduced (but did not dance to) in 1937's Shall We Dance.Frankly, though, "They Can't Take That Away" not only works well thematically, but is one of the greatest songs ever written for the screen, while Warren's score is merely adequate and unmemorable.All in all, The Barkleys of Broadway is a warm, welcome, and not completely satisfying reunion.Watch it, then watch Swing Time again.--David Horiuchi ... Read more

Reviews (10)

better than what people say
people say that this is the weakest of the A/R bunch but I strongly disagree. It may not be their strongest (Top Hat & Swing Time) but it's not their weakest. It may even be in the top five. I agree with the other reviewers that the first time you watch it you're like "Ok, that was just fine." the secind time you watch it you say "that was actually very good" and the third time "that was wonderful!" This is a better than average MGM movie, and quite sophisticated too. JUdy annd Fred were fine in "Easter Parade" but who could beat our beloved Ginger Rogers with Fred? The direction is wonderful, some of the best they'd had. The acting is excellent, it's funny witty and the dances I think are superb. The technicolor is also beautiful, and it's nice to see Gin's blue eyes and deep red lip rouge. Ginger is no longer a lithe little thing with a delicate baby face, but she's beautiful and very grown up looking. She is in a woman's body now, and after not doing a real musical for almost 10 years (!) she is in incredible form. Her dancing is really up to par with Astaire.
Some intersing technical notes, in the Barkley's house. They have one bed that they share. Nowadays that seems like nothing, but back then the censors were still hot on the idea that married people shouldn't share a bed in movies, because it suggested sex. (So where DO babies come from then.) (At one point Fred does think Ginger's pregnant, but by 1949 the censors still couldn't read between the lines.) Another interesting thing is that they have their own bathroom, divided by a shoulder height wall. It comes to principal use when Roger's is undressing and we (including astaire only) see her shoulders and up.(God forbid she take off her shirt in front of her husband!)
The dance number are really exceptional in this. 0We see Swing Trot through the credits, but we catch the end alone, and it's really swell, then, Astaire croons to Rogers back at their house after bickering (again) while they're in bathrobes. (almost like the famed scene in Swing Time when he sings "the way you look tonight" and she come sout with shampoo in he hair) this time he sings, "you'd be so hard to replace" as if to remind the audience that for ten years, his partners haven't been up to the par as Ginger was. then there's 'Bouncin' the blues' i think one of their best taps together. it's a rehaersal number, and it's just adorable, sweet, and loads of fun to watch. It's that old Astaire/Rogers magic. It's almost like a grown up version of "I'll be hard to handle" Ginger and her liquid hips make a stripper's exit at the end of the number, with Fred leaning on her exended arm. Later that day, Josh and Dinah go to an art museum, where they are to see the unveiling of a new portrait of them. It shows Dinah as a pancake, and Josh, as the plate that molds her, (which is the common conception people had of A/R throughout their careers.) Ginger retorts at the sculpture in deadpan style. "Why is my face a pancake?" It's quite a funny scene. "my one and only highland fling" renews teh comical stuff they could do together. Ginger had a knack for putting on accents and mocking people. which is seen throughout her 73 movie career. 'MOAOHF' is a delightful number, and the ending is sweet. "A day in the country" is sund to Oscar Levant, as they take a trip to the country for a while, while he wants to go back to NY" Ginger's voice is extremely good in this song, it seems to have develpoed a bit. "Shoes with wings on" is Fred's customary big solo and it's very good. what else can you say about the man who defied dancing? It's really quite good. But we can''t waut for his reunion with Gin. (They'd split at this pouint) Possibly the best number in the fil, "They can't take that away from me" a reprise from their 1937 movie "shall we dance?" it's one of my favorite songs period, and he sings it beautifully to her on stage. If you watch Her face expressions, you'll realize how much this number really means. The dance is gorgeous too. After the song is over, Ginger starts to cry, which she has always done with such emotion. Manhatten downbeat is their last dance together and it's a big splashy finish, with beautiful costumes. The very end show a close up of the greatest dancing team's faces.
20 years after Barkley's, they reunites at the academy awards, where they presented an oscar. They did a swirl and dip for old times, and the applause was so overwhlmind, the forgot to stop holding hands. :-)

Really good Fred and Ginger
This movie is the only color Fred and Ginger movie. It's really good, nice dancing, fun to see them older and in color. The dance "I've Got Shoes With Wings On" is really fun and amazing. Fred sure could dance. This isn't their best movie, it's my 5th favorite Fred and Ginger. I think "Follow the Fleet" is far more romantic, but if you're a Ginger and Fred fan, this is a must see. They made this movie after years of not working together. They were so good together, it's pretty funny, too.

way of thinking
If you think of this as an ASTAIRE_ROGERS movie, then you will have some trouble. However, If you think of this as a movie WITH Fred Astaire and Ginger Rogers, then you will enjoy it. I thought it was very nice, especially when they did the "they can't take that away from me" and dance to it. Ginger doesn't look a day older than 30. (she's 38, and still adorable)We also have to remember, that this was after the depression, after the war, and ten years of different audiences since thier last picture. not to mentio MGM instead of RKO, so of course it will be different. The magic is still there, but in a different way. Don't look for it, but accept it as it is, and you'll find that Asaire-Rogers chemisrty never left.

It's MGM, by way of variety television.
It's weird the things that get stuck in your memory. I never thought of this as an inferior film just because the formula separates itself from the RKO depression-era 30's (the film was made in 1949), though I seem to be hearing this a lot from critics. In fact, when I first saw the dance of 'They Can't Take That Away from Me,' I actually thought it was a performance from a TV special, not a movie. The performance is an exhibit, not a love scene. There's something almost- I don't know- *cold* about the way they move on that bare, heavily draped, stage. It's also the first and only adagio they perform in color- which, in itself has a sense of an era ending. Nevertheless, they have the same emotional connection to each other, and at the ages of 38 and 50 respectively, they still carry off the grace and elegance. When they saunter off the stage, an excited audience breaks into applause- like they've been watching an act from THE ED SULLIVAN SHOW. It's extrordinary that ten years after Rogers remade herself doing straight award-winning drama and Astaire remade himself as a solo performer and a man who could dance with just about anyone, they could settle back into one more film and not have one strain of foot or hair out of place. MGM formula and Oscar Levant aside, it's a very nice way to end a professional marriage.

