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From the sun-dappled heartland, a young man (Robert Redford, in soft lighting) emerges as maybe the best baseball player anybody's ever seen. On his way to the majors, he is cut down by an enigmatic black widow (Barbara Hershey) and vanishes for many years. When he reemerges, a silent mystery, he lands a spot with the New York team and begins tearing up the league--he's still the natural. Fans of the Bernard Malamud novel will be dismayed at the pure mythical hokum of this film, but baseball fanatics have been known to watch and rewatch this one; after all, it's constructed as a kind of shrine to the national pastime. Barry Levinson (Rain Man) directs the movie with an unabashed devotion to the game, although the film could use more of the realities of chewing tobacco and pine tar. Redford is fine, and Kim Basinger and Oscar-nominated Glenn Close are effective as the women in his life. The crowning touch is the soaring, extraordinary music by Randy Newman, the singer-songwriter turned orchestral composer. --Robert Horton ... Read more

Reviews (97)

Coulda Been Great
THE NATURAL has some truly great elements, especially the much copied score, good cinematography, and some moments that almost capture the mythical quality of baseball. Unfortunately, it falls short of the greatness it should have achieved. Nevertheless, THE NATURAL is arguably one of the better films about baseball (along with "Pride of the Yankees"), and it's worth a look.

Robert Redford plays Roy Hobbs, a man who truly loves baseball. All his life, he's been poised for greatness, but life has thrown him for some loops. He returns to the game in his late 30s and gets a final shot. Redford is pretty good in the role, although he's really too old for the part. Barry Levinson directs, and his direction is unusally ham-fisted...he and the actors telegraph every plot twist. Glenn Close was nominated for an Oscar, but she really isn't that good as Hobb's long-time love interest. Ultimately, the movie is too melodramatic and unfocused with cardboard characters, especially the villianous judge.

Extras: The only real DVD extra is a documentary on the movie featuring Cal Ripken Jr. It's pretty good, more affecting than the movie!

A Classic Baseball Fairy Tale!!
This fictional 1920s fairy-tale-style film is about a guy named Roy Hobbs (played by Redford) who is a great baseball hitter... thanks to the bat which he made as a kid from a tree that was hit by lightning. Hobbs' career gets sidelined for about 15 years due to an "encounter" with a mysterious woman. The tragic results cause a dark spot in Hobbs' past. Now older, and considered over-the-hill by the baseball community, the sports press, and his soon-to-be manager (wonderfully played by Wilford Brimley), Hobbs unpacks his "Wonderboy" bat and proceeds to decimate ballfields at seemingly every at-bat! Filmed in a retro 1920s style, this is one of the best baseball films ever made. It's not a true story obviously, but you won't care. Was it his "Wonderboy" bat that made Hobbs a star?? Great music by Randy Newman too (high praise coming from me, since I can't stand Randy Newman). If you are undecided on purchasing this one, definitely rent it and check it out... you'll be coming back to watch this one again and again! A great film to curl up and watch with the kids too. END

The Greatest Baseball Film Ever
THE NATURAL, based on the book of the same name by Bernard Malamud, is probably the greatest baseball film ever produced. Why? Because it contains no magical realism, no "tricks," no "gimmicks." It's just a film about second chances and redemption, in this case, redemption through the game of baseball. THE NATURAL is not nearly as dark as the book on which it is based and it's not totally factual in its portrayal of baseball, but who cares? This film gives us something better than facts. It gives us the poetry and lyricism of the game, the magic that made baseball "America's Pastime."

THE NATURAL is the story of Roy Hobbs (Robert Redford), a Midwestern boy who dreams of being "the best" in the world of baseball. Roy's dreams aren't just "pie in the sky." This kid has talent, talent like no one's ever seen before. But, as he's making the trip to Chicago to try out, he encounters Harriet Bird (Barbara Hershey), an enigmatic and dangerous woman, and Roy's life changes forever. Sixteen years later, though, Roy Hobbs is given what most people can only long for, a second chance. Yes, this second chance requires a stretch of the viewer's imagination, but not so much that it becomes an impossibility.

I know many people didn't care for Robert Redford's portrayal of Roy Hobbs, but I thought he was perfect. He really makes us believe in Roy and in his dreams and in his principles. I can't think of any other actor who could have carried off this role and carried it off so perfectly. Wilfred Brimley is perfect as Pop Fisher, Hobbs' manager. Robert Duvall as Max Mercy is also perfectly cast as is a very young Kim Basinger as Memo Paris, the woman who wants to be Hobbs' nemesis "the second time around." I didn't particularly like Glenn Close as Iris, but that's just personal preference. Close did a very good job with her role but not quite as good as did Basinger and Basinger's was far more demanding.

There are few mistakes in the continuity of this film. At one point, while playing for the mythical New York Knights at Wrigley Field, Hobbs' hits homeruns in the bottom of the ninth. What? He wasn't traded to the Cubs, so this has to be an oversight on the part of the production crew since the Knights, as visitors to Wrigley Field, would bat in the top of the inning. There are a few other such oversights, but I don't feel they're worth mentioning.

THE NATURAL works, and works so well, I think, because it relies so heavily on mythology, most notably the myth of the Fisher King. It romanticizes the game of baseball. Sure, it's been romanticized before, quite possibly more than any other sport, but THE NATURAL does it so well that we do believe and we do root for Roy Hobbs and all he stands for. Make us believe? This film makes us believe like no other.

Levinson has changed Malamud's ending considerably, but I feel that's for the best. Had there been no departures from the book, Hobbs wouldn't have been a sympathetic character and the film would have been too dark and contained too much despair. As it is, we're left with the promise of better things to come and hope for the future, just what baseball gave us in the "good old days."

THE NATURAL may be dismissed as "hokum" by some but I think it's an American masterpiece and pure magic.

Redford to the rescue

Director: Barry Levinson
Format: Color
Studio: Columbia/Tristar Studios
Video Release Date: September 26, 2000

Cast:

Robert Redford ... Roy Hobbs
Robert Duvall ... Max Mercy
Glenn Close ... Iris Gaines
Kim Basinger ... Memo Paris
Wilford Brimley ... Pop Fisher
Barbara Hershey ... Harriet Bird
Robert Prosky ... The Judge
Richard Farnsworth ... Red Blow
Joe Don Baker ... The Whammer
John Finnegan ... Sam Simpson
Alan Fudge ... Ed Hobbs
Paul Sullivan Jr. ... Young Roy
Rachel Hall ... Young Iris
Robert Rich III ... Ted Hobbs
Michael Madsen ... Bartholomew 'Bump' Bailey
Jon Van Ness ... John Olsen
Mickey Treanor ... Doc Dizzy
George Wilkosz ... Bobby Savoy
Anthony J. Ferrara ... Coach Wilson
Philip Mankowski ... Hank Benz
Danny Aiello III ... Emil LaJong
Joe Castellano ... Allie Stubbs
Eddie Cipot ... Gabby Laslow
Ken Grassano ... Al Fowler
Robert Kalaf ... Cal Baker
Barry Kivel ... Pat McGee
Steven Kronovet ... Tommy Hinkle
James Meyer ... Dutch Schultz
Mike Starr ... Boone
Sam Green ... Murphy
Martin Grey ... Additional Knight
Joseph Mosso ... Additional Knight
Richard Oliveri ... Additional Knight
Lawrence Couzens ... Additional Knight
Duke McGuire ... Additional Knight
Stephen Poliachik ... Additional Knight
Kevin Lester ... Additional Knight
Joseph Charboneau ... Additional Knight
Robert Rudnick ... Additional Knight
Ken Kamholz ... Additional Knight
Sibby Sisti ... Pirates Manager
Phillip D. Rosenberg ... Pitcher Youngberry
Christopher B. Rehbaum ... Pitcher John Rhoades
Nicholas Koleff ... Umpire Augie
Jerry Stockman ... Umpire Babe
James Quamo ... Memorial Game Umpire
Joe Strnad ... Final Game Home Plate Umpire
James Mohr ... Al
Ralph Tabakin ... Al's Customer
Dennis Gould ... Carnival Boy
Joshua Abbey ... Home Plate Photographer
Gayle Vance ... Maid at Party
George Scheitinger ... League Official
Peter Poth ... Dr. Knobb
Bernie McInerney ... Hospital Doctor
Elizabeth Ann Klein ... Stern Nurse
Charles Sergis ... Newsreel Narrator
Edward Walsh ... Newsreel Presenter
Darren McGavin ... Gus Sands
Brian Reingold ... Baseball Fan

This film made quite a stir when it was released. One of Redford's better ones.

Roy Hobbs (Redford) loves baseball. He played in high school and the semi-pros, and was picked up and given a contract by a scout for the fictional big league team, the New York Knights. Of course, he is the best! A natural.

