Reviews (24)

Good Doctor Praetorius and the Mysterious Mr. Shunderson
"People Will Talk" is a movie that I first stumbled upon while flipping channels one day. Cary Grant plays Dr. Noah Praetorius, who both practices and teaches medicine with an apporach that is refreshingly modern, even by today's standards. When young Deborah Higgins (Jeanne Crain) collapses, the good Doctor learns she is pregnant, unmarried, and suicidal. After telling her a story about a frog to make her think she is not really pregnant, some things happen and he ends up marrying Deborah. Meanwhile, Professor Rodney Elwell (Hume Cronyn) find Praetorius's novel methods abominable and is trying to find out the truth about not only the good Doctor but his strange companion, Mr. Shunderson (Finlay Currie). The film's climax is an inquisition into Praetorius's past (which keeps him from conduction his orchestra made up of all the school's med students), where it seems that he cured people in a backwater town as their butcher. However, the more Elwell goes after Praetorius, the better the good Doctor looks. Then there is the unbelievable truth about Mr. Shunderson.

For me and a lot of other people the strengths of this film outweigh its weaknesses. The proposal scene does not really work, Grant's performance goes off in different directions from time to time, and you have to think Professor Elwell is too smart to be this stupid. But for me the reason I always watch at least the end of this film whenever I can is that the payoff for the mystery of Mr. Shunderson just bowls me over. Walter Slezak is wonderful as always playing Professor Barker, Praetorius's stout supporter, and although it might be a tad forced I love the scene where the three men are playing with the good Doctor's new train set. Hume Cronyn creates an extremely bitter little man to be the story's villain (pay attention to the little details of his performance). Basil Ruysdael does a nice job as the Dean, who finally restores sanity to the proceedings. Certainly there are massive holes in "People Will Talk," but for me the sum of the whole is greater than the parts. I know lots of better films that are not as enjoyable as this quirky little film.

Dr. Praetorius I Presume!
Another one of Joseph L. Mankiewicz's films to be lost in the wake of All About Eve, People Will Talk is a terrific comedy/drama featuring a wonderful cast. Cary Grant is Dr. Praetorius whose treatment of patients is somewhat controversial and unconventional. When he befriends a young, unmarried pregnant woman (Jeanne Crain), Grant finds himself the focus of an investigation lead by a jealous collegue (Hume Cronyn) at the university where they both teach. Grant's interest and concern for Crain goes so far as his proposing marriage. And then there's the matter of Mr. Shunderson (Finlay Currie), Grant's seemingly simple-minded, yet constant companion. No one seems to know the details of Mr. Shunderson's life, except Grant, and he's not telling. Not a huge hit when first released, People Will Talk has developed an almost cult following today, and like many past film "failures," it's now considerd a pretty good film. Perhaps it was ahead of its time, but it has some wonderfully rich characterizations, including great turns by the aforementioned Currie, Hume Cronyn, Walter Slezak, Sidney Blackmer, and a terrific bit by an unbilled Margaret Hamilton as Miss Pickett to keep the narrative moving. My favorite scene is Grant's visit to Crain's uncle's house (she and her father life with her uncle). Grant, Blackmer, Currie, and Crain are all sitting on the front porch. Crain objects to being the center of their discussion and refuses to leave the porch. She goes so far as to scream the cook's name "Bella" at the top of her lungs, rather than move from her perch. What the movie does say about the practice of medicine and human relationships is perhaps more relevant today than when first released in 1951. As with most Mankiewicz films, it is successful on the surface. If there was another intent by the director to tell another tale or an allusion to something else, look at this as an added bonus. Fans of Cary Grant will not be disappointed; this is one of his best and most relaxed performances on film. And fans of Jeanne Crain will be pleased as well. Her role is the more difficult one and she pulls it off quite well, besides looking beautiful in ordinary farm-girl dress. Any way you slice it, you'll be talking about People Will Talk.

Good Doctor Praetorius and the Mysterious Mr. Shunderson
"People Will Talk" is a movie that I first stumbled upon while flipping channels one day. Cary Grant plays Dr. Noah Praetorius, who both practices and teaches medicine with an apporach that is refreshingly modern, even by today's standards. When young Deborah Higgins (Jeanne Crain) collapses, the good Doctor learns she is pregnant, unmarried, and suicidal. After telling her a story about a frog to make her think she is not really pregnant, some things happen and he ends up marrying Deborah. Meanwhile, Professor Rodney Elwell (Hume Cronyn) find Praetorius's novel methods abominable and is trying to find out the truth about not only the good Doctor but his strange companion, Mr. Shunderson (Finlay Currie). The film's climax is an inquisition into Praetorius's past (which keeps him from conduction his orchestra made up of all the school's med students), where it seems that he cured people in a backwater town as their butcher. However, the more Elwell goes after Praetorius, the better the good Doctor looks. Then there is the unbelievable truth about Mr. Shunderson.

For me and a lot of other people the strengths of this film outweigh its weaknesses. The proposal scene does not really work, Grant's performance goes off in different directions from time to time, and you have to think Professor Elwell is too smart to be this stupid. But for me the reason I always watch at least the end of this film whenever I can is that the payoff for the mystery of Mr. Shunderson just bowls me over. Walter Slezak is wonderful as always playing Professor Barker, Praetorius's stout supporter, and although it might be a tad forced I love the scene where the three men are playing with the good Doctor's new train set. Hume Cronyn creates an extremely bitter little man to be the story's villain (pay attention to the little details of his performance). Basil Ruysdael does a nice job as the Dean, who finally restores sanity to the proceedings. Certainly there are massive holes in "People Will Talk," but for me the sum of the whole is greater than the parts. I know lots of better films that are not as enjoyable as this quirky little film.

a dramatic misfire, but worth seeing
"People Will Talk" used to be one of my favorite movies. Watching it again reveals that -- dramatically -- it's as sterile and antiseptic as Dr. Praetorius's operating room.