Finale in Color
Fred and Ginger put a cap on their careers together once more.

Its silly to spend words on what is so pleasing to see...so
Comden and Green, Harry Warren and Ira Gershwin under the hat of the unique Arthur Freed. Wonders never cease

CP ... Read more

Amazon.com essential video

This 1992 drama written by Neal Jimenez and codirected by him and Michael Steinberg (the two worked together on the underrated Bodies, Rest, and Motion) stars Eric Stoltz as a successful novelist who becomes paraplegic following a hiking accident. Jimenez, who personally lives with the same condition, gives us an insider's point-of-view on the first terrible days, weeks, and months of adjusting to paralysis, and its effect upon relationships, work, and sex. But the film is also about other kinds of unexpected turns in a life, in this case Stoltz's immersion in an instant community of fellow paraplegics, as well as his reevaluation of an affair with a married editor (Helen Hunt). Stoltz is in great company: besides Hunt's thoughtful, sensual presence, the cast includes Wesley Snipes as another patient, Elizabeth Peña as a sympathetic nurse, and William Forsythe (Palookaville, Raising Arizona) in an outstanding performance that encourages one to reconsider his often one-dimensional career. Despite the bleak subject, The Waterdance is an enormously entertaining and often funny movie that keeps a lid on pity and explores the rediscovery of life, self-respect, and honesty following a disaster. --Tom Keogh ... Read more

Reviews (11)

Great story, very romantic, but man some depressing.
The acting was first rate, no complaints, especially William Forsythe's character. This was a very powerful movie about coming to grips with a life-altering accident, then learning to adjust and carry on. The movie is compared to "One Flew Over The Cuckoo's Nest" which it does resemble in some ways. Eric Stoltze is very good in the lead role. Helen Hunt is her beautiful self and exceptionally revealing in this movie, she is awesome!!! She is unbelievably gorgeous!!! Do not deny this movie, cause you could be missing something. Although extremely depressing at times, the ending will satisfy. A must see!!!

A life affirming movie worthy of Frank Capra!
If you have ever felt sorry for yourself, this movie will open your eyes to just how good you have it. The exploration of life's worth and how quickly we can lose sight of it is what this movie is all about. The ensemble cast of Hunt, Stoltz, Snipes, and, especially, William Forsythe, will bring you into a world of people you may never meet in real life, but perhaps you should. A must-see.

wow
i watched this finnally after my mom said it was good. i loved it. where were you all my life?

Realistic story and tremendous ensemble acting
This film never received the attention it deserved, although this is one of the finest pieces of ensemble acting, and one of the most realistic stories I have seen on screen. Clearly filmed on a small budget in a real V.A. Hospital, the center of the story is Joel, very well-played by Eric Stoltz. Joel has been paralyzed in a motorcycle accident, and comes to the hospital to a ward with other men who have spinal injuries. Joel is in love with Anna, his married lover, played by Helen Hunt, who shows early signs of her later Academy-Award winning work.

Although the Joel-Anna relationship is the basic focus, there are many other well-developed characters in the ward. Wesley Snipes does a tremendous job as the angry Raymond. Even more impressive is William Forsythe as the bitter and racist Bloss. I think Forsythe's two best scenes are when he becomes frustrated and angry at the square dancers, and, later, when he feels empathy for a young Korean man who has been shot in a liquor store hold up. My favorite scene with Snipes is the in the roundtable discussion of post-injury sexual options.

The chemistry between Stoltz and Hunt is very strong, and they have two very intimate, but not gratuitous, sex scenes. The orgasm in the ward is both sexy and amusing. There is also another memorable scene where Joel and Bloss and the Korean boy take the specially-equipped van to the strip bar. It's truly a comedy of errors as they make their feeble attempts to get the van going to see the "naked ladies."

The story is made even more poignant by the fact that the director, Neal Jimenez, is paralyzed in real life. This is basically his story. This film is real, not glossy or flashy. To have the amount of talent in a film of such a small budget is amazing. I recommend this film to everyone I see, because it is one of those films that even improves on a second look. It's a shame that such a great piece of work gets overlooked, but through video, perhaps it can get the attention it so richly deserves.

Helen Hunt is Fabulous!
The scene with Helen Hunt and Eric Stoltz at the motel made the movie for me. It was a bit brief but worth the price of the movie! ... Read more

Amazon.com

There seemed to be a particular spike in nuclear-war paranoia in the early 1980s, probably having to do Reagan's finger being on the trigger. Whatever the cause, it resulted in two particularly powerful 1983 films on the subject: the made-for-TV The Day After and Lynne Littman's Testament, which had a theatrical release before playing on PBS's American Playhouse. Starring Jane Alexander (and Kevin Costner in a cameo), the film shows what happens to a suburban family in the Pacific Northwest after a nearby nuclear attack. As it turns out, those killed by the initial blast are the lucky ones; Alexander and her family must suffer through radiation poisoning and sickness, the daily diminution of life this causes, and, for Alexander, the eventual deaths of those around her. Quietly powerful and never overstated. --Marshall Fine ... Read more

Reviews (25)

Not Your Usual End of the World Movie
As most every reviewer here mentions, this is a quietly powerful film. Jane Alexander gives an excellent performance as a mother trying to carry on after the most devastating of events. Perhaps limited by budget, we don't see any gruesome special effects, over-wrought portrayals of screaming mobs, or even an over-blown breakdown of society version in this movie.

And that's a good thing. By concentrating on character, the movie really packs a punch. We can really identify with the family who isn't even sure the father of the family, who may or may not have gone into the blast zone, is alive.

The theme of the movie, an unbelievable cataclysmic event that kills millions (or billions), is as topical as ever, with the continued proliferation of nuclear weapons. Not to mention the specter of bio-terrorism with its threat of an uncontained plague.

One comment I just have to make about the 'editorial review' in this case. The small town in question is just north of San Francisco. Sorry, but California isn't the 'Pacific Northwest'.