He has a problem with his past, which he is close mouthed about, but a corrupt club owner, the Judge (Robert Prosky), tries first to pay him to lose in the playoffs, and then tries to blackmail him, and to subject him to the wiles of a femme fatale. And, of course trouble comes in threes...it is also discovered that he had a bullet in his gut that could be fatal if he keeps playing ball. So, guess what? He keeps playing ball.

This is a good, entertaining story. Redford has a huge following, and for good reason. Normally, I'm not enamored of baseball films, but this is a good one. I recommend it to you.

Joseph (Joe) Pierre Great Movie
The Natural is the best baseball movie ever made. Great for everyone in the family. ... Read more

Amazon.com

Based on the book byMarshall Frady, this epic bio by John Frankenheimer stars Gary Sinise as one of the century's best candidates for true Aristotelian tragic status. The Aristotelian tragic protagonist is not an entirely bad man, but he has a fatal flaw. Wallace's flaw was not (originally) racism. It was lust for power and status, a lust so all-consuming that it turned Wallace into a fellow traveler with racists, and made of him one of the most destructive and most hated American politicians of his time. Sinise, who seems doomed to be underrated for his acting talents, captures memorably both the corruption and the belated search for redemption. Frankenheimer shows off all his skill with a story line, working through a series of flashbacks from the 1972 assassination attempt and weaving together real and constructedblack-and-white footage. The pace does stumble; in the end, the movie is half anhour too long. But you get sucked in by the period feel, the accents as thick as grits, and the many excellent supporting performances. Especially notable are Mare Winningham as Wallace's long-suffering first wife, Clarence Williams as his servant Archie (a somewhat questionable fictionalization by Frankenheimer), and Joe Don Baker as his mentor and predecessor in the governor's mansion, Big Jim Folsom. Frankenheimer, Sinise, and Winningham all won Emmys for their work, and the film won the Golden Globe for Best Mini-Series or Motion Picture Made for TV. --Richard Farr ... Read more

Reviews (9)

Great film, great acting.
Exellent film, inspired and eye opening to those who have never seen how far the lack of understanding will take you or how much of a life can be spent doing harm to those you do not even know.
I'm sure you will enjoy this film and the message it delivers. Well done.

Sinise's Third Best Only To Truman and Forrest Gump!!!
Gary Sinise steals the show in George Wallace, the TNT documentary made about the three-time governor of Alabama and four-time presidential candidate. I honestly think Angelina Jolie, not Mare Winningham, should of gotten the Academy Award for Best Supporting Actress for the movie. Winningham is a fine actress and portrayed her character well, but I thought she was rather drab. When Jolie takes over as the second Mrs. Wallace, she delivers her role with much more conviction and flare. Of course though, Sinise is the best actor in the cast and is most deserving of the award he got for Best Actor. Sinise's best role in my opinion, as you can likely guess from my review title, is his role in Truman, followed in a close second by his Lieutenant Dan portrayal in Forrest Gump, but this movie was a just as close third. I read one review of this movie which said the reviewer would have liked to see more about Wallace's 1968 campaign for President. I personally would have liked to see more about his '64 and '76 presidential bids because they have more historical signficance, being that his '64 run took place during the most controversial time in his career, the Civil Rights Movement, and it was his first presidential campaign. And I would have liked to see more of his 1976 run because he did best as a candidate. And, as history itself and the movie both dictate, people seem to forget that when Wallace became a segregationist, he was very much reluctantly drawn into it by the Ku Klux Klan, rather than he was always one as most everyone who knows of him thinks. I think this point to his character should have been better addressed. Besides these small flaws, the movie was great overall. I also found something in common between this movie and Forrest Gump. In both, Sinise plays characters who are marred by physical trauma, and both characters have some very negative things to say about their conditions. As I said earlier, this movie is great overall and well worth watching especially if you are a history/political buff. Get it!!!

George Wallace: from liberal to racist to redemption
The fighting little judge from Alabama was known as the most liberal judge in Alabama and probably in the South. But one gubernational defeat makes him turn to racism in order to capture the governorship.

Gary Sinise turns in an incredible performance as the governor, he has become one of my favorite actors ever since his equally brilliant performance in "Truman".

I like the way that this movie doesn't judge Wallace as good or bad, it leaves that to the viewer. In one scene you can see Wallace commenting on the beating of Civil Rights activists at the Edmund Pettus Bridge saying "This is a victory for US! We turned them back" and you actually think that Sinise as Wallace believes what he's saying.

The movie presents some historical footage here and there, you can see president Lyndon Johnson and Martin Luther King's famous "how long?" speech.

It does have a number of flaws though, I'd have liked to see more about election 1968, the way Nixon tried to prevent Wallace from becoming governor in 1970 by sponsoring Wallace's opponent, the infamous General Curtis Lemay pressconference. And the fictional character Archie isn't quite pulled off by the director, it strikes me as an anomaly in the movie.

Also it shows Wallace meeting Cornelia, his future second wife at governor Folsom's inaugural in 1955, this would have made Cornelia about 23 years old in 1972 when in fact she was 31. The reason for that is that George and Lurleen met Cornelia at Folsom's FIRST inaugural in 1947 and not 1955

The most moving scene is where Wallace is wheeled into the Dexter Avenue Baptist Church (Dr. King's former church) where he, in front of a stunned black congegation apologizes for his role in black suffering. The authenticity of this scene I found questionable until I read about it in Stephan Lesher's book "George Wallace American populist".

But in the end George Wallace the movie is a masterpiece capturing the sentiments of the 50's, 60's and 70's. The late governor's children are said to have been content with the portrayal.

George Wallace
EXCELLENT! SPLENDID PERFORMANCE BY MARK VALLEY AS BOBBY KENNEDY.

solid fare for political junkies
It's hardly surprising that Ted Turner, a political animal if there ever was one, would turn his TNT productions into a vehicle for politically themed movies. This film, along with "Kingfish" and "Nixon and Kissinger" is the kind of product Turner no doubt loves to sponsor. Those of us who are closet political junkies ourselves, but who may not have the time or inclination to read lengthy biographies of well-known politicos, can at least begin to satisfy our social consciousness jones with these usually worthy efforts.

_George Wallace_ is certainly that--a worthy effort. It does not answer every question I've ever had about the man, but it does provide us with a portrait of a very complex, power-hungry individual, one who sacrificed principal for power and who became a symbol of a kind of racism that he did not really fully embrace. At least as seen by scriptwriter Marshall Frady (on whose book this film is based), Wallace had no particular ax to grind with the black community and was primarily a populist who initially sought the support of all the "folks". One gubernatorial defeat, however, was all it took to convince him that despite his reservations about extremists like the Klan, he would have to play the race card in order to win the governorship of Alabama.

And thereby hangs the tale--or would have if he had not been shot at a political rally in 1972. The film's take on Wallace is that this event and the intense personal suffering that ensued brought about his eventual personal and, to some extent, political redemption. This may well be so, but writer Frady and director John Frankenheimer do slip significantly in presenting this turn-about. Wallace's conversion in the film rings too many false notes. I don't know if Wallace ever spontaneously dropped in on a black Baptist church, for instance, but if he did, it is all the more incumbent on the filmmakers not to portray the event too hamfistedly. Only Gary Sinise's nuanced performance keeps that scene from becoming an embarrassment. All too often Frankenheimer and Frady seem to be going for the kind of cinematic shorthand found in politically themed films. Conversations become near tracts or simply clunky ways of advancing the political story.

Still there's no denying Frankenheimer's ability to get a tough story across. And the actors are generally first-rate.(Only Joe Don Baker as Wallace's populist mentor winds up going over the top). On the distaff side, Mare Winningham(a subdued and graceful steel magnolia--the kind of role Lee Remick once specialized in) and a fresh on the scene Angelina Jolie give remarkable performances. Clarence Williams III is solid as the (fictional) stoic black trusty who serves the Wallace household for decades. And, of course, a good ol' boy milieu as presented here always presents juicy roles for character actors. _Wallace_ is full of familiar faces, actors you've seen dozens of times before but whose names you'll struggle to place. They seem to be having a grand old time putting on the accents and affecting the mannerisms of the South.