"Talk" -- and I deliberately selected "Talk" rather than "People" as the shorthand -- was Joseph Mankiewicz's follow-up to "All About Eve." He'd no doubt had this project on the burner, and "Eve"'s huge success gave him the clout to get it produced.

The story (from a German play) must have looked nice on paper -- an idealistic doctor keeps an out-of-wedlock pregnant woman from committing suicide, while successfully defending himself from unjust charges of medical impropriety -- but it doesn't play well on film. Not in Mankiewicz's adaptation, anyway.

Mankiewicz is more interested in being clever than humane, and in a story about what it means to be humane, he fails to make a sincere connection with the characters' inner lives. Even when the characters are forced to confront their situations, Mankiewicz's penchant for witty dialog overrides believable dramatic interaction. Issues are resolved in a "verbal Band-Aid" fashion, merely by the application of clever words.

"Talk" seems more a reflection of Mankiewicz's personality than anything else. The characters are spokespeople for his views rather than fleshed-out human beings. When Shunderson says he's reached the point where music is just about the only thing he enjoys, you suspect you're hearing Mankiewicz himself. (At the age of 57 -- and, like Mankiewicz, a Brahms freak -- I know what he means.)

The principal performances are ineffective. Dr. Praetorius -- who has a history he doesn't want made public -- must have appealed to Cary Grant, who was similarly hounded by rumors about his private life. But his doctor is more charming than deep. There is rarely the sense of "gravitas" you would expect from a person so concerned about the welfare of others. He comes perilously close to expressing a light, almost patronizing attitude towards the problems of human existence. You do, however, get to see the unique "Grant sidle" in the barn scene.

Jeanne Crain's performance is terrible. She's not only miscast -- there's no chemistry whatever between her and Grant -- but the script requires her to be both intellectually strong _and_ vulnerable enough to attempt suicide, while possessing the mental agility and wit to win a verbal fight with Dr. Elwell (Hume Cronyn). Even Bette or Kate would have had trouble handling all that. Poor Jeanne isn't remotely up to it. *

But the supporting players are a delight. Hume Cronyn is at his peak, playing the weaselly Dr. Elwell as a flawed human being, rather than a caricatured villain. Then there's Walter Slezak as a self-absorbed physicist, and marvelous Margaret Hamilton as Dr. Praetorius's ex-housekeeper. She's typecast, but brings far more to the role than you'd expect.

"Talk" is more than a half-century old, and shows it in many ways. The thought that an unmarried pregnant woman would even _consider_ suicide seems alien, even to someone (like myself) born before the film was made. The Code-enforced treatment of attempted suicide is delicate (we don't see Crain lying on the floor, only the people gathered around her), while Mankiewicz's reference to abortion -- without actually saying the word -- is a model of brilliant writing any would-be screenwriter should study.

So, with all this nay-saying, is "Talk" worth a look? Yes. Mankiewicz's dialog is always fun to hear. (His 1983 biography is titled "Pictures will Talk.") And the story _does_ have much to say about professional integrity and respect for other people's private decisions. It also presents the older view that medicine is not about treating symptoms, but treating people -- "Helping sick people get well," as Dr. Praetorius puts it. In an era when motion pictures are rarely "about" _anything_, it's a pleasure to watch a film that -- though it does so in a pompous, even self-righteous manner -- is not embarrassed to say something worth hearing.

The DVD (which I purchased 12/09/03) is sharp, finely detailed, with excellent contrast, but a lot of film grain (or is it coding artifacts?) visible in many scenes.

* The fault is at least partly Mankiewicz's. There is a lot to be said for Hitchcock's approach of letting the actors find their own way.

Can this bomb really be from Joseph L. Mankiewicz
I love Cary Grant films, and I love Makiewicz, but this film is a significant disappointment in both of their careers. Far from engaging, this is one of the low-points in both of their careers.

Not recommended! ... Read more

Amazon.com essential video

Tom Hanks was a relatively unknown TV actor with a sitcom as his biggest credit when relatively unknown director Ron Howard (best known for his own sitcom acting) cast him in this surprise hit. It made stars of Hanks, Daryl Hannah, and John Candy and an A-list director out of Howard. Hannah is a mermaid who comes to Manhattan in search of Hanks, the guy she has twice saved from drowning. Hanks runs a business with his lovable blowhard brother (Candy), whose goal in life is to have a letter published in Penthouse. When this perfect woman shows up, Hanks can't believe his luck and plunges into a dizzyingly romantic relationship, unaware of her sea-water secret. But the mermaid needs to soak and unfurl her tail from time to time, which leads to complications, including her capture by the government for scientific study (what else?). Hanks is winningly charming and Hannah is a perfect match in this enjoyably high-spirited comedy, though the biggest laughs belong to Candy. --Marshall Fine ... Read more

Reviews (36)

A movie that made a big splash
"Splash" was a big hit when it first hit the screens back in the 80's and it's still fairly popular today. A man (Tom Hanks) that has been waiting to find the right woman for a long time finally finds her. But there's one problem that he doesn't understand until he really gets to know her, she's a mermaid (Daryl Hannah). How will a man and a mermaid work it out and stay together?