Highly recommended.

Anti-nuclear war film hits hard and personal
I saw the theatrically-released version of "Testament" in Berkeley California in the early 1980s. This was the era of the Nuclear Freeze and huge mass demonstrations against the Reagan government's unprecedented nuclear arms build-up. In the midst of all this landed "Testament", which is by leaps and bounds the most harrowing (and depressing) of any film dealing with nuclear war. After the movie, groups of people just huddled together outside, many weeping. This is strong medicine.

The movie is so sad it is almost unwatchable. The film follows one family's experience in a small Northern California town. Jane Alexander, future head and defender of the National Endowment for the Arts, plays the mother, alone with three school-age children, There are no fancy special effects; the bomb is a bright light through the window.

Somehow everyone has to keep going. One by one, people begin to miss work, students stop showing up at school. When a banana appears, you know its the last one, ever. The film's effectiveness is that we get to know the family and town, they are just ordinary people, and Alexander is a terrific Everymom. The school play scene is just about the saddist thing you will ever see on film.

The movie came out about the same time as the made-for TV, much hearalded ABC's "The Day After" which wowed with special effects and big-name stars, but suffered from poor character development. This movie is the opposite - we care too much about these people.

My friend (an anti-nuclear activist)who was with me at the theater surprised me by saying she thought the movie was calculating and manipulative. I have not made up my mind. Also, with the immediacy of nuclear war somewhat dimmed since the early 1980s, I'm not sure the movie will have the same impact.

Also in the same serious genre: "The War Game" and "Threads", which are British productions. "Testmanet" is the better of the three.

This Movie will stay with you for days!
You think Titanic and E.T. were sad? Watch this heartbreaking movie and you'll be depressed for days.i am not kidding. this is an excellant powerful movie that will stay in your mind. JAne alexander is a mother with her three children and husband living in CA. when her husband is away on a business trip the unthinkable happens. and soon people everywhere are dying of radiation. Watching Jane Alexander trying to keep her family together just touches your heart. Many parts of this movie stay with you that other people have mentioned. This is not a movie you could watch over and over. The music by james horner is beautiful and haunting as well. the few times i have seen this movie after it is over, i either have tears rolling down my face or i am sitting there in stunned silence. Mainly the first. This is a highly recommneded movie!

Great movie -- why isn't it on DVD?
Jane Alexander has never been a terribly show-offy actor, which is probably why she's more respected than recognized. And quite simply: if there is a better lead performance out there by an actor, male or female, than hers in this movie, I have not seen it.

"Testament" has the same basic story as "The Day After" (also a very good, powerful movie), but instead of focusing on several different sets of characters at once, it focuses on one family: the Wetherlys. This decision pays off. You are far more emotionally invested in the characters than you would be otherwise.

The Wetherlys are not sugary sweet, impossibly "good" people. They are just your typical family, with kids fighting and people getting on each other's nerves, but ultimately loving and close-knit.

Carol (Alexander) is literally forced to become the head of the family after the nuclear bombs fall (signified by a flash of light; this is obviously not a big-budget movie, but then again, lots of scenes of nuclear devastation would've only taken away from the intimate, human drama). However, she still holds out hope that her husband got out of the city before the bombs fell and is on his way back to them. She discovers otherwise in one of the most powerful scenes I have ever seen committed to film -- the more powerful because it is nonverbal and presented simply. Equally powerful are the scenes where Carol dashes through the house, madly seeking her youngest son's favorite stuffed animal, which she will not allow him to be buried without, and the scene where she tells her teenage daughter what it is like to make love.

Kevin Costner and Rebecca DeMornay give good performances as young parents who lose their infant to radiation sickness, but fortunately, their present-day stardom is not used to sell this film nowadays, at least not that I have seen. Though Jane Alexander inexplicably did not win an Oscar for this, it remains her film, but she doesn't dominate it so much that other actors (particularly those who play her children) cannot shine as well.

Best End of World Film there is; Excellent human drama
I remember seeing "The Day After" on TV in 1983 and was very unimpressed. Even with big names like Jason Robards and good FX you just didn't care about the characters. Testament, which came out also in 1983 was a MUCH different story. Jane Alexander stars as Carol Wetherly, a mother of a suburban California family, and the film starts out with the normalcy of family life. They are watching TV when all of a sudden the TV show goes dead, and a newscast comes on to say the East Coast has been hit with nuclear weapons. Just then a huge light comes through the window.

This is a realistic depiction of what a limited nuclear war might be like for the few survivors, and here we end up caring about the people of the small town and especially the family it's focused on. An old neighbor is a ham radio operator who has reached a few surviving communities, and we learn people are trying to get to Northern Canada where there are "survival camps". Other than that there is no info at all from the outside world. The town gradually sinks into darkness, oblivion, and radiation sickness, while Carol tries to keep it together for her kids. The father is played by William Devane (Marathon Man) and we see flashbacks from before the world was nuked. We don't learn exactly how the war happened other than theories.

One couple is well played by a young Kevin Costner and Rebecca DeMornay.

As the film ends Carol finally loses it and cries, "Who did this, God damn you!" a la Charleton Heston in the end of Planet of the Apes. There is one thing I'd like to see in an End-of-the-World film that's never really been explored: namely the philosophical implications of the world ending. I mean even in this great film, the characters are concerned with their immediate circumstance in their small community, not the bigger implications. Well maybe I'll write one with that theme myself.

Since the Cold War ended full scale nuclear war is unlikely, however individual nukes by terrorists are getting more and more of a possibility (9/11 proves they have the will to use them), not to mention the new "Powell Doctrine" of using tactical nukes in war. We all must work to make sure all governments know that "a nuclear war cannot be won and must never be fought" (that quote ironically comes from Mr. Nuke himself, Ronald Reagan).