Still it's ultimately Gary Sinise's movie. His '97 Emmy was richly deserved. He is simply fascinating to watch here. It's one of those cinematic performances where you're first reaction is "why did they ever cast him...there's no resemblance whatsoever..." And in within minutes you forget all that and become so caught up in the performance that you can't imagine anyone else playing the part. ... Read more

Reviews (97)

"The Living Daylights": Nobody does it better!
With the release of "The Living Daylights", Bond fans finally saw another "Golden Bond Film" in the classic tradition of "Goldfinger". This film was, hands down, the best of the Dalton era films - the only other Bond movie with Dalton being the mildly disappointing "License to Kill". Timothy Dalton replaced Roger Moore as agent 007 when the gray haired Moore decided to call it quits after the release of "A View to a Kill" in the mid-eighties. Naturally, with a new Bond came a new style. I believe that Dalton's style was the most compensating to Ian Flemming's Bond; he wasn't a super man all of the time. He has moments when doubt or fears enter his mind. In other words, Dalton is a much more realistic Bond than Connery or Moore ever were. Unfortunately for Dalton, however, it seems many people like the unrealistic Bond better than the realistic.

"The Living Daylights" has a classic story and action. It's one for all Bond fans to definitely see, while being good enough to warrant the attention of first time viewers. No film (except perhaps "Goldfinger") has done it better than "The Living Daylights".

Timothy Dalton as Ian Fleming's James Bond 007
As a child of the 70's and 80's,The Roger Moore-era movies defined the tone of the entire James Bond 007 series.When Moore left the series after A View To A Kill,Timothy Dalton took over and put Bond in a direction that was familier to readers of Ian Fleming's novels, yet confusing to moivegoers.
The Living Daylights (1987)brought an end to the tongue and cheek tone of Moore's movies.Instead,Dalton becomes the 007 of the original novels,Tough,ruthless ,yet still refined. Dalton read the original novels and redefined the roll.
Unfortunately,movie goers were a bit uneasy with a James Bond who didn't crack cheesy one liners,jump into bed with an average of three women per movie and was harder edged than any other Bond on the screen.
The movie itself is a fine, yet slow-paced, involving a latter-day cold war defection of a Soviet soldier, only to be turn into a plot involving the elimination of British spies.Great scenes include an escape from the iron curtain in an updated Aston Marten, and an airplane cargo fight in mid air.
Dalton only portrayed Bond one more time (License to Kill) before the series was in limbo for six years (until Goldeneye with Pierce Brosnan in 1995).Since then, Dalton's portrayal of Bond has been praised in it's approach to bring Bond back to where it all began.

Dangerous Bond
The taglines for this, the 15th Bond entry, promised- "The most dangerous Bond ever," and right there beyond the flippant fun that Roger Moore had brought, THE LIVING DAYLIGHTS came and made good on that vow. In a cool, totally decked-out Aston Martin, our favorite spy propels himself into this, the last of the series' Cold War intrigues (furthermore being the final title penned by its creator, Ian Fleming). And herein, the flavour of Fleming is found everywhere-

Having been a child of 007's Roger Moore era, I had- on some seven different occasions during the course of his 14-year reign as Bond- looked forward with great anticipation to the very heights of fun and adventure. Moore, with his infectious charm and cheeky wit, was absolutely and completely entertaining as Bond. So I was naturally a little edgy when, in 1987, he retired, to pass the torch to another actor.

I was in college, studying English literature when I heard Timothy Dalton would be the next James Bond. To me, this seemed an exceedingly interesting choice- for here was a classically trained Welsh actor, who at that time had been fairly unknown. Yet I already knew him, of course: not only had he made his impression in some of the Shakespeare plays I'd been studying, but this ardent, sensitive actor had actually won my heart with his perfect portrayals of two beloved Bronte heroes- (Charlotte's "Rochester" and Emily's "Heathcliff.") Needless to say, I just couldn't wait for this one~~

THE LIVING DAYLIGHTS is a spy thriller in every classical sense. From the get-go, it's exciting: the gun-barrel sequence, where John Barry's arrangement pulses more quickly to keep in tempo with the motion of a more youthful 007- the exhilarating pre-credits: where, after a parachute jump onto the Rock of Gibraltar, a double-0 agent gets murdered and Bond jumps onto the roof of a speeding jeep as it hurtles down the cliff, and requites the assassin in like. He then lands emergently onto a yacht- where, by sheer coincidence, the bikini-clad babe onboard has been lamenting her failure to find any "real men" anywhere. Bond grabs her phone to call headquarters, introducing himself with a brisk offhand, "Bond, James Bond". She offers him champagne and, as a consequence, he's an hour late reporting back........

After opening credits - Maurice Binder's flowing artwork gracing John Barry's title song- (a colorful pop number performed by Ah-Ha that won't ever let you forget it's the 80's), Bond reports to Bratislava for a seemingly unrelated assignment. Saunders, of section V, Vienna (Thomas Wheatley) has arranged the defection of a top KGB agent, Georgi Koskov (Jeroen Krabbé). Bond is called in to kill the sniper assigned to assassinate Koskov if he should try to bolt. -This scene makes up the whole of Fleming's short story, wherein our hero turns over in his mind the conflicting implications of his work. Well, it's apparent that this James Bond is definitely a man who, though despising certain aspects of his profession, is quite capable of killing an enemy sniper in cold blood. The sniper, however, turns out being the lovely woman cellist that Bond had only moments before been admiring. And Bond, who follows instincts before orders, observes, "that girl didn't know one end of a rifle from the other," and instead of killing her, shoots the weapon from her hand.

Nevertheless, the coup is a grand success. Hours later, in a safe house on the English countryside- (wherein Bond shows himself to be a connoisseur of good food: "The foie gras is excellent," and champagne: "The brand on the list was questionable, so I took the liberty of choosing something different.") -Koskov reveals a sinister plot by General Pushkin (John Rhys-Davies), the head of the KGB, to kill foreign spies- ("Smiert Spionen," Fleming's SMERSH term meaning death to spies). Bond is immediately a little skeptical of Koskov's story, and his suspicions are further enhanced when, shortly thereafter, Koskov gets snatched out of Britain by forces unknown -pulled off by henchman Necros (Andreas Wisniewski), disguised as the most menacing milkman one could ever imagine. For answers, Bond returns to Czechoslovakia to investigate that female "sniper," and discovers she's Kara Milovy (Maryam d'Abo), Koskov's girlfriend. He then poses as Koskov's friend in the hope that she'll be able to locate him.

The inertia of this complex plot carries Bond further, through a number of beautiful locales in the world- London, Vienna, Tangier, Afghanistan, and New York. His mission involves drugs, deceit, diamonds, eccentric American arms dealer Brad Whitaker (Joe Don Baker), and the Afghan resistance, Mujahadin. There's action aplenty - highlights being a car chase in the Aston Martin fully armed, a ski chase downslope in a cello case, and a seat-gripping airplane ride I'd never in a million years want to ride!

The late 80's had safe-sex everywhere afoot - even in Bond. Kara's certainly endearing as the Bond girl, but she doesn't hold the screen next to Bond so well as many of her predecessors. The villains are undeniably wonderful: a swarthy combination of the fearsome and the ludicrous. And Dalton's tough, gritty Bond is as close to Ian Fleming's creation that any actor has come- yet whether or not that's a good thing is a matter of infinite debate. The cinematic Bond had already been well established by then. Like Connery, though, Dalton has a certain cat-like grace, albeit minus the twinkle in his eye. And though he brings an intensity to the character that even Connery could not own, he never really does let loose - never hams it up or has the famous fun that every other Bond has had! But notwithstanding all that, I'm forever disposed to find him perfect.

first good bond in a long time and daltons great
the last decent bond movie before this was for your eyes only.
then came dalton.
despite what the brosnan fans like to believe dalton was asked twice to be bond, several years before brosnan was even considered.
and when dalton finally took his turn at bond, he delivered.
this one is a bit better than the follow up, which, though featuring a very fine performance from dalton, was a bit too much like a miami vice episode.
dalton gives us his bond which is different than either connery or moore and its a valid and etertaining one.
the first three major bonds all had their own take and all three are enjoyable.
actually, it is brosnan who really delivers nothing new.
dalton's bond is an assassin, albeit one with morales
and for the first and last time bond is NOT a [prostitute]. he has one girlfriend in this and his lack of bed jumping is refreshing.
the quiet intensity dalton gives the character is unequaled by the actors who played the role before and since.
actually he is the best 'actor' to play the character, though connery is the best bond of course.
though living daylights is a bit too long and sags at times and joe don baker is badly miscast, its a succesful entry in the franchise.
grab a beer and some popcorn.

a decent entry with a great bond
the brosnan fans have it wrong. dead wrong.
and the facts are there in print!
dalton was asked twice. long BEFORE brosnan.
dalton turned it down twice before accepting ONLY AFTER brosnan couldnt commit.
for a very long time (way back when moore was even still fresh into it) the original producers both felt dalton would be the quintessential bond.
and, while this movie and it's sequal are decent (not great) they do contain an original performance from dalton.
far more original than brosnan, who is a mix of connery, moore AND dalton.
as a matter of fact, if one has ever even read the original books, dalton is much closer to fleming's bond than connery even was.
and dalton is undoubtedly the best ACTOR that has played bond.
check out the inner intensity in many of his scenes here (popping the balloon after his fellow agent has been killed) and for once, bond isnt (...) his way through the movie. he has one girlfriend and the film does benefit from not going overboard on the bordello activities.
that said, the movie is tooooo long and joe don baker is god awful in an campy, over the top performance.
still, we do have dalton and, sorry pierce, you dont hold a candle to this actor. ... Read more