"Splash" is a real entertaining movie and it's not all drama. It tells a story of true love and it does have a lot of drama in it, but it also has a little bit of comedy to it in some parts, and most of that is credit to one of the best comedy actors ever, John Candy, who plays as Tom Hanks's brother. If you like good movies, I definitely recommend getting "Splash." It's bound to make a big splash while you watch it.

One Of My All Time Favourite Comedys!
I will never forget the first time I saw the movie "Splash". It was in California 6 years ago and I watched the tape with my cousin. I thought it was so creative and the acting was so good. It was also a very humorous and did have a few sad parts in it, but all in all, I still liked it and watched it as many times as I could on TV because it was on alot. I then ended up buying my own copy. Ok, enough about me, let me tell you a bit about the storyline

Tom Hanks plays Allen Bauer, a single bachelor who is looking for a love. After a boating accident, he is rescued by a mermaid (Daryl Hannah) and falls in love with her and names her Madison. For he thinks she is a normal, everyday American woman, he has no clue he is dating a mermaid who has 6 days to have legs and not fins!!! Of course this film has lots and lots of surprises, it never tires me out when I watch it!

What a film! No wonder why it is a classic! Rated PG for Language.

SWEET, FUNNY, ROMANTIC, ORIGINAL, WHAT ELSE CAN YOU ASK FOR?
Usually when I hear "an 80's comedy" I really hear "a silly, gross, stupid comedy"...but not this time my friends, because "Splash" is one of the funniest films of the 1980s. You see, it really has it all: funny jokes, tender moments, romance, an intelligent script, and a very charismatic cast.

In "Splash" we can see a very young Tom Hanks (in his comedic period), a promising Darryl Hannah (she didn't quite reach stardom, but in this movie she is great), a hilarious John Candy (in one of his finest and funniest performances), and Eugene Levy, he plays a wacky and clueless scientist.

"Splash" is a movie that effectively combines comedy with romance and fantasy, perhaps the movie succeeded so well because the people involved in the film were youthful and energetic, and they put their hearts in the making of "Splash". This movie is highly recommendable.

Hilarious romantic comedy
I just watched Splash over the weekend on video, for the umpteenth time and I have to say is one of my all time favourite comedies. It still has me laughing out loud and makes me want to weep over the romantic scenes.

A young Tom Hanks plays Allen Bauer, a fruit wholesaler who has just been dumped by his girlfriend. He goes off to Cape Cod one evening after getting drunk and is rescued by a naked beautiful girl (Daryl Hannah) when he falls into the sea. The naked beautiful girl later arrives in New York at the Statue of Liberty in search of Allen whom she also saved from drowning many years ago when they were children. Allen immediately falls for her and spends the happiest days of his life steaming up his appartment and seeing the sights of New York. The only problem is the naked beautiful girl (now named Madison) is in fact a mermaid but Allen doesn't know this.

She has six whole days to stay with Allen and then she must return to the sea. Allen thinks that Madison is an illegal immigrant and offers to marry her so that she can stay with him. She refuses at first and then accepts his offer but before she can tell him her big secret she is exposed to the whole world by a scientist (Eugene Levy) that she is a mermaid. Allen is shocked and backs away from Madison but later realises his mistake and with his brother (John Candy) and the help of Eugene Levy they save her from imprisonment by the scientists.

John Candy who plays Allen's playboy brother is absolutely hilarious. His character is literally larger than life. The comic timing between Tom Hanks and John Candy is spot on. Daryl Hannah is also great as the mermaid who learns to be human in literally a few days. There are some brilliant laugh out loud scenes such as when Daryl Hannah is at Bloomingdales watching television for 6 hours to educate herself in the English language and when she's in a restaurant eating lobster including the shell. There are some great lines aswell such as when Allen mentions about getting married and having children and Madison innocently asks what kind.

Splash is a timeless comedy and is highly recommended to all those who love a bit of romance along with a good laugh.

Lealing

A "Slash" of a Romantic Comedy!
Here's a true piece of Hollywood Candy, a sweet as they come! An 8-year old boy falls off of a tour boat at Cape Cod and is saved from drowning by what appears to be a little girl mermaid. The boy never forgets about what happened that day, although everyone insists he was hallucinating.

Years later, now a man (and played by Tom Hanks), another trip to Cape Cod brings a dejavu: Hanks falls off of a tour boat and is rescued by an all grown mermaid (played by Daryl Hannah). Could it be the same mermaid that saved him when he was a boy? -- The mermaid has normal legs when kept dry, but once douced with water, the legs turn into fish finns. Hannah is able to conseal her true identity, until a "bad guy" exposes her. There are complications, but eventually everything comes up roses.

One great scene is where the grown up mermaid spends 6 hours in the electronics department of a store, and learns the English language fluently by watching tv non-stop. Cute! -- This film is very entertaining and helps us feel compassion for anyone who is somehow different from what society considers the norm. The somewhat predictable ending is beautiful! Highly recommended, especially to the hopelessly romantic cinema enthusiasts out there!***** ... Read more

Amazon.com essential video

Barry Levinson (Wag the Dog) directed this comedy-drama about an Armed Forces Radio disc jockey (Robin Williams) whose manic, hilarious delivery from a studio in 1965 Saigon gives U.S. troops in the field a morale boost (while upsetting military brass). Based on the real-life experiences of deejay Adrian Cronauer, the film is actually more concept than story: put Williams in front of a microphone and let him go nuts. Still, the surrounding stuff about the influence upon Cronauer of the endless deaths among his listeners--as Cronauer tries to stay funny while feeling the mounting losses--is affecting. Williams got a much-deserved Oscar nomination for his work. DVD release available. --Tom Keogh ... Read more

Reviews (34)

funny comedy, so-so drama
This flick really put Robin Williams on the map, and deservedly so- he's freakin' hilarious in this movie! Good acting jobs by all major roles; Forest Whitaker also does nicely as the "protege".