There are some other good nuclear war films out there from 1963's Ladybird, Ladybird to 1959's On the Beach and 1967's British film The War Game. Also 1989's Miracle Mile is good, but more a satire than a drama. ... Read more

Amazon.com essential video

Kathy Bates stars as an unhappy wife trying to get her husband's attention in this amusing and moving 1991 screen adaptation of Fannie Flagg's novel Fried Green Tomatoes at the Whistle Stop Cafe. After befriending a lonely old woman (Jessica Tandy), Bates hears the story of a lifelong friendship between two other women (Mary Stuary Masterson and Mary-Louise Parker, seen in flashback) who once ran a cafe in town against many personal odds. The tale inspires Bates to take further command over her life, and there director Jon Avnet (Up Close and Personal), in his first feature, has fun with the film. Bates develops a real attitude toward her thickheaded spouse at home and some uppity girls in a parking lot, but dignity is generally the key to Avnet's approach with the story's crucial relationships. Tandy is a joy and clearly loves the element of mystery attached to her character, and Masterson and Parker are excellent in the historical sequences. --Tom Keogh ... Read more

Reviews (88)

Fried Green Tomatoes
Reviewed Date: October 2003
Studio: Universal Studios
Genre: Drama
Exposure: Color
Running Time: 130 Minutes
Rating: PG-13
Release Year: 1991
Directed By: Jon Aunet

Starring: Kathy Bates, Mary Stuart Masterson, Mary-Louise Parker, and Jessica Tandy.

Co-Starring: Gailard Sartain, Stan Shaw, Cicely Tyson, Gary Basaraba, Grace Zabriskie, Richard Riehle, Grayson Fricke, Lashondra Phillips, Enjolik Oree, Nick Searcy, and Ginny Parker.

If you want to see a good movie for the whole family, "Fried Green Tomatoes" is the movie for you. It shows friendship, compassion, humor, laughter, and real life encounters.

The setting takes place in the late 1980's and takes you back in time a half century to the town of Whistle Stop, Alabama.

"Fried Green Tomatoes" is a movie for anyone. It can make the best of us laugh and cry through the entire movie. "Fried Green Tomatoes" is a movie that gives you two different stories within itself. One story takes you back to the 1930's. The other part of the story takes place in the 1980's between Ninny Threadgooda, telling the story of her past to help her new friend Evelyn get her life together.

The frienships made within the movie show that this woman do hold their friendships in very high regards. The friendship in the 1930's would help both women to get through some really tough times. The friendship in the 1980's between Ninny and Evelyn keep these two ladies on track.

I give this movie 5 stars because it is a movie for anyone. Also because it shows how good friends will help a loved one in need of there help at a drop of a hat. This movie is just a well rounded movie, filled with emotion.

Better than Steel Magnolias
Fried Green Tomatoes is two stories in one ---- depressed housewife Kathy Bates befriends an elderly woman (Jessica Tandy) who tells her the story of two best friends (Mary Stuart Masterson and Mary-Louise Parker) who ran a cafe in the 1930s. The tale of the friends depicts domestic violence, pregnancy, childbirth, and two accidents involving trains. But the courage and spirit that the women have, as told by Tandy to Bates, encourages Bates to stop being a victim in her own life, particularly to her all right but insensitive husband.

The movie does a great job of showing the trials and tribulations of being a woman but how female friendship can conquer all. It is even more riveting to see it set in a time when women -- particularly unmarried women of dubious sexuality --- have to overcome obstacles set by society in general and its views of what a woman's role is. TOWANDA!!!!!

fried green tomatoes, food for the soul
I have seen this movie probably 20 times in my life and I have to say it is definetly a personal favorite in my collection. This movie touches on so many emotions that it will have you angry, sad, touched, uplifted, empowered and roaring with laughter. This movie is told to a fed-up repressed housewife (kathy bates) by a sweet ,lonely ,vivacious old woman (ninny) during visits to a nursing home after a chance meeting. The intertwined story is about Idgy a Tom-boy who distances herself with the world due to a tragedy at a young age. As Idgy ages the only person she is close with is her "hired hand" Big George and his mother Sipsy. Idgy's mother becomes concerned with Idgy and decides to have Ruth ( a girl from idgy's past) come and stay with them to try to reach Idgy. At first Idgy is stand offish but soon they become best friends that is, until Ruth leaves because she marries. I dont' want to "spoil" the rest of the story so I'll leave that alone for the time being. As Ninny tells Mrs. Couch (kathy bates) they become close friends and Mrs. Couch begins to become empowered by the strong women in the stories and making some changes in her own life. It touches on tough topics such as racism, spousal abuse, death, tragedy, loneliness, fear of death, and fear of life for some. This dvd is a must watch and own for your dvd collection.

Great Southern Storytelling on the Screen
I'm always surprised how badly great storytelling makes it to the screen. Particularly, great Southern stories, which tend to make it to the big screen replete with caricatures and stereotypes. I recall, with particular sadness, the movie adaptation of Midnight in the Garden of Good and Evil. While this adaptation to the screen of Flagg's tremendously moving novel does have its share of simple, stereotypical southern "archetypes", these are largely drawn from Flagg's book, and are largely essential to the story. It is, without a doubt, one of the most enjoyable movies I have ever seen and, ten years after first seeing it, it still brings raucous laughter and tears to my eyes. It's the classic "story within the story", and begins with the introduction of a tenacious elderly widow to a repressed younger southern housewife in a nursing home in rural Alabama. What starts off to the housewife as polite and indulgent small talk of past acquaintances with a likely senile elderly woman turns rapidly into an engrossing story with what must be the best "hook line" in storytelling ("Why anybody would have thought she killed that man is beyond me!"). This story then becomes a parable which the housewife uses to change her life for the better.

While certainly a moral parable of the greater value systems of past times, and of loyalty and courage in the face of bigotry and oppression, the story never loses its infectious humor, despite some genuinely tragic events. The lesbian theme of the book is only mildly hinted at, and one would almost overlook it were one not to deliberately search for it. Some of the more brutal aspects of the book are retained, with the rampant racism and wife-abuse still harrowingly reflected, if toned down. Consequently, younger viewers may best appreciate the film in the company of an adult. Regardless, this is one of the best "feeling good" movies I have ever seen, and being a Southerner from an area very near that depicted in the book, makes me pine for the South in profound ways. It's a film about empowerment and, more importantly, the empowerment one gains through friends, and through standing up for one's friends, and through an unshakable belief in self-respect.