Amazon.com

Ben Stiller's directorial debut was this sporadically successful twentysomething comedy that tries too hard to codify the generational experience of its young adult characters. Winona Ryder plays a still-unformed woman struggling with career and relationship issues, Janeane Garofalo portrays her best friend, and Ethan Hawke and Stiller play the two lovers pursuing her. The story is as also about generation-X confusion over how to get by in a hand-me-down world with not much to get excited about, a world filled with a pop culture currency of bad music and poetry slams. The film's chief strength is its appealing cast, which is bolstered by appearances from David Spade, Renee Zellweger, Kevin Pollak, Jeanne Triplehorn, and Stiller's mother, Anne Meara.--Tom Keogh ... Read more

Reviews (59)

I Loved this Movie!
I Loved this movie! It had everything: comedy, realism, and the ability to make you laugh and cry. The acting is superb. Winona Ryder, Ethan Hawke, Janeane Garofalo, Steve Zahn and Ben Stiller are excellent.
Lelaina Pierce (Ryder) is the valedoctorian of her college and should have her entire life mapped out for her, but all she has is a job at a morning talk show called 'Good Morning Grant' where she makes barely enough money to cover her rent. (For all those Frasier fans out there Grant is well acted by John Mahoney who plays Frasier's father on the show.) Her best friend Vickie (Garofalo) has just been promoted to manager at the Gap, and her other friend Sammy (Zahn) is coming to terms with his sexuality. Troy (Hawke) is her other troubled best friend who is the lead singer of a band and is in love with Lelaina. Lelaina videotapes all her friends making a documentary about their lives and their troubles, and she meets a guy named Michael (Stiller) who she begins dating, and who wants to turn her documentary into a television show for the network he works for called In Your Face TV.
The movie has a plot that appears so simple, yet it applies to everyone everywhere. It tries to answer the question: what to do when you just get out of college and where should life go?
Lelaina is also trapped in a love triangle and has to decide who she wants to be with more: Hawke, her closest friend or Stiller (who makes an excellent directorial debut), someone who loves Lelaina but also wants to profit from her documentary.
There are cameos from actors such as Renee Zellweiger, David Spade, and Swoozie Kurtz (who plays Lelaina's mother in one scene).
This film is one of my favorite movies of all time and is one that should be more well-known. It also has a fiere soundtrack, featuring artists like the Knack (Sharona), and Lisa Loeb, so I highly suggest you buy that as well.
"There's no point to all of this. It's just a random lottery of meaningless tragedy and a series of near escapes. So I take pleasure in the details. You know... a quarter-pounder with chesse, those are good, the sky before it starts to rain, the moment where your laughter becomes a cackle... and I, I sit back and smoke my Camel Straights and I ride my own melt..."-Troy from Reality Bites...
SO BUY THE MOVIE!

Awakenings
This romantic comedy/ coming of age/ drama/ teen movie presents an intriguing an amusing look at the lives of the twentysomethings, showcasing their conflicts and doubts after graduation.

Director Ben Stiller offers an interesting snapshot of the mid nineties, presenting a curious perspective of that zeitgeist and its atmosphere.
Stiller himself, Winona Ryder and Ethan Hawke play three dazed and confused young adults who have to deal with troublesome situations and decisions in a turning point of their lives. The story focuses, with humor and some depth, the difficult and contrived process of growing up, offering characters that have contradictory views and ideas of the world.
The movie wisely covers multiple problems of the Genration X crowd, like the stuggle to find a decent job, the indecisions after graduation, the price of independence or the choices about love. Although this picture has a few years, it still seems fresh and poignant today, focusing situations that occur everywhere.

"Reality Bites" is a fine, witty and clever flick, that despite its somewhat predictable plot proves to be a noteworthy and entertaining effort. A little gem and a good one to watch with a group of friends, since most youngsters can relate to it.

Reality Does Bite, but This Movie Rocks
In what was perhaps one of the most overhyped movies at the time, "Reality Bites" proves to be in the Zeitgeist of the mid- '90s but for different reasons than you might thing.

It was not the movie that came to define a generation in story, tone, or soundtrack the way "The Graduate" captured the moments of its time (for that you should watch "Singles"). "Reality Bites" did, however, capture the what was expected of the generation - to be unemployed, irrevent, speak in a pop-culture lingo, and wrestle with the meaning of irony. In spite of what expectations were placed on the generation (or the movie), "Reality Bites" remains funny ten years later.

Watch to see the last of Winona Ryder's great roles as she struggles with her relationship with Ethan Hawke. Enjoy the moment when we are introduced to Janeane Garofalo as she shimmies to "My Sharona." And enjoy the film that brought Ben Stiller into the mainstream as a leading actor.

The anniversary DVD is a great opportunity to rediscover the movie and appreciate the on-screen appearences of up and coming Gen-X Hollwood - David Spade, Renee Zellweger, and Steve Zahn all appear. And be sure to check out Lisa Loeb's music video for "Stay," as directed by Hawke.

Yes, Reality Bites Sometimes
"Reality Bites" stars Oscar nominees Winona Ryder, Ethan Hawke, plus Ben Stiller, Jeneane Garofalo, and Steve Zahn. Ben Stiller makes his fine directorial debut in this film. This is a great coming-of-age comedy proving that being independant isn't as great as it looks. The plot of four college graduates moving into a house together is highly entertaining, especially considering all four people have opposite personalities. All of them combined as one adds lots of laughs: a college valedictorian, a sexually active person, a non-motivated rocker, and a mellow person hiding a secret. Comedy and drama combine in the perfect scenes, namely everyone's life struggles, the making of the documentary, and falling in love. Though certain life aspects could have been expressed more thoroughly, the film ideas are brilliant. The acting from all the performers are great, especially Winona Ryder. All offer their own movie theme perspectives, which are mastered greatly. "Reality Bites" is a great memory flashback from a great entertainment era, the mid-90's. This will surely entertain many audiences.

This is the best movie
I can't express how classic this movie is. If you have ever seemed to quetion what the hell you are going to do with your life or questioned relationships with friends, this is the movie for you. It's funny, sad (happy sad), and the soundtrack is nothing but early 90's classics. BUY IT! You can't beat the cast...Winona Ryder, Ethan Hawke, Ben Stiller, and Geneane Garofolow (can't spell her name). ... Read more

Amazon.com

This simple-minded account of the Black Panther Party is insulting to anybody who ever admired the positive qualities of the organization or at the very least took their militancy seriously. Melvin Van Peebles wrote the thin script, and son Mario directs it with little of the penetrating and expansive sensibility necessary to understand the subject in its broadest context. The presence of a big cast with a lot of familiar names and faces--including real-life Panther contemporaries Jerry Rubin and Dick Gregory--give the project a false air of importance. --Tom Keogh ... Read more

Reviews (15)

TIME TO REPRINT THIS ESSENTIAL DVD!!!!!
Yo, I've seen this on VHS several times and it never ceases to touch me. Sure, it takes some liberties in simplifying things but people don't seem to make that criticism when it supports their political views ... such are the realities of the narrative form necessary to movies, novels, etc. This isn't a dry, academic account. It asks you to identify with the Black characters in this film, and not with the FBI oreo or the white pigs. There are some elements here of the blaxploitation genre, of which Melvin Van Peebles (with his "Sweet Sweetback's Baaadaaassss Song") was an, or should I say THE, originator. No one would accuse "Sweetback" of being an "objective" account but it does grasp something real in the experience of Blacks in Amerikkka. The soundtrack CD to this movie, and the CD "Pump Ya Fist" (co-produced by Mario Van Peebles) are also essential!!!

all that could be told
Panther explains the building foundations for the corruptness of the government and the silencing of the BLACK PANTHER PARTY. This movie places great emphasis of how our cultural world exploits, degrades, and humiliates the AFRICAN-AMERICAN people, through the eyes of the government. Panther is one of many movies that should be viewed, shared and remembered. All characters protrayed in this movies have done an outstanding job bringing the best and the worst of the BLACK PANTHER organization. Explaining in format through scenes, of how the infiltration, conspiracys, and the lynching of the urban world continued to grow.....Once again, PANTHER is a movie to remember

The film does what it is supposed to do..
This film does not tell the entire story of the Black Panther Party. No film could realistically scrape the surface of the party's vast history. What this film does do is peak curiosity. It causes one to think. It causes one to explore how history (black history in particular) has been portrayed in America. Simply put, Panther is one of the top 5 most powerful films I have ever seen (the other four are Rosewood, Malcolm X, Amistad, and Roots, in no particular order).