However, the fault of this movie is where it tries to be serious. Williams's politics are thinly veiled, as the only people who oppose anything he does (VC's, bully GI's, "the brass") are stereotypes. Nothing Haup or Dickerson say or do is ever pleasant or reflective of any redeeming qualities whatsoever. In addition, after picking oneself up from the floor from laughing at Williams's brilliant jokes, one can step back and understand (empathize?) why people might not have liked such comments as "If it's being done well, here or abroad, it's probably *not* being done by the U.S. Army!" Now, maybe that's true, maybe it's not, but a lot of people work (and worked) very hard to be sure that what the U.S. Army did is/was done well, and these people wouldn't be the jerks that Dickerson and Haup (sp?) are in this film if they took offense to a deejay like Williams's portrayal of Cronauer.

In short, watch this movie and enjoy the humor, but think twice before taking any sort of "deeper meaning" more seriously.

He bucked authority and won the hearts of the soldiers
Starring Robin Williams as Airman 1st Class Adrian Cronauer, this 1987 film is loosely based on a real radio DJ whose outrageous sense of comedy bucked authority and won the hearts of the American soldiers in 1965 Vietnam. The audience never learns much about Cronauer's character as there is virtually no back story. He is just set down in Vietnam at a time in history when the American police action is about to escalate. When he gets to know the Vietnamese villagers, however, his character slowly changes. Of course there is conflict with his very uptight superiors which adds to the comedy. Eventually though, the story becomes more complex than the comedy and, at film's end, Cronauer has become more mature and wiser.

I found myself giggling at the jokes, but eventually the comedy all had a certain sameness. However, I did get into the story. There wasn't much military action, only some strong hints of what was to come. Wisely, the film focused on the characters and portrays the Vietnamese villagers as real people who Cronauer teaches to curse in American slang and with whom he plays baseball, using mangos as the ball. This is a good video, lighthearted and yet with a message. Robin Williams' performance is excellent. And, although some of the action was a little too slow for my taste and the comedy ran thin early, I still do give it a good recommendation.

Gooooood Moooooorning Amazonnnn!!!!
Robin Williams, one of my favorite actors, is great as the crazy DJ who shakes things up for the soldiers of Vietnam. With his ability to do so many voices, love the Cronkite, and also his talent to convey some of the most diverse emotions, Robin Williams leads the movie. William's character is a radio dj, as I mentioned, who seems in his own world, and happy with it. Yet, with the violence of vietnam but also it's appeal, which to him is the Vietnamese people themselves, he is torn. One of the more uplifting stories about Vietnam this movie is very good and very funny, as only William's, even early in his career, can be.

Morality Charged Comedy
When Williams gets to do his stand up bit behind a mike as a Vietnam War disc jockey the results are hysterical. However, when the movie timidly ventures out from the safe confines of the airbooth, the movie seems ungainly. Williams' Adrian Cronauer is actually kind of a jerk. A funny jerk but a jerk. Being uncooperative, giving people a hard time and being a smart alecked rebel-without-a-cause seem to his modus operandi for the 1st 2/3 of the movie. The movie seems to be trying to tell us the Vietnam War was bad and sad, censorship is bad, mean people suck, many people in influential positions are self-interested jerks and the Vietnamese citizens were just people like you and me. I couldn't escape the impression that the scritwriter was much more interested in making a Robin Williams Movie than in showing any real interest in the Vietnam War.

Wakeup Call, Williams Style.
1965 was the year when, as a result of the Congressional Gulf of Tonkin Resolution, American military buildup in Vietnam began in earnest, and troop strength grew by a factor of no less than eight; from 23,000 at the beginning of the year to roughly 184,000 at the end. 1965 was also the year when a new AFN DJ arrived in Saigon, which over the course of that same year would transform itself from a sleepy French-Vietnamese colonial town into the nightmare it has since come to be in the memory of countless vets.

The new DJ in question was Adrian Cronauer; fresh from an assignment in Greece.

While the idea for a fictionalized account of his Vietnam experience was Cronauer's own, fueled by the popularity of "M*A*S*H," the script for Barry Levinson's "Good Morning Vietnam" was ultimately penned by screenwriter Mitch Markowitz with only some input from Cronauer himself, who has since gone out of his way to underline the fictional nature of the account and stress that his true stance was not so much anti-military as "anti-stupidity." Thus, the film has to be taken with a considerable grain of salt; both as far as the portrayal of 1960s' armed forces radio and as far as the movie's plot is concerned. But that doesn't make it any less poignant; nor does it take away one iota of Robin Williams's performance as Cronauer: Indeed, the role of an irreverent, unstoppable DJ seemed tailor-made for Williams, who had burst onto the scene with his inimitable brand of lightning-quick ad-libbing ten years earlier in "Mork & Mindy" - and of course, all of Cronauer's hilarious broadcasts in this movie are ad-libbed, too.