No little credit for the success of the film goes to the incredibly strong performances of Masterson as the tom-boyish Idgie Threadgood, and Marie Louise-Parker as Ruth Jamison, along with the underrated performance of Stan Shaw, one of TV's great character actors, as Big George. However, the film's strongest performances come from three grande dames of the screen (and stage): Cicely Tyson, as Sissy, Jessica Tandy, as Ninny Threadgood, and Kathy Bates, as Evelyn Couch. While Tandy and Bates have received their due, Tyson's performance, as always, is often overlooked.

To Wander!!!!
A story of friendship and love, and how they can both intertwin. Mary Stuart Masterson (Somekind of wonderful) and Mary louise-Parker (Boy's on the side) Displaying fabulous performance's along with Jessica Tandy (Driving miss Daisy) and Cathy Bates (Misery). The whole story surrounding a relationship that can not be defined. My Favourite film ever! However i think some people are wrong with one aspect surrounding Ninny and Idgie. That they are one and the same! Best Quote- " Face it girl's.... I'm older and have more insurance"
A film for any Mary Stuart masterson Fan. ... Read more

Reviews (1)

Hal Roach drops a bomb
A few years after M-G-M dropped the "Our Gang" series, producer Hal Roach made a half-hearted attempt to revive the format, with a new cast. "Who Killed Doc Robbin" is the second (and last) of these lame efforts, and one star is just about one too many for this piece of junk. If you are expecting to see anything even vaguely resembling "Our Gang", forget it. In "Who Killed Doc Robbin", a woefully untalented cast muddles its way through one of the most boring screenplays ever concocted, with the whole thing filmed in poor-quality color. It doesn't appear to be a comedy, because it isn't funny at all. Perhaps it was intended to be a mystery, but the only real mystery here is how a top-notch producer like Hal Roach could have become involved in this wretched piece of tripe. This film is not just bad, it's virtually unwatchable. ... Read more

Amazon.com

Tom Selleck plays Matthew Quigley, the cowboy hero in this traditional Western, set very untraditionally in Australia. After some macho silliness in the opening minutes, the story settles into a surprisingly evocative tale of Quigley, a sharpshooter who had come to the country to work for a land baron (Alan Rickman) and who is on the mend after a brutal attack. In the company of a woman (Laura San Giacomo) abused by that same baron, Quigley gets his strength and his shooting skills back while healing in the midst of aboriginal people as well as some stunning Australian settings.Director Simon Wincer (Phar Lap) brings a lot of integrity to this rare horse opera from contemporary Hollywood. --Tom Keogh ... Read more

Reviews (61)

A Typical and Atypical Western
"Quigley down Under" stars Tom Selleck in the title role as an American sharpshooter who answers a help wanted poster for the best rifleman in the world. The job is in Australia and Quigley travels there not knowing exactly what the job is.

When he arrives in Australia, Quigley meets Crazy Cora, played by Laura San Giacomo. Cora is a slightly deranged American who believes Quigley to be her husband Roy. Cora continues to believe Quigley to be Roy even after he insists his name is Matthew Quigley.

When Quigley finally meets his new employer, Elliott Marston (Alan Rickman), he is disgusted to find out that Marston wants him to shoot Aborigines. Cora has become the self-designated defender of the Aborigines and gets abused by Marston for it. Quigley intervenes and winds up roughing Marston up a bit. Marston then has Quigley and Cora beaten and left in the desert to die.

"Quigley down Under" becomes, after this, a set piece movie about good versus evil. This is typical of the Western genre. In this Western though the good guys are a little "gooder" than usual. Both Quigley and Cora are pure hearts who only want what's right for the Aborigines. Cora is more determined to see it happen while Quigley is only interested in it so far as it gets him out of Australia alive.

The most interesting part of the movie is the relationship between Quigley and Cora. In most Westerns the woman is a one-dimensional cutout whose only raison d'etre is to stand by in horror as her man goes out to fight the bad guy. However, Cora is a fully fleshed out individual with both a history before Quigley and an existence independent of him. She still does the "stand by in horror" thing; but, it's with a sense of grace and composure you don't often get from that role.

From that relationship between Quigley and Cora is where I derive my four-star rating. Absent it, this movie would only get two stars from me. The Western is one of the most overdone genres in the cinema. To be able to find a unique spin on it after so many have been done is a well accomplished task.

Another plus for "Quigley down Under" is its cast. The three main players in this movie; Selleck, San Giacomo, and Rickman; are all first-rate actors. That Tom Selleck has not become a film star similar to Tom Cruise or Robert De Niro amazes me. He has an ability to fill a screen like so few actors can. The one actor who comes to mind by way of comparison is Charlton Heston. They both have that ability to project the necessary emotions and feelings of a scene without much effort. Laura San Giacomo is also another actor that I have a hard time figuring out why she hasn't become a star. Her portrayal of Crazy Cora in "Quigley" should have been a springboard to better roles but it hasn't panned out. Rickman is probably the one from this movie to have the best movie career to date. Rickman is one of the best bad guys going and even when he plays an angel ("Dogma") he still has that sideways sneer that makes you wonder what kind of a criminal he would be if he didn't find acting.

"Quigley down Under" is not your typical Western, which is why it might not be for those who enjoy movies like "Unforgiven" or "The Outlaw Josey Wales". However, it is a good movie from a non-Western genre standpoint and one that I'd recommend.

Tom Selleck's best ever
Like many TV actors, "Quigley"'s star Tom Selleck gave much attention, during and after his small-screen career, to attempting to break into movies. If he'd been born in 1926, instead of 1946, he would probably have gained fame, not as Thomas Magnum, but in Western films and/or TV series like this one. Quigley is the role he was born to play, and in Quigley's adventures he has made, to my mind, the best movie of his career.