Not As Gut Wrenching As..........................
Malcolm X or Rosewood, but nonetheless, still effective in bring across the injustices suffered by african-americans in the 60's to early 70's. I initially saw this film when I was very young and kind of slept on it. However, after doing extensive research on The Panthers, their coming together, their downfall, and the devilish conspiracies of one J. Edgar Hoover, not only contributing to the Panthers downfall, but the killing of MLK, Malcolm X, and even indirect in the assassination of JFK, I found this movie to be enlightening and a constant reminder of where my people have come from, and how much further we still have to go even today. The one part of the movie that is haunting for me and stands out so much is Hoover's direct or indirect involvement in drugs and heroin being brought into our inner cities to directly make our people commit geonocide on one another (though some may say this was ficticious, but we really know better). Our Black leaders have cried this argument for the past 30 years and doesn't it seem rather ironic that the drug epedemic happened to boom just as the Panthers were being broken up, The Vietnam War ending, and racial tensions between blacks and law enforcement was at an all time high? Coincidence, I think not. The only thing is that those persons responsible for flying that stuff into our urban cities and ghetto's never counted on the fact that it would explode as a nationwide epedemic by the time the mid 80's rolled around and a drug called crack came into existence. I think the movie should have gone a little deeper into the Panthers as a whole but knowing the Hollywood establishment, I'm sure the Van Peebles didn't have the luxurious studio budget afforded their white counterparts to make the movie they probably intended on making. Still a keeper and a collector's item and indeed true American history.

too high
I LOVE this movie but these prices are crazy!!! Tower.com for 25.99 people. I think this is a great movie to have in your collection but I think that people who really want to see this movie are being taken advantage of. ... Read more

Amazon.com

Gregory McDonald's lightweight mystery novel about an undercover newspaper reporter cracking a police drug ring is transformed by screenwriter Andrew Bergman (Blazing Saddles, and writer/director of The Freshman and Honeymoon in Vegas) into a fairly sarcastic and occasionally very funny Chevy Chase vehicle. Enjoyment of the film pivots on whether you find Chase's flippant, smart-ass brand of verbal humor funny, or merely egocentric. If you don't like Chase, there's really no one else worth watching (Geena Davis is sadly underused). Chase seems born to play I.M. "Fletch" Fletcher, a disillusioned investigative reporter whose cynicism and detached view on life mirrors the actor's understated approach to comedy. Fletcher offers Chase the opportunity to adopt numerous personas, as his job requires numerous (bad) physical disguises, and much of film's humor centers on the ridiculous idea that any of these phony accents or bad hairpieces could fool anyone. These not-so-clever disguises are put to use when Fletch becomes involved in the film's smart but continually self-mocking two-part mystery. As well as trying to gather drug-smuggling evidence against the LAPD for a long-overdue newspaper story, a rich and apparently terminally ill stranger also offers Fletch a large payoff to kill him. While the film does a fairly good job juggling both of these plots, not to mention tossing in a love interest as well, it's subservient, for better or worse, to Chase's memorable one-liners and disguises. Followed by two forgettable sequels that lack both the original's wit and Chase's attention span. The DVD version includes production notes and a theatrical trailer, and is presented in its original aspect ratio of 1:85 to 1. --Dave McCoy ... Read more

Reviews (62)

"I'm afraid I'm goona have to pull rank on you here..."
Fletch is my personal favorite comedy and without a doubt, one of the funniest movies ever made. Chevy Chase is perfectly cast as Irwin Fletcher, a wise cracking newspaper reporter working undercover on a beach to expose a drug running operation. At the same time, he is mistaken for a junkie by shady millionare Alan Stanwyk (Tim Matheson) who asks Fletch to murder him. Fletch agrees but launches an investigation into finding out why this man wants to be killed. This isn't lowbrow humor, it's quick witted and very fast. Fletch requires a few viewings before one is able to grab all the jokes, but it's well worth it. I've seen this movie about 30 times and each and every time I watch, it remains as funny as the first time I saw it. If you've liked Chevy Chase in Caddyshack or National Lampoon's Vacation, than you'll love him here. The dialogue is witty and extremely quotable. Chase's Fletch often disguises himself as he investigates the two mysteries, his cheap disguises and alias' (Ted Nugent, Don Corleone, Dr. Rosenpenis) are hysterical, Chase is a master of deadpan wisecracks, this movie is a perfect showcase for his talent.Aside from the brilliance of Fletch as a comedy, Fletch functions perfectly as a well made mystery movie. I disagree with one reviewer who praised the movie as a comedy but said it wasn't a very good movie. Fletch is a very good movie and aside from Chevy Chase, there are many other reasons for the success of this classic. Screenwriter Andrew Bergman has written one of the trickiest scripts in Hollywood history, it manages to be flat out hilarious, and captivating in the same light. Whenever I watch this film with a new viewer, they are always surprised as to how much the storyline grabbed them. Another plus with this movie is Harold Faltermeyer's superb synthesizer score. It's similar to his earlier Beverly Hills Cop score, maybe even better, it helps set the tone of this movie perfectly. Last but not least, we have the direction, all under the sure hand of Michael Ritchie. He keeps things moving and maintains a comedic tone which occasionally borders on seriousness to help the story progress. Balancing tones isn't easy, in this film it's done so well, it's hardly even noticable.Fletch is all around, an excellent film, but before everything else, it's a VERY funny film. A true cult classic. For audiences whom have seen Beverly Hills Cop, think along those lines, I always thought it would be amusing to see what would happen if Chase's Fletch met with Eddie Murphy's Axel Foley of the Cop films. If you've seen those than you have a good idea of what to expect with Fletch, a film loaded with belly laughs as long as you're willing to pick up on them.

My Favorite Comedy of ALL TIME!!!
GET THIS MOVIE!!! I LOVE THIS MOVIE!!! Chevy Chase made a few bad movies when he got started but this ISN'T one of them. As an undercover investigative reporter, Irwin M. Fletcher looks into the local drug traffic, only to get caught up in insurance fraud, police corruption, embezzlement and another man's suit.

He's Baba au Rum - Holistic Teamster, Magic "Fletch" Christian - Los Angeles Lakers, Ted Nugent - Beach Bum, Igor Stravinsky - Real Estate Developer, Harry S. Truman - Insurance Agent, G. Gordon Liddy - Ajax Supervisor, and a host of of others.

Look for Larry "Flash" Jenkins ("Ferris Bueller's Day Off"), Joe Don Baker, Tim Matheson, and the beautiful Dana Wheeler-Nicholson. Plus Geena Davis, George Wendt ("Cheers"), Richard Libertini ("The In-Laws") and Tony Longo ("Eraser"). M. Emmett Wash is the rubber-gloved doctor who examines his patients VERY thoroughly. And there's William Sanderson of TV's "Newhart". And finally Burton Gilliam of "Blazing Saddles". Whew!!!

Chase's one-liners and trickery are so subtle that it probably confounds most professional movie critics. They're always tuned to either the person he's playing or the role he's fulfilling. The autopsy scene is not to be forgotten, but you may have to turn up the volume for the full effect (sorry about that!).

Learn the one-liners here and you'll have an automatic response for most everday situations. Excellent soundtrack as well.

The F in Fletch is also for Funny
Chevy Chase stars as I.M Fletcher in the 1985 screen adaptation of Gregory McDonald's mystery series Fletch. Fletch is an undercover journalist investigating drug trafficking and the L.A.P.D, when he's approached by a stranger who asks to be killed for money. As the movie progresses, Fletch discovers that there's a connection between the man and the drugs, and the entire ordeal is very funny.

The film relies entirely on the comedic styles of Chevy Chase, as it's he that brings the sarcastic and witty Fletch to life. Through out the film, Fletch incorporates a variety of poor disguises and often introduces himself as different people, such as when he's a drug addict named Ted Nugent. Another highlight is when Fletch fanaticizes about himself playing professional basketball while wearing a giant Afro-wig.

The synthesizer sound track is not as memorable as Beverly Hills Cop's, "Axel F", but it complements the film nicely. Cinematography and directing are usually not aspects focused on in comedies, but in Fletch the two are as high quality as the writing. Fletch is rated PG and relies on clever humor and sight gags rather than raunchy jokes, which makes the comedy smart and inoffensive, unlike recent comedies such as National Lampoons' Van Wilder.

The most important aspect of comedy is the jokes, and the ones in Fletch are great, but its Chase's delivery that makes them fantastic. Whether its Fletch's one-liners, such as distracting a Doberman Pincher with, "Look, defenseless babies!" or instances such as when he claims to be real estate developer Harry S. Truman, the whole movie is outstanding. From start to finish, Chase delivers a performance that's sure to bring a smile to one's face and fill the room with laughter.