The film follows Adrian Cronauer from his arrival in Saigon in the spring of 1965 to his forced departure about a half year later (although the real Cronauer in fact stayed for a year and was not forced out but left when his regular tour of duty was over). While a comedy, and although not trying to be anywhere near the "definitive" take on Vietnam, it does take a close look at the year when the conflict escalated and, in particular, at the resulting toll on human relations. Robin Williams earned his first of to date four well-deserved Academy Award nominations for this role (the others were for "Dead Poets Society" [1989], "The Fisher King" [1991] and "Good Will Hunting" [1997], the movie for which he finally scored on Oscar night). And in his inimitable way he provides pointed comic relief not only over the microphone but also, and always with a unique ear for the situation's mood, whenever the script would otherwise threaten to veer off into melodrama; such as after his discovery that his Vietnamese friend Tuan is actually a Viet Cong fighter named Phan Duc To ("It's unbelievable. Five months in Saigon, and my best friend turns out to be a V.C. This will not look good on a resume!!"); and in scenes that would otherwise be burdened with a bit too much cliche and/or deliberately funny writing, such as the conference after Cronauer's first broadcast, where Bruno Kirby (Lieutenant Hauk) gets to deliver such gems as "Don't say that the weather is the same all the time here, because it's not; in fact, it's two degrees cooler today than yesterday" and "I hate the fact that you people never salute me - I'm a lieutenant, and I would like salutes occasionally. That's what being a higher rank is all about." Even if Kirby himself gets to make up for these a little later in the same scene with the comment "We are not going to escalate [Vietnam into] a whole war so we can get a big name comedian" (Bob Hope who, as the men have informed him, does not "play police actions"), it takes Williams's/Cronauer's final weaving of the lieutenant's preferred abbreviations into a single sentence to truly put the finishing touch on the scene.

Although "Good Morning Vietnam" is clearly first and foremost a star vehicle for Robin Williams, he is joined by an outstanding supporting cast, including inter alia, besides Bruno Kirby, Forest Whitaker as Cronauer's good-natured sidekick PFC Montesque Garlick, the ever-reliable J.T. Walsh as his second great nemesis, Sergeant Major Dickerson (whose stock character of a straight-laced white middle class guy would probably not have come off convincingly as a villain vis-a-vis anybody *but* Robin Williams) and, in particular, Tung Thanh Tran as Tuan and Chintara Sukapatana as his sister Trinh: Her plea with Cronauer not (even) to seek her friendship, let alone more, because for her such an association with a man (particularly a foreigner) is culturally unacceptable, is one of the movie's most quietly powerful scenes. Exceptional is further Peter Sova's cinematography, which convincingly captures the daily realities of a city and a country on the brink of an all-out war, and is brilliantly complimented by the editing, which in turn also uses the soundtrack - more or less a mid-1960s "greatest hits" compilation - to maximum effect; be it in framing daily military routine, the soldiers' enjoyment of Cronauer's style of broadcasting or combat action: Indeed, hardly any image could make a more powerful statement on the cruel absurdity of war than seeing a village blown up to the tune of Louis Armstrong's "It's a Wonderful World."

Thus, "Good Morning Vietnam" is in its own way as poignant a wakeup call as any other movie about Vietnam - or about World War II, or any other war for that matter. It deservedly netted the Political Film Society's 1989 Peace Award, in addition to Robin Williams's Oscar nomination and his Golden Globe and American Comedy awards, as well as the movie's ASCAP soundtrack award. And it certainly bears revisiting - for its overall quality, for Robin Williams's performance, and also for lessons learned and deserving never to be forgotten. ... Read more

Reviews (4)

Yipes!
This is VERY loosely based on Book One of John Galsworthy's "The Forsyte Saga". The story is so altered from the original that it's barely distinguishable, aside from the fact that the main characters are Soames Forsyte, Irene "Herrinford" Forsyte, and Phillip Bosinney. Despite being set in 1880s London, there is no real sense of the period, and no one really has an English accent--but that's the least of the film's woes. In the original book and subsequent mini-series adaptations, Irene is a beautiful, free-spirited woman who wants to marry for love. She is forced into marriage with Soames Forsyte, who is an extremely repressed individual who loves her but cannot express it. Irene does not have any feelings for Soames, which makes the one-sided love affair all the more heart-wrenching. Here, in this film version, Irene seems not to mind Soames at all. She smiles and laughs and actually seems to enjoy his company during their courtship. She then inexplicably rejects his proposals of marriage, even though she seemed to be pretty well taken with him. Later she begins to drift away, but even then it isn't the coldness that comes through in the novel. Irene remains the focus of the rest of the film, which does borrow some plot elements from the original work, but it deters greatly towards the end. Like Irene, Soames is not quite the character that Galsworthy described, though he is given a few chances to exhibit that Forsyteian preoccupation with property. His treatment of Irene is somewhat believeable; he has a formalness around her, as though dealing with a valuable object, but he does not show that underneath it all he really loves her. The film is lacking in scenes with the entire Forsyte clan. This is possibly the most damaging to the film, since just about every Forsyte has something unique and entertaining to give to the story. If you like old period films, this one is worth a look. But if you are a fan of the books and/or the mini-series, it's not.

MGM costume drama at its best
THAT FORSYTE WOMAN is the film of part one of John Galsworthy's "The Forsyte Saga", and stars Greer Garson and Errol Flynn in two of their finest performances.

Irene (Greer Garson), reluctantly marries Soames Forsyte (Errol Flynn) a charming and genteel man. After the marriage, however, Soames shows his true colors; cold, controlling and manipulative.

Two years go by, and Irene's niece (Janet Leigh) introduces her to her beau, an architect (Robert Young). Without knowing it, Irene and the architect begin a torrid love affair that ends in tragedy..........

Stunning Oscar-nominated costumes and lush, plush sets abound in this engrossing film. Very good indeed.

A classic MGM film
"That Forsyte Woman" is the type of movie that MGM is known for-- a first rate cast, good script, excellent scenic and costume design, and top notch direction.