This slam-bang actioner, though often labelled a "Western," actually takes place, not in the American West, but in the Crown Colony of Western Australia, probably around 1875 (there are still convicts there). Selleck plays Matthew Quigley, a soft-spoken marksman from Wyoming, who answers an advertisement by Australian rancher Marston (Alan Rickman) for "the finest long-distance marksman in the world." After three months on a sailing ship, he steps ashore at the port of Fremantle, where he promptly gets into a brawl with what turn out to be three of Marston's men, come to meet him, and is mistaken by displaced "native-born Texian" Crazy Cora Cobb (Laura San Giacomo) for her husband Roy. At Marston Water he offers a display of his skill with his primary weapon, a customized Sharps .45 buffalo gun, and impresses everyone, including Marston, who describes himself as "a student of your American West" and is a fast draw, pinpoint-accurate, and quietly proud of it. Only now does Quigley find out that he was being hired, not to kill dingoes (Australian wild dogs) as he thought, but to clear Marston's lands of the native Aboriginies. He promptly throws Marston out the French window of his own house, but is eventually overwhelmed by Marston's crew and, with Cora, taken out to the desert to die. Managing to kill the two men who fetched them there, he recovers his rifle and big Stetson, but loses the buckboard and horses. Trying to walk out, he and Cora are found by a clan of Aboriginies, who take them in, and when a group of Marston's men appears to hunt the natives down, Quigley takes up his Sharps in their defense. Eventually he eliminates Marston and all but three of his men in a sort of one-man "long hunt," climaxed by a shootout in which, though wounded and battered and admitting that he "never had much use" for handguns (he doesn't even carry one), he kills three men so fast that his shots sound like one.

Though there's a good deal of violence in this video--in fact, it will probably be too intense for kids under the age of 12 or so--none of it is gratuitous: each instance either serves to further the story in some way or is portrayed as an inevitable result of the choices and character of the person acting or being acted against. Selleck's Quigley is a '90's version of the classic John Wayne hero: soft-spoken, quietly competent, modest and unassuming (he "spent a night" in Dodge City once, and describes it as "a nice place to get some sleep"), chivalrous toward women and even a little unsure of how to react to them. (His early interactions with San Giacomo's Cora, on the Fremantle docks and in their first outback camp, add a whimsical touch to the movie's tone and should draw laughs from all watchers.) He also has an iron code of behavior, and he doesn't hesitate to learn even from the primitive Aborigines: one of the most delightful sequences finds them teaching him to use a spear-thrower and to suck water out of the sand through a bamboo--after which he repays them by conducting a class in the making and proper use of a rawhide lasso. Rickman is the kind of villain you love to hate: smooth, silky, sneering, yet acting from what seem to him to be completely valid reasons. San Giacomo may be "touched in the head," but she's also earthy, practical, and fiercely loyal to Selleck and to the orphaned Aboriginie baby they find; her story of how she came to be in Australia is touchingly delivered.

And, like most of the best movies, "Quigley" can serve as a starting point for some penetrating family discussion. Parallels will quickly be seen between the Aborigines' situation and, not only the experiences of the American Indian, but the "ethnic cleansing" through which the former Yugoslavia suffered, and which kids may have studied in school. Quigley seems not to be revengeful against Marston and his crew of 20-odd tough English and Irish until they act against the Aborigines who have been his and Cora's friends, and even then a case can be made for his killing as many of them as he can hit: afoot and outnumbered, he doesn't want them in the area and angry at him; after the second Aboriginie drive and the accidental killing of a storekeeper's wife, he is simply resolved to keep them from doing any more harm.

Though action is the movie's keynote, it is above all the story of how three people inspire one another to certain inevitable acts--in short, like all the best stories, it turns on character. And its characters will remain in the memory for a long time to come. (A side-benefit is the blood-stirring score by Basil Poledouris, which was one of the first CD's I ever purchased.) The cinematography gives a powerful sense of the size and loneliness of the Australian outback (filming was done in Alice Springs and other Australian locations), as well as of how important it is that Quigley seems far better able to adjust himself to it than Marston's men are willing to do. Director Simon Wincer, though not of American birth, has turned out a movie which, while not strictly a "real" Western, should become a classic of the genre. By my criteria, it's definitely a 10--or perhaps even a 12.

Great comedy
You will be laughing your tail off. Here is why:

Quigley (Tom Selleck), investigates a report on human right violations by the English settlers against the aboriginal population of Austria.

(Obviously, Quigley had improved the inter-racial relationships in his native Wyoming to perfection: black, indians, white, all live in equality, peace and harmony, and now he is on a mission to do the same in Austria)

Quigley quickly discovers the horrible truth, and being a superman, supperherro, suppersshooter, quickly brings justice. All bad guys (english, irish, scotch) are punished, aboriginals are free. No more slavery, genocide, collonialism and exploitation.

A blond Texan woman shares his passion and adopts a little black baby; the baby fell from a 200 feet cliff and survived!

Have fun!

Ernesto Ce Gevara

Western with a twist
This is an American Western to be sure, filmed in the outback! Classic good vs. bad! And lots of fun with the interaction between crazy Cora and Quigley! Fine acting all around and a nice twist at the end! Very enjoyable.

Boring CD, good movie
In glancing at the reviews I see that many of them are for the moive which is much better than the soundtrack. I've liked the title theme since I first heard it and always wanted the CD for that reason. Out of the 11 tracks I was disappointed to find that I really liked only about three selections, maybe one or two more than that. #1 Main Title is good and #11 Matthew Quigley amounts to about three different versions of the tune, it might be even better.
Out of the eleven tunes six have varying degrees of the theme worked into them in some way, thats what makes the CD boring, so little variety. I think I did like #4 Marston's Murderers, actiony but no Quigley bits. #4 Native Montage had no Quigley and certainly nothing Native to it, guess it was all right otherwise.
All I can really recommend this album for are the two Quigley selections, easily the best on the CD. Shiloh Rifle, the company that made the Sharps that Selleck used in the movie still uses the title selection on their website 12 years later, that's how good that tune is. ... Read more