2 Paws Up!!!
I watched this with my master today, and boy did he laugh a lot. I like when he laughs because that means he is happy and then he pets me more. The movie had a lot of action, and a lot of humor too! I was a little scared of the Doberman guarding the realtor's office. Those dogs mean business, let me tell you!!! They could easily tear a dog like me in half, so I keep my distance. But yeah, great movie!!!

Retch
The movie is just plain bad, not horrendously so. Chevy Chase has less talent then Anna Kournikova. What plummets this to One Star is that it somehow has gained cult status. Maybe the government is putting doping agents in our water, for whatever reason hundreds or more think this is legendary cinema. They are wrong and I am right. ... Read more

Reviews (3)

Eleniak,Brenda Doumani, Rossi and Tessiero
Movie was ok could have been MUCH better, Erika Eleniak was great as always, and Brenda Epperson Doumani is definitely right up there with Eleniak, it was great to see Steve Rossi from the old comedy team of Allen and Rossi his performance was excellent, the director should have capitalized on one of his cast members Michael A. Tessiero, needed to see more of him, this guy is turning up everywhere , has great screen presents, can't put him in a scene with any leading men though, if you do viewers will be wondering why Tessiero is not the star. All in all it was entertaining.

Vegas: City Of Dreams??
When I got this film, I bought Four Dogs Playing Poker as a Amazon.com deal. Vegas: City of Dreams had a very interesting plot in the beginning of the film but it slowly declined. I felt like I was watching a soft-core porno-soap. It seems casting wasn't the best... they probably went to every strip joint in Vegas and said to every stripper, "Hey, ya want to be in a movie?" I am a huge John Taylor fan and I was thrilled to hear he got one of the lead roles, but I was very disappointed because his acting wasn't the best. If you are a down-right fan of one of the actors in the movie, buy it... but don't buy it out of curiousity. Sorry, John.

Modest prdouction values but high Erika content!
This advertizes as being in the spirit of 'Charlies Angels' and 'The X-files' but is a low budget affair throughout. 3 sisters return home at X-mas only to find their 4th murdered and they want to know why. The 4 do not even remotely look related but if you are an Erika Eleniak fan, she gets lots to do and delivers her lines with professional zeal throughout. ... Read more

Reviews (21)

Time of the preacher.
Probably the finest television drama series ever, 'Edge of Darkness' was 1985 made flesh - nuclear paranoia in a world gone mad. Apart from the faces, not much has dated, and even if the threat of nuclear annihilation seems less newsworthy, it's still an excellent, taut thriller. Bleak and brilliant, it starts with a seemingly random murder, and ends with the world on the brink of apocalpyse.

Everything works, and works well - the clever, non-linear direction is never annoying, the writing is intelligent, everything progresses with brutal, cold logic, and it all seems so much more serious, more 'real' than other television dramas of the time (with the possible exception of the early 'Taggart'). The acting is superb - Joe Don Baker's character may be a stereotype, but he makes it work, and the late Bob Peck is almost disturbingly intense. It's a shame that, for most people, he will be remembered as the unfortunate trapper from 'Jurassic Park' (or the narrator of countless nature documentaries).

It remains with you when its over, the music is excellent, and key images (nuclear trains at the dead of night, driving rain on the motorway, a room full of telephones, a field of umbrellas, and little black flowers) haunt you forever.

Edgy and paranoiac (aliens and paranormal not incl.)
"Get it while it's hot!" With those words, (and two bars of plutonium in his hands) yankee actor Joe Don Baker became one of the immortals of British television in this series which set the tone for edgy, paranoiac television years before the X-Files. In this dark mini-series, Baker played free-lance CIA operative Darius Jedberg whose cowboy swagger and country can-do attitude has guaranteed him a role in every new James Bond flick. The real star and hero is late actor Bob Peck as Yorkshire policeman Ronny Craven whose understated yet wrenching performance of a man coming apart provides a more subtle energy than Baker’s over-the top performance (see the box – the still of Peck with a gun in one hand and a teddy-bear in the other sums it up). When Craven’s radical-environmentalist daughter is brutally gunned down, Craven follows clues that lead him to suspect sinister nuclear-age industrialists. Seeking to uncover proof of a covert program to generate weapons-grade plutonium, and thinking that Craven’s daughter had been on the verge of uncovering the conspiracy when murdered, Jedburg hooks up with the british police officer who has slowly begun to disintegrate with grief. Prodded but also steered by Thatcher-government functionaries with their own agendas, Peck and Baker form an uneasy alliance on collision course with a nuclear-age vionary.

A superb work, with a pefectly edgy score by Eric Clapton. I first caught the series in the late 80’s on PBS while Thatcher was still in office, and environmentalism was still something only radical lefties worried about. There’s a pretty heavy allegory against nuclear energy – best typified by how Craven’s slow disintegration begins to mirror that of some raw and toxic isotope, radiating bits of itself away as it diminshes in halfs over a slow period of time. But the story also excels because it rises above metaphors – the black flower that is meant to symbolize mother Earth’s revenge against the human infestation that has soiled the world isn’t a symbol at all, Jedberg says – he’s seen it in the killing fields of Afghanistan. Though the story is centered on Craven, the Yorkshire cop plays straightman to Jedberg’s fall guy, with the two trading words about the end of the world, the environment and the lyrics to Willie Nelson songs. I had to watch this on UHF with crummy reception (snow, doubled images and all) but you can catch it pristine. Get this tape.

Televisions finest hour ¿ or longer.
A true sin is that "Edge of Darkness" is unavailable on DVD, but you can get all of Adam Sandler's movies. No justice in the world.

Bob Peck & Joe Don Baker get to do the best work of their careers in this in-depth wonder of a mini-series. Others have covered the bases on the plot, so I won't rehash it here.

Suffice it to say it is long overdue to get this gem out in the US. An apparently terrible copy is available in the UK (bad video & bad sound), so I'd call for someone to work on this as a labour of love.

I know you would get an appreciative audience.

Masterpiece........
Firstly let me point out that there is a DVD version of EOD, several actually. The best version is the latest released this year which is a wonderful transfer and includes a documentary on the film, Magnox and has clips of interviews and award ceremonies and discussions on the series. It is on region 2 DVD and is available from amazon uk. I too remember watching this masterpiece unfold when it was originally screened here in the uk. I was only 14 at the time and British television was still producing some wonderful stuff. Even so I knew this was something extra special. It must have planted a seed in my subconscious. Incredibly in 2003 it has lost none of its power and seems just as prescient now as ever. The callous disregard for the individual by corporations, the 'great game' played out between competing security agencies, the conspiracy of silence in the media. The ecology movement. The collusion of government with the malign constituents in our society. Ostensibly though this is still the 'little man's story' and what a central performance from the late great Bob Peck. His personal disintegration is harrowing to behold as he tries to unravel the mystery. Joe don Baker, what can you say about his performance. He is utterly compelling as the old school agency man fighting to keep his head above water. His verbal sparing matches with 'arts council' funded MI5's Ian McNeice and Charles Kay (also superb) are very very funny. Oh the script, what a script. Troy Kennedy Martin the writer provided the most consistently brilliant screenplay for television ever written. Martin Campbell the director sculpts it all into an entity that supplants the TV media. The DVD I saw previously to EOD was Leone's masterwork Once upon a time in America and I can honestly say EOD which bares many similarities is right up there alongside it. I don't think I could give this production a better accolade.

Criminally overlooked
I have lost count of the number of times I have watched Edge of Darkness, and still seen something new and haunting in its ramifications for our current age. In this deeply disturbing film series the devil is most defintely in its Cold War detail, and Troy Kennedy Martin's script uncovers many of those very real demons that lurk in the international trade of nuclear technology and weapons grade plutonium, the most dangerous material in the world, and which is still clouded in mystery. It is also a mythic story of hope for the future, as Bob Peck's character finds his allies in the strangest of places, even as his enemies are everywhere.The fact that this series has still not come out on DVD is truly amazing, and if I believed in conspiracy theories i might even be suspicious! Who knows! Roll on E of D 2!! We need to be told, now more than ever... ... Read more

Reviews (242)

A well-oiled machine, but is it worthy?
Although it was originally planned that Pierce Brosnan would take on the James Bond mantle from Roger Moore in the mid-80s, the exhilaration of "Goldeneye" (his actual first Bond film) wears off rather quickly, I'm afraid.

You see, I've been spoiled by superior and definitive renditions of the Moore and Connery Bonds to be swayed by Brosnan's working class efforts. Or maybe the product placement is just too obvious in recent 007 films? Either way, this film is just a blip on the screen of an otherwise unstoppable series.