An adaptation of a classic novel, MGM legend Greer Garson is cast as Irene, a piano teacher who not only marries well-to-do lawyer Errol Flynn, but also into his family, the Forsytes.

At first, all seems like a perfect little Victorian era marriage, however there is a dark side to Flynn's character. Ms. Garson ends up falling for her niece's fiancee, a young architecht, played by Robert Young. Garson tries to stop Young's pursual of her, however, they both succumb to their love. When niece Janet Leigh learns of the affair between her aunt and fiancee, she does a deed that will bring turmoil to the good Forsyte family name. The film co-stars Walter Pidgeon, as Leigh's black sheep father, and Harry Davenport, as Leigh's grandfather, patriach of the Forsyte clan.

The film is a jewel in the crown of MGM and deserves a place in the classic film library of someone who appreciates Hollywood greatness.

Errol Flynn Acts
Offered his choice of the two heroes in this lavish MGM soap opera, Errol Flynn demonstrated his integrity by opting to play the unsympathetic role of Soames Forsyte. He does some really memorable work portraying the Victorian "man of property" who unwittingly loses his wife because he can't see her as anything more than a possession. In the Galsworthy novel, we only see the wife through Soames' eyes, but she is made into the protagonist of the movie, with motivations noble enough to suit tedious Greer Garson, who ends up yet again with Mr. Miniver, Walter Pidgeon. There is also, you should be warned, a poisonously bad performance by Robert Young as a dashing, dreamy architect (the role Flynn wisely refused). But from the first images of the tortured characters emerging from the Technicolor fog, this is a gripping and intelligent film. ... Read more

Amazon.com

Peter Sellers's third go-around as the prideful but bumbling Inspector Jacques Clouseau is funny enough, but this 1975 Blake Edwards revival of the Sellers-Clouseau connection is a little weak in comparison to predecessors The Pink Panther and A Shot in the Dark (both made in 1964). Costar Christopher Plummer actually gets some of the most interesting screen time as a retired cat burglar whom Clouseau accuses of getting back into the business. (If it sounds like there might be a To Catch a Thief vibe mixed in here, you're right.) Herbert Lom is hilarious as Clouseau's psychologically eroding boss, and Clouseau's ritualistic collisions with valet Cato (Burt Kwouk) are great examples of Edwards's delicious comic timing. --Tom Keogh ... Read more

Reviews (43)

Great movie, not-so-great DVD
Peter Sellers was one of the most gifted comic actors of the 1960s and 1970s; Inspector Clouseau was his most beloved role. Blake Edwards, the film's director and creator, was a master of both subtle humor and slapstick. For these reasons, The Return of the Pink Panther is a true classic for many of us. It's a movie that never fails to leave me in a great mood. However, as other reviewers have noted, there are some serious issues with the DVD. I purchased it (and am glad I did) because I didn't have a VHS copy of the film. To be honest, I don't know what advantage this particular DVD can offer versus a VHS, since there are no real extras here, and no choice between widescreen and full screen (and no anamorphic widescreen!). I sincerely hope that this film is reissued in the future, complete with outtakes and remastered sound, and treated with the respect it deserves.

More Important for what it accomplished
The best thing about this film is that it returned Peter Sellers to the role of Inspector Jacques Clouseau under Blake Edwards' direction after Alan Arkin's single portrayal in 1968's INSPECTOR CLOUSEAU directed by Bud Yorkin. More importantly it did not only return Sellers but it also instituted the Pink Panther and Sellers as Inspector Clouseau in a legitimate film series instead of just a few sporadic sequels and it launched a huge cinematic rebirth and phenomenon. Unfortunately this film seems to lack the magic of 1964's THE PINK PANTHER and the sophistication of A SHOT IN THE DARK. Christopher Plummer replaced David Niven as Sir Charles Lytton in this film. Plummer is good but it seems a shame since Niven reprised his role later in 1982's TRAIL OF THE PINK PANTHER and 1983's CURSE OF THE PINK PANTHER, which were made after Sellers' death (in 1980) in an attempt to revive the series without him. Catherine Schell as Claudine Litton lacked the charisma of earlier leading ladies Capucine and Elke Sommer. On the plus side, Sellers is brilliant as Clouseau as are Herbert Lom as Chief Inspector Charles Dreyfus and Burt Kwouk as Kato back and featured prominently in the rest of all the subsequent Pink Panther films. Much needed and returning is a score composed by Henry Mancini a very integral component of this series. THE RETURN OF THE PINK PANTHER has some very good comic sketches and a very good opening jewel heist but the script just doesn't seem to be a very cohesive force. However, better things were yet to come. As for the DVD, the quality is just average. For me, the picture quality is just too soft. The MGM prints of the other Pink Panther films on DVD are much crisper.

DA DUM DA DUM, DA DUM, DA DUM DA DUM DA DUM...
Has there ever been a more catchy theme than Mancini's "Pink Panther?" I can't think of any off hand, and in this third entry in the Clouseau series, the music and the animated panther are back in fine form.
Mainly a vehicle for the superb Peter Sellers, this sequel is tired in plot, and struggles for some of its laughs, but one cannot deny the superlative hijinks of Sellers as the impossibly inept Inspector Clouseau. He has so many brilliant moments, it's hard to think of them all, but Sellers is in top form. Christopher Plummer and Catherine Schell do okay, but Herbert Lom and Burt Kwouk as Dreyfuss and Kato are outstanding in their supporting roles. Lom's slow decline into mental illness is hilarious in its cartoonish way, and Kato's fights with Sellers are priceless.
It's an entertaining if inconsequential movie, but I had lots of fun watching it!!