Amazon.com essential video

Franklin J. Schaffner (Patton) directs this true story of Henri Charriere (better known as "Papillon" or "the butterfly"), a prisoner so determined to escape the notorious Devil's Island, he attempted it multiple times until he reached old age. Steve McQueen plays Charriere, and Dustin Hoffman is very good as the hero's anxious, defenseless friend. Based on Charriere's own memoir and uncompromisingly adapted by screenwriters Dalton Trumbo (Johnny Got His Gun) and Lorenzo Semple Jr. (Three Days of the Condor), the film is tough going (it is set, after all, on Devil's Island) but not gratuitously violent. There are sequences that stay with one for a long time, such as Papillon's brief stay at a leper colony and the long periods of starvation and solitary confinement he endures after each attempted flight. --Tom Keogh ... Read more

Reviews (38)

One of McQueen's finest
Papillon is a great movie based on fact that contains many scenes that will stick with you for a long time. Henri Charierre is a safecracker framed for the murder of a pimp and sent to French Guiana, the prison system in South and Central America. Along the way, Papillon meets counterfeiter Louis Dega played to perfection by Dustin Hoffman. The two men struggle to survive amidst the horrible conditions in the prisons. However, the only thing that keeps Papillon alive is the thought of escape and freedom. This is a very bleak movie, at times you might not even recognize McQueen with all the makeup, but the ending does offer hope. The scenes of Papi's solitary confinement and the hallucinations he has while there are very effective and not easily forgotten. Also, the film decides to show prison life as it is. This is not a whitewashed version of it, but instead a fairly graphic depiction of the horrors of the French prison system. Nonetheless, this is still an excellent movie that will keep you interested throughout.

Papillon is up there with The Sand Pebbles as Steve McQueen's finest performances. His role as Henri "Papillon" Charierre is fully believable as he attempts over and over again to escape to freedom. Dustin Hoffman is just as good as Louis Dega, the prisoner who hires McQueen to protect him. The two become friends as they try to adjust to their new lives. The friendship between the two men is very good and some of the better parts of the movie involve their relationship. Don Gordon plays Julot, a veteran prisoner who tries to help them adjust. Robert Deman and Woodrow Parfrey are also very good as Maturette and Clusiot, two fellow prisoners who attempt escape with Papillon. I have to add about Jerry Goldsmith's very good score that perfectly fits the film. The DVD offers a widescreen presentation that looks great, a documentary made during filming that contains interviews with cast, crew, and even Henri Charierre, and also the theatrical trailer. This is a very dark movie, but it is still a great character study that never really slows down. McQueen fans will love this classic!

A Great Prison Escape Film
Franklin J. Schaffner felt that the obligation of motion pictures is to entertain, it's as basic as that, and that is exactly what Papillon does. It is also a movie that really triggers your emotions from start to finish. I feel this is one of Steve McQueen's best acting roles. It was probably the most physically demanding and emotionally challenging role of his career. Dustin Hoffman is simply magnificent as Louis Dega, a role that demonstrates how versatile the actor really can be. It eventually earned him a best supporting actor nomination. Unfortunately, McQueen was overlooked by the Academy that year. Another example of their stupidity!!

The film is emotionally draining, but I find myself watching this film time and time again because of its portrayal of one man's quest to gain his freedom no matter what it takes. Freedom always comes at a price. It is not something that is handed to us or exists freely. It must be earned and that is exactly what his character does by the time the credits role on this film. The viewer will not believe what the character of Papillon had to endure to gain his freedom. The trials he goes through are unforgettable and often left me wondering if I would persevere if I had to undergo the trials he faced.

For me, Steve McQueen is one of those actors who really has a great on screen presence. I will almost always watch a movie just because he appears in it, good or bad. Papillon is no exception. Although Papillon is a character driven film, the movie must be viewed for more than just the characters. It also has wonderful cinematography, direction and a memorable, and at times haunting, musical score by Jerry Goldsmith. It is right up there with the best of the prison escape films.

Henri Charrière, the real life Papillon and author of the novel, talked about society and his real life experiences in this way:

"Society does not want free men. They talk freedom, democracy, anything you want, but they do not want free men. Society wants conditioned men, men who march in step." It's up to the viewer to agree or disagree with that statement while viewing the film.

I highly recommend you watch this film today!

Compelling in every respect
Steve McQueen stars as "Papillion" a French safe-cracker whose butterfly tattoo earned him the title nickname. Framed up on a murder charge he is packed off to the infamous Devils Island prisoner colony. On the ship over he meets Dustin Hoffman, a notorious counterfitter with the means (money) to stay alive but not the muscle to back him up, that is where McQueen comes in. Papillion however has a single-minded outlook on life - freedom. He quickly devises escape plans by any means possible. The settings are exotic, the stories of friendship heart-rendering, the brutality of the prison shocking, the stories of escape, attempt, capture, escape, defiance and the soaring human spirit timeless. Simply a classic of cinema that will stand the test of time, could have been made yesterday and been a blockbuster smash.

One of the greats!!
I dont normally take the time to write these reviews... but this is one of the best movies I have ever seen. The struggle these guys have to go through is monumental. This is a must see. I have watched this many times and it never gets old!

A great escape
A movie that made a big impression on me in my early teens, "Papillon" holds up surprisingly well on DVD. The picture and sound quality are more vivid than they ever were on VHS tape (although the vividness also has its drawbacks--a brief "storm at sea" scene during one of the escape sequences looks much more artificial than it did on the big screen 30 years ago), and the star turns of Steve McQueen and Dustin Hoffman are as vivid as they first seemed. The movie's depiction of life and death in France's South American prison camps looks as harrowing and grim as it did when the movie was in theatres.

Yet even as a teenager I had a couple of qualms about the movie--namely, that it didn't follow the book closely enough (and would have been better characterized if it did), and how did Hoffman's character magically regenerate a limb that developed gangrene and apparently had to be amputated? Over the years, despite my nostalgic soft spot for this flick, I've also come to wonder whether a younger actor would have been more appropriate for the role than the 40-ish McQueen (Henri Charriere, on whose memoirs the movie was based, described himself as a young-looking 25 when he was shipped off to the French prison camps), and whether a more gritty approach wouldn't have been more appropriate. The movie is pretty violent for a PG rating (it would probably be PG-13 today), but even with slashings, shootings, stabbings and an execution by guillotine (in close-up, no less), it's somewhat prettified by those grand, leisurely camera moves that were favored by director Franklin J. Schaffner.