The pros: the sizzling Michele Yeoh as the latest Bond girl, who's both lethal and beautiful, in the best traditions of the genre.

***The proper use of henchmen--Gotz Otto revamping Robert Shaw's oversized killer who nevertheless is no match for Bond.

***And finally, the suitably grandiose (if unoriginal) world-domination plot that has since been missing in action.

The cons: Teri Hatcher--Bond girls have never been famous for their acting skills, but Hatcher looks and sounds out-of-place here.

***An unappealing villain--Jonathan Pryce doesn't have the charisma or the physical appeal to be a proper Bond villain (much less a memorably one).

***The title song by Sheryl Crow; easily one of the worst in the series. The outro closing torch number by K.D. Lang should have been the title cut; it's classic Bond fare.

***Product placement is far too obvious in this film; enough is enough, guys.

Overall, a briskly paced entry in the Bond canon, but it's not firing on all cylinders.

Good Action, Bad Plot
The movie playing last week was As a longtime James Bond fan I had to see Tomorrow Never Dies, or James Bond versus Jonathan Price.

A communications mogul (Price) sets up a communications satellite monopoly, which, unlike DeBeers and other monopolies, is allowed to operate in the United States. To further his power, Price is creating news and having the stories ready as the news happens. His ultimate goal is to start World War III and control all communications afterwards. He will do this by using his armada of communications satellites which will broadcast to a dying world where electromagnetic pulses have rendered televisions inoperable. Oh, I guess he didn't think far enough ahead.

Utilizing the common man's (or should I say scriptwriter's) lack of understanding Geo-Positional Satellites (GPS) he convinces a warship that it is in neutral territory and not in Chinese-controlled waters. Then, utilizing a stealth boat made possible by the theft of some stealth skin (you know, that ultra expensive stuff that becomes completely useless if it gets even slightly damp) and steals a cruise missile. Bond is aided by a Chinese agent (Michelle Yeoh) and they go to Viet Nam where the sunken ship is (oh, didn't they say it was sunk in Chinese waters?). There they confront many bad guys and helicopters that can hover sideways and whose blades can repeatedly chop through buildings with no bad effects.

OK, so the plot, if it can be called that, has a few problems. But it is an action film and plots in action films have less importance than how far the hero can fall. The bad plot is not necessarily because Ian Fleming did not write the story. After all, he did write DOCTOR NO about the madman trying to corner the guano market (the studio gave the madman nuclear capabilities and cut the guano completely from the story). But the movie is fun, nonetheless, with many great lines. While I can't say much for the new Moneypenny, the new M is fantastic.

Do You Believe What You Read?
Years after Ian Fleming's death the "James Bond" series rolls on, recycling the original stories for audiences who never read the original novels. Their villains were in turn Soviet KGB, then organized crime; now one of the most powerful publishers in the Free World! Is Fleming turning over in his grave? This film shows how a powerful publisher can create the news, and not just distort it (use your own example). [Will the viewers make the connection to the Real World?] "Eliot Carver" seems to be modeled after Robert Maxwell (was he the front man for powerful forces who stayed in the background?) There are changes to reflect modern culture and political correctness. James Bond still circulates among high-levels to gather information. But one scene shows him overindulging in vodka, as if to suggest a growing problem in an aging operative.

Bond is caught snooping in the villain's lair, but makes his escape despite the efforts of many guards (who are of various races for this equal opportunity employer, and also recalls Bond's enemies from past films). A former lover of Bond's is murdered (as in "Goldfinger"). The killer in the hotel room looks like he was recycled from "Doktor Strangelove". The car chase in the indoor parking lot recalls "Diamonds Are Forever", but is more spectacular. The skydiving to the wrecked ship recalls other films. Bond and Wai Lin (the female Chinese operative) are caught and brought before Eliot Carver (another recurring scene from Fleming's novels). The villain never delegates these tasks. Their escape shows the product placement of BMW and Land Rover (and reminds me of a Jackie Chan film). They escape the Heckler & Koch MP-5 firing villains. The attack scene in the shop recalls another Jackie Chan film, with its choreographed ballet of action. [Could this ever happen in the real world?] I suspect the scenes in Asia were for that market of film viewers.

The final scene in the "stealth boat" recalls many earlier Bond films. But Eliot Carver seems to be lacking in a villainous character, unlike the classic Bond villains. [Imagine Pee Wee Herman as Goldfinger?] The ending is full of sound and fury, symbolizing the defeat of the villain, his henchmen, and the Plan for World Domination. The earlier Bond films seemed to have had wittier dialogue. The most surprising thing about this film is its villain: a powerful businessman in the Free World, not a parvenu who attacks one of the British Monopolies and has links to the Soviets or the ChiComs.

There's no news like bad news!
The 18th James Bond movie. Since the release of DR. NO in 1962, the James Bond series had established a prototype for rip-roaring action and thrills, evil villains, beautiful women and amazing gadgets. However the definite contributing factor the ongoing success was the ability to change with times, thus making each idea, and each film special in its' own creative way. Bond is more than a Super Agent Spy, he is a hero for the ages, and as the tradition would continue for TOMORROW NEVER DIES, 007 now finds himself against the global communications industry. Hot off the success of GOLDENEYE, Pierce Brosnan once again delivers a dynamite performance as James Bond; confident, fearless, determined, charismatic, irresistible to women, and still with a thirst for dry vodka martinis. Under a clever Bruce Feirstein screenplay, two beautiful women are presented; Teri Hatcher as 007's one time flame Paris Carver, and Michelle Yeoh as tough Chinese Agent Wai Lin. With tried and true elements placed new and fresh, exotic locations in France, Thailand, Germany, Mexico and the United States, and a thrilling music score by David Arnold, TOMORROW NEVER DIES further punctuates the James Bond series even after a successful 35 year wake.

THE ASSIGNMENT: While on a routine voyage, the HMS DEVONSHIRE submarine was mysteriously attacked and sunk in the Chinese sea. The incident is quickly publicized on newspaper accounts thus stirring much controversy and alarm in MI6 headquarters. The culprit: Elliot Carver, a media obsessed megalomaniac, wants to realize his dream of world domination through means of TV, radio and newspaper media accounts. He buys influences, technologies and anyone capable of harnessing information to him, in order to create 'events' to be publicized by this media organization first while securing a monopoly on the world's media coverage. Great Britain and China are unaware of this and place themselves on full nuclear alert, while Carver awaits take over China as another media outlet, which will gain him full control of the Chinese government, following imminent armageddon. Bond quickly befriends Wai Lin, a suspicious, yet helpful Chinese Agent and locates Carver's HQ. Together they must stop the maniac and prevent World War 3.

THE VILLAINS: Jonathan Pryce as Elliot Carver, Ricky Jay as Henry Gupta, Gotz Otto as Stamper, and Vincent Schiavelli as Dr. Kaufman.

HIGHLY RECOMMENDED! BUY IT!

007 James Bond Tomorrow Never Dies - A great Bond film!
"Tomorrow Never Dies" is the eighteenth overall James Bond Film and the second wonderful film starring Pierce Brosnan in the lead role as James Bond. Of his first four films in that role I would definitely have to say that this one ranks up there with his first performance as Bond, James Bond. From the fast paced action sequences to the overall premise of the film, "Tomorrow Never Dies" entertains from the very first scene to last as everybody involved in the making of this film did exactly what they intended to do with a Bond film, which is making one to remember!

Performance wise, Pierce Brosnan furthers that which he started in "Goldeneye" by making the role his as he brings a darker and harsher yet capably witty tone to Bond that hadn't been seen in a Bond film since the first James Bond himself, Sean Connery. I would caveat that in that I thought Timothy Dalton accomplished that as well but as he was only allowed to do two films in the role I must be in the minority on that opinion.

As with all James Bond films, we're treated to a pair of new Bond babes in Teri Hatcher and international martial arts superstar Michelle Yeoh, both of which are incredibly beautiful and talented actresses. Although Teri Hatcher's role in this film is a very brief one, I would definitely have to say it was memorable. Michelle Yeoh's role in this film brings her right up there with James Bond himself as far as the action sequences go. It is most certainly interesting to see a Bond film turn into a Bruce Lee film in a particularly eventful sequence.

Director Roger Spottiswoode who may best be known for "Air America" or even "The 6th Day" does a great job with this film, solidifying his status as a quite capable director of action films.

The Premise:

This wonderful Bond film in reality has two great opening sequences as we're treated to the standard pre main title James Bond super action sequence which involves 007 infiltrating a Black Market auction of high tech military equipment and him stirring things up and then we're treated to a sequence in which the villain of the film is rousing things up between the British Navy and the Chinese Air Force off the coast of China which adds a wonderful dramatic element to the feel of the entire film.