Fair to middlin' sequel
The movie had a few humorous moments, but I found some of it tedious. Cato and Dreyfus are still a riot. though. Cato and Clouseau have their karate fights, culminating in Cato dressing as a Japanese waitress. Clouseau finally drives Dreyfus into the nuthouse after Dreyfuss repeatedly shoots himself with a cigarette lighter.

I still prefer "A Shot in the Dark" and think it is the best of the series. I did not care for the original "Pink Panther" as I found it unfunny.

Although the picture was not razor-sharp, it is not as bad as the one-star whiners would have you believe. With minimal extras, if you don't have high expectations, then the low-priced DVD may be worth your time.

Inspector Clouseau strikes again...

Peter Sellers is great as Inspector Clouseau, with his mispronunciations and bumbling, especially when teamed up with Chief Inspector Charles Dreyfus (Herbert Lom), who hates him.

The wonderful David Niven, of course, is gone from the series, but is replaced by Christopher Plummer as Sir Charles Lytton (The Phantom).

Both Lom and Sellers are a great comedy team and provide a laugh a minute, as they try to catch a jewel thief in Lugash.

I suggest you see the whole pink panther series.

Joseph (Joe) Pierre

... Read more

Amazon.com essential video

Filmed in the widescreen splendor of "Panavision Super 70" and blessed with the finest production values that Hollywood clout can buy, this tale of spunky Irish immigrants forgot one crucial ingredient: a decent screenplay. The film is entertaining enough, and director Ron Howard brings his technical proficiency to the simple plot, culminating in a dynamic, breathtaking depiction of the Oklahoma land rush of 1893. But the movie is really just a vacuous vehicle for married stars Tom Cruise and Nicole Kidman as (respectively) the poor tenant farmer and rich landlord's daughter who flee Ireland to be American pioneers. The scenery and the stars are never less than stunning, but Howard falls short of the mark in his attempt to match the epic sweep of films by David Lean. On the other hand, this movie is certainly never boring even if it rarely makes sense, and Lean's own Irish epic, Ryan's Daughter, is a snoozer by comparison. --Jeff Shannon ... Read more

Reviews (60)

Book of Days
Far and Away is such an incredible looking movie that your heart might end up hating your eyes for distracting yourself from the true beauty of the film.

This film is the story of Joesph and his hopes and dreams. His father is killed and he seeks to kill the man that took his land. Joseph meets up with Shannon, the wealthy daughter of the man responsible for taking Joseph's land, and she pays him to take her to America. Unfortunately they're robbed and we see the cold, harsh realities of foreigners trying to survive in America. Through prize fighting, Joseph begins to make a nice life for himself, while the spoiled Shannon ends up plucking chickens to make end's meat. Their trials and tribulations bring them together in one of the best love stories told, and the ending...well, lets just say that it's one of the most wonderful endings you'll find in a film.

Ron Howard has done an incredible job of bringing this film to life, and the performance of Tom Cruise is one of his best ever. Far and Away is a film that you have to see. You'll feel better about life after you have.

A real feel-good love story for the dreamer in us all.
What can I say about this film to begin my review? Three words. I LOVE it. I may be a little biased, but I love things set in Ireland, Scotland, and that area. I was hooked immediately on the beautiful scenery of Ireland's west coast, and my heart was immediately stirred by the rich and dramatic, yet at times very soft and tender music. Even more so when I read "Music By John Williams" in the opening credits. But I digress.

Music and scenery aside this movie still has much going for it, and it really shines. It's a love story yes, but it's beautiful. Others have mentioned the great chemistry between Tom Cruise and Nicole Kidman here, and they are right. I am not a big fan of Tom Cruise (Rain Man was excellent though) or Nicole Kidman, but they played very well off each other. This film follows, again as many have mentioned, the two lead characters as they make a harrowing journey from Ireland to Boston to Oklahoma in pursuit of their dreams. His is "I'll work my own land someday" hers is "I'm modern, and I'm going to a modern place" She wants to get away from her parents old-fashioned and "stuffy" way of living.

I hate to diss other films so I'll try not to do that here. I WILL say that I loved the love story in Far And Away because it works. And it works because it is given time to develop. Joseph and Shannon hate each others guts at first and make no secret of it, but they are drawn slowly together by the perils of their journey. It is touching to see their hatred for each other change from hatred to grudging respect, to affection, and finally grow all the way to genuine love. This works MUCH better than spending a day on a ship, and saying to yourself "Oh look, there's a pretty girl up on the next deck. Let's take her dancing, partying, teach her how to spit, how to stand on the back of a ship with her eyes shut and her arms outstretched. Then I'll draw a nude portrait of her, and then we'll go and have sex in the back of a car. All witihin a period of about three or four days." (Just for the record I loved Titanic too, but the "quickie" love story took away from the power of the film JUST a TAD because the love between Rose and Jack was not allowed to GROW and DEVELOP into itself as it is here in FAR AND AWAY. In TITANIC the love between Jack and Rose was just THERE. It was just: Boy meets girl. Girl meets boy. Boy loves girl. Girl loves boy. Badda-BING, Bada-BANG, Badda-BOOM)

I'm sorry, I'm digressing again, so I'll try to keep to the point and keep the rest of this short. In summary , to me this film is a great one, well done in every part of the package. LOVELY scenery is wedded to absolutely beautiful music as two great actors are supported by an assortment of loveable aqquaintances and a couple of dastardly villians (I'm counting Mike Kelly here too, see the film to know who he is and why I call him a villian). All this comes together in a beautiful love story that has the power to touch the heart, and the tear ducts, and make you realize the importance of holding onto and going after your dreams. I loved it, and so can you, if you have the courage to let this film touch your heart. If you do allow that, it will carress it. Peace, and God bless you. Always.