On the other hand, I've also got something of a soft spot for those grand, leisurely camera moves, which now seem like relics of an age in which filmmakers didn't assume their audiences suffered from attention-deficit disorder.

In passing, a TV documentary from a few years ago about the French penal colonies (it may have aired on the Discovery Channel or the History Channel) questioned whether Charriere's description of his years as a prisoner was factual. Apparently, none of the former prisoners or guards interviewed could remember a guy named Papillon who managed to escape from Devil's Island. So maybe any questions about the movie's accuracy are moot. ... Read more

Reviews (22)

One of Wilder and Pryor's best!
I saw this movie when it was in the theater in 1989. I liked it so much that I had to buy it on VHS. Gene Wilder and Richard Pryor star as two innocent guys-one deaf, one blind, and both are on the run for a murder they didn't commit! Add the wonderful talents of Joan Severance and Kevin Spacey, and you have the makings of one well scripted and very funny movie! Oh, and let's not forget Alan North as the police chief. The film's plot makes for a cops and robbers type of suspense. Of all of Gene Wilder's and Richard Pryor's works, "See No Evil, Hear No Evil" is as equally funny as "Silver Streak", which makes it a must buy!

Hilarious look at being handicapped
Has there ever been a greater pair than Richard Pryor and Gene Wilder? This may be their best movie ever! Anybody watching this movie can remember having a conversation like the one where Pryor and Wilder are pushing the polic car into the Arthur Kills ("you swear a lot" - Wilder "F--ing A I swear a lot" - Pryor) This lighthearted comedy will make you laugh until you need to change your drawers!

Harmless
* Richard Pryor and Gene Wilder have to be regarded as one of the
classic comedy teams of sorts. I was a fan of Pryor's ever since I
had the enforced opportunity -- while sweating in a barracks bay in
the middle of Texas during 1974 -- of virtually memorizing every word
of Pryor's album THAT N****R'S CRAZY while other members of my platoon
played it several times a night for a period of months. (Actually,
except for the monotony, I didn't mind: Pryor's skewering of
hopelessly square white people was not without justice, and was
balanced by a no-less-unjust and much more brutal skewering of his
brethren -- but I digress.) And though I am not a big Gene Wilder
fan, somehow he makes a perfect foil to Pryor.

In SEE NO EVIL, HEAR NO EVIL Pryor plays Wally, an excitable blind
man, who becomes extricated with Dave, a cranky deaf man played by
Wilder. Through a series of coincidences, the two are implicated in a
murder, and must cooperate to clear themselves and bring the real
killers to justice.

Now, anybody who has ever studied the least amount of statistics
(which roughly describes the level of my knowledge on that score)
knows that the distribution of almost anything follows what is called
a "normal" curve: there's a few things on the low end, there's a few
things on the high end, and there's a big bulge in the middle. This
movie falls clearly into the bulge. What can I say about a movie that
I can't have the pleasure of getting excited about or the satisfaction
of taking an axe to? Not that much.

To be sure, SEE NO EVIL has its fine moments -- a lunatic fistfight
scene is good for some very big laughs -- but there are slow moments
as well -- a most improbable impersonation tries to be funny but
merely seems stupid. Pryor occasionally reaches a pitch of lunacy,
but while his foul mouth (which actually seems a little tame after
getting used to Eddie Murphy) is sometimes good for a laugh, at other
times it seems ... well, foul. The plot is a thrown-together
contraption that adds no interest to the movie. (I think they must
have a computer program that generates such plots. Probably runs on a
kiddie PC.) It's a bit sad to put give such stars as Pryor and
Wilder such a weak vehicle.

In summary, what can I say about this movie? The HITCH-HIKER'S GUIDE
TO THE GALAXY had the right description in a single word: HARMLESS.
[Minor update of review from 1989.]

Simply The Best!!!!
One of the funniest movies I have seen in a long time! Pryor and Wilder are golden in this one of a kind comedy. Joan Severance has to be one of the hottest women in Hollywood!

A Dynamic Duo
This is, without a doubt, one of the funniest films I've ever seen. It walks the line between clever and juvenile as far as humor goes, but what a flick! Pryor and Wilder's chemistry is fantastic, as usual. These two have got to be the best comedy duo ever. They're both hilarious on their own. Sure, it might be a little un-pc to get laughs from handicapped characters, but I really don't think the film exploits that angle all too much. Most of the humor basically comes from alot of incidents of miscommunication. Richard Pryor's performance of the blind man is scarily realistic and well done. Wilder's once again the sarcastic wise guy he does so well. Most people have seen this before, but if you haven't, you shouldn't wait another minute. If you have seen it, see it again. Why not? ... Read more

Reviews (1)

a good Pia movie
Pia Zadora got a golden globe for this - and she deserved it. It's an interesting storyline and Pia plays a very childlike young woman seducer. She's doing really a good job as an actress. Here you have a serious movie and not one of the later - rather comedian- Pia movies. It was a good start for her career but the press did their best to make her unbelievable. She's talented I believe. ... Read more

Amazon.com

Too often, sequels to popular films simply rehash the original film;call it the carbon-copy syndrome. Grease 2 suffers from no such malady, having almost nothing to do with the original film. Sure, it focuses on teens at Rydell High, the imaginary school from the first film, which starred John Travolta and Olivia Newton-John. But other than a few of the teachers, all of the characters are new and so are the songs--and more's the pity. By the time Grease hit the big screen, it already had had almost a decade as a theatrical musical, more than enough time to hone its mock-rock & roll score. But this sequel, which stars among others a then-unknown Michelle Pfeiffer, Maxwell Caulfield, and Lorna Luft (Judy Garland's daughter), has music that's neither fish nor fowl, neither rock nor Broadway. Meanwhile, the plot is a reversal of the first film, in which a cool guy fell for a square girl. In this one, the square is newcomer Caulfield, who catches the eye of tough girl Pfeiffer and her Pink Lady gang. The appearance of such pseudo-stars of the '50s, like Tab Hunter, is supposed to lend a nostalgic kick, but let's just say that Grease 2 slides almost instantly into obscurity. --Marshall Fine ... Read more