What follows from there is one of the best Bond films to date as James Bond does what he does best, save the world from total disaster while getting a babe or two in the process...

I highly recommend this eighteenth Bond film to any and all fans of the series and to those who like great action films that actually have a plot as well. {ssintrepid}

Special Features:

This particular DVD is a bit threadbare when it comes to Special Features but in the end, what are these DVD's all about, the movie and it's a great one.

-8 Page Booklet Featuring Trivia, Production Notes and a Revealing Look at the Making of the Film.
-Original Theatrical Trailer ... Read more

Amazon.com

This is a terrible movie. Frank Marshall (Arachnophobia) demonstrates no control over story, actors, effects, or general presentation in this adaptation of a Michael Crichton novel about an expedition into deep, dark Africa that runs into an unknown race of killer apes. The big monkeys attack and attack and attack and have to be fought off with machine guns and lasers--that's pretty much the story, except there's probably an even better one behind "fourth Ghostbuster" Ernie Hudson's bizarre decision to speak with a British accent. While Marshall wants us to root for the human characters, they're all so obnoxious and unbelievable you can't help but feel lousy for the poor apes when they get chopped to bits just for defending their homes against these twerps. If you're not feeling enough environmentalist ire these days, watch this and get angry. --Tom Keogh ... Read more

Reviews (85)

Preposterous, But Fun Jungle Adventure
In the tradition of H. Rider Haggard and "Indiana Jones" comes another blockbuster adaptation of a bestselling Michael Crichton novel. Up until now, this has not been one of his better known books, although it was a good enough read. The film is okay, but hopefully it will lead people to the even better book.

The story begins in the jungles of the Congo. An expedition of scientists has discovered an incredible find: a huge source of pure, blue diamonds. They communicate the good news back home, but before they can transmit their coordinates, they are suddenly attacked and killed. But by what?

Another scientist is sent in to find out. Dr. Karen Ross (Laura Linney), for reasons best left unexplained, attaches herself to a mission already bound for Zaire. A primatologist (Dylan Walsh) is returning his talking gorilla-she communicates through sign language-to her home in Africa. He is accompanied by a mysterious and very shady Romanian "philanthropist" with the unlikely name of Herkermer Homolka (Tim Curry). Karen comes along at a crucial time with a pile of money and is soon part of the gang.

Once in Africa, they meet up with Monroe Kelly (Ernie Hudson), their Great White Hunter "who happens to be black." That's when their adventure begins in earnest and it is a wild one. I won't give it away here-you probably wouldn't believe me anyway-but it is exciting and suspenseful, if never actually believable.

The screenplay for "Congo" was written by noted playwright John Patrick Shanley ("Moonstruck"). He has an odd sense of humor-witness his underrated "Joe Vs. the Volcano"-that is very much in evidence here. The story at times borders on the ludicrous and it is filled with all the delightful cliches that usually populate jungle adventure films (e.g. porters who go missing in the night, and a corpse with a diamond clutched in its hand).

Maybe the film wouldn't have worked any other way. I don't know. By making the story a pseudo-spoof, though, Shanley has removed the dramatic tension and suspense that made the novel work. Since everything is played for laughs-all too frequently unintentionally-then it is almost impossible for us to really get involved and care about what is happening.

Still, there is always pleasure to be had from a film that doesn't take itself too seriously and is not above poking fun at the customs of its genre. "Congo" has that, plus a few exciting scenes and some fun performances, particularly by Ernie Hudson. It is certainly not a great film, but it is a pleasant diversion on a hot summer day.

Why are these folks so critical, was the book so good?
I did not read the novel and while I won't say it's the best movie ever made (It's probably a four and a half in my opinion) I found it perfectly entertaining. Admittedly, I have read a lot of SF and like well made SF and adventure movies (Aliens 2, Matrix, even Bakshi's LOTR) but I also enjoy any genre of movie that is created with attention and art if possible and not with lowest-common-denominator formulaic design or for contract obligations. True, if your looking for dramatic acting, go watch "Boys Don't Cry", or "Men Don't Leave" (Movies, not a Four Seasons greatest hits compendium) Congo lacks the special effects of the newer Godzilla movie, but I enjoyed it more than the latest Star Wars movie (Phantom Menace) Congo, which I have watched twice on VHS and will most likely pick up on DVD, has, as one of the other reviewers noted, a Saturday morning adventure feel. It was tense and the gorillas were well done for monster movie make-up. The characters all unobtrusively played out their archetype roles. I recommend this movie to those who can keep thier minds open and who have a taste for adventure in a E. R. Burroughs vein.

EXCELLENT STORY-EXCELLENT MOVIE!!!
Definitely a great adventure and one of my personal favorites, Congo, brings to the screen a tale set in the African jungles involving an unlikely group that has banded together in search of a lost city and the rare diamonds that are rumored to exist there in abundance. The actors' performances are outstanding, especially Tim Curry whose "Romanian philanthropist" character steals the show. The plot, the jungle ruins, and the battles are all wonderful, making this film one of the best of its kind.
Congo is an action packed movie with strong elements of Indiana Jones and Tomb Raider, therefore, a "must see" for those with a passion for archaeology, mystery and adventure.

Before Python there was Congo
Made way back in 1995. A horror story about a lost city and killer gorillas. A research team is slaughtered by some unknown creature will locking for a dimon to power a laser. Design for communication. She goes on a quest across the africian border to retrive it.

What she things is an ancient legendary city and killer gorilas. Can the survive and get off the island. Before the volcano errupts.

If you like Congo I also recomend Raptor, Python, Phyton 2, Anadaconda.

Entertainment well done
I loved this movie, bought the DVD and watch it over and over the performance is so good. It is hard to single out any one thing. The musical score and songs are so good, I keep playing them over in my head. The scene where Dylan Walsh's character starts singing "California Dreaming" to Amy and everyone of the Africans join in the song shows the universality of music and song to people. As with any well executed movie, the details were done right letting the viewer enjoy the actors work. All of the priciple actors came accross as believable in their characters. The only mystery to me is the total lack of credit listing for Joe Pantoliano's participation and his character not even being listed in the ending credits! There must be some Hollywood Gossip behind that. Ernie Hudson really stole the show. The using of a British accent was genius. Since the English colonized and ruled most of Africa for years and set up most of the schools, an African guide would speak English with a British accent. The ending sequence with the volcano erupting and the land splitting brings back fond memories of 1940s "expedition" movies that always ended with such a scene.

"Congo" is entertaining, well directed, scored and acted. It is well worth the price of purchase and my only critcism (the devil is in the details) is the depiction of too few porters to haul the amount of equipment they kept coming up with for different scenes. Laura Linney's character was great! She had the best lines in the movie too.

Rent it or buy it, you will not regret it. ... Read more

Amazon.com essential video

From the sun-dappled heartland, a young man (Robert Redford, in soft lighting) emerges as maybe the best baseball player anybody's ever seen. On his way to the majors, he is cut down by an enigmatic black widow (Barbara Hershey) and vanishes for many years. When he reemerges, a silent mystery, he lands a spot with the New York team and begins tearing up the league--he's still the natural. Fans of the Bernard Malamud novel will be dismayed at the pure mythical hokum of this film, but baseball fanatics have been known to watch and rewatch this one; after all, it's constructed as a kind of shrine to the national pastime. Barry Levinson (Rain Man) directs the movie with an unabashed devotion to the game, although the film could use more of the realities of chewing tobacco and pine tar. Redford is fine, and Kim Basinger and Oscar-nominated Glenn Close are effective as the women in his life. The crowning touch is the soaring, extraordinary music by Randy Newman, the singer-songwriter turned orchestral composer. --Robert Horton ... Read more

Reviews (97)

Coulda Been Great
THE NATURAL has some truly great elements, especially the much copied score, good cinematography, and some moments that almost capture the mythical quality of baseball. Unfortunately, it falls short of the greatness it should have achieved. Nevertheless, THE NATURAL is arguably one of the better films about baseball (along with "Pride of the Yankees"), and it's worth a look.

Robert Redford plays Roy Hobbs, a man who truly loves baseball. All his life, he's been poised for greatness, but life has thrown him for some loops. He returns to the game in his late 30s and gets a final shot. Redford is pretty good in the role, although he's really too old for the part. Barry Levinson directs, and his direction is unusally ham-fisted...he and the actors telegraph every plot twist. Glenn Close was nominated for an Oscar, but she really isn't that good as Hobb's long-time love interest. Ultimately, the movie is too melodramatic and unfocused with cardboard characters, especially the villianous judge.

Extras: The only real DVD extra is a documentary on the movie featuring Cal Ripken Jr. It's pretty good, more affecting than the movie!

A Classic Baseball Fairy Tale!!