Do you have a craving for strawberry tart?
Watch this movie to find out where that line comes from.

In 1892-93, Tom Cruise is poor Joseph in Ireland and Nicole Kidman is rich Shannon from the same country. Their fake accents are collectively awful. Cruise sounds like a wannabe leprechaun.

Together they run off to America where they tell the landlord they are brother and sister so they can share the rent. Joseph becomes a boxer and wins big in the ring. Shannon decides to be a dancehall girl.

Although they profess to hate each other, you know where that storyline is going to end. It is, after all, Cruise and Kidman in their heyday.

I did like the homesteading scene at the end -- where people raced across the plains and made their claims to land. I hadn't known about that piece of history before. Nicely done, Ron Howard!

Too much edited from TV version
I was very disappointed to find so much missing from this movie on DVD. I have the TV version recorded and I know they left out quite a bit. This seems strange since DVDs are suppose to hold so much more information. I also saw the movie at the theater a couple of times,there are parts missing on the DVD that were in the theater version also. Don't buy the DVD if you enjoyed the TV version"with never before seen footage". I had expected the DVD to cover it all,but at least everything I saw at the theater.

Only because I can't give it zero
This well may have been the worst movie I've ever seen. I only watched it to the end to see if it could continue to deteriorate. Shockingly, it did. The storyline was terrible, the dialogue was worse. The best part (or worst, depending on how you look at these things) was the very end. Just when you think the film couldn't get more insipid, a horse rolls over Tom Cruise and, much to Nicole Kidman's chagrin, he dies. She starts crying and screaming over his dead body and, shades of Beauty and the Beast, his eyes suddenly pop open. Yes, he's been brought back to life by the strength of her love. What were these people thinking? If you are trying to find a movie to fill out your list of the ten most worthless films of all time, check this one out. If not, don't bother. ... Read more

Reviews (1484)

Great Action Film
"Gladiator" is a film that should suit all tastes. It is an expertly mounted and eye-filling event; the blood and gore, delivered in split-second imagery (allowing your head to fill in the rest) should satisfy the most blood-thirsty movie goer; and the story is a superb tale of good vs. evil, power vs. honor, and "Might for Right". I was reminded of "Camelot" many times during this film, especially by the almost unrecognizable appearance of Richard Harris as the wise and noble Marcus Aurelis. Joaquin Phoenix gives a bone-chilling performance as the evil and cowardly Commodus, who inherits the title of emperor upon his father's death. But the sole weight of this overwhelming piece rests on the shoulders of the magnificent Russell Crowe. If one doesn't believe in him, then one doesn't believe in this epic costume drama. Kudos to the rest of the cast as well, and hand over heart for the late Oliver Reed. But back to Crowe--he is an actor to contend with. His work in "Gladiator" is a tour de force performance; he very nearly sprays testosterone from the screen. It's what was exactly demanded from him in this role, and he exceeds expectations in that regard.

Gladiator ROCKS!!!
I completely dug this film from beginning to end,and every aspect of it,from the breathtaking cinamatography,the expertly staged battle sequences,and exqusite set-design,to the stellar performances of a top-notch cast,rang true.The film starts with a stunning battle and doesen't let up from the time Maximus says"on my mark,unleash Hell". Do they ever.Russell Crowe is perfect in the lead role,as an expert warrior with a grieving soul and a deep sense of honor and loyalty.It's a true star-making turn,and he oozes rugged charisma from every pore.Equally impressive,but in the exact opposite way,is Juaquin Phoenix as the conniving,decadent,deeply evil Emperor.Also great support from Richard Harris and the late,great Oliver Reed.Director Ridley Scott uses his gift for composition and visual flair to great effect,giving each scene a painterly burnish and unforgettable depth,whether it's the after-life of Maximus' dreams,the bustling,grand sprawl of Rome,the rip-roaring battles of the Coluseum,or the sinister twinkle in the Emporer's eyes.At one point Maximus admonishes the bloodthirsty crowd:"Is this not what you wanted? Are you not entertained?" Indeed we are Russell,very much so.What a great film.

okay
this is a three star movie with a five star dvd. one of the biggest problems with the movie was the first battle. i was expecting braveheart quality but ended with a battle less entertaining than the one in dragonheart. the blurry camera and closeups made it impossible to tell what was happening. if you want to see a movie like this but better, see the last samurai or braveheart.

A Modern Classic of an Old Age
I seldom write reviews for anything, but for a movie like 'Gladiator' I'm willing to make an exception, and gosh if it's worth doing it!!
The movie, by far the best of the year 2000, is not only an award-winning production, but it is also one of the few that I personally enjoy watching again and again and again. Not because it is flawless (at times the storyline is quite predictable) but because it portrays life and death in the Roman Empire in such a way that it really bring those old buildings we all know since childhood (the Coliseum, the Forum, Via Appia, etc) back to life.
And yet it does so not at the expense of the story but through it, from the characters, to the script (they're so many quotables lines from Maximus and Commudus alone to make a CD)...in fact everything in the movie, from the battle in Germanica to the last fight at the Coliseum, is portrayed with realism plus an amazing score lacking in so many movies these days.
The movie of course is not to be seen as "history" in the academic sense but rather as an historical exercise, Holywood style, of one of the most facinating and complex periods of Western History. The attention to the detail is amazing, especially in the opening scene (the battle in Germanica) and the gladiatorial fights. Even most deleted scenes are great in the sense that they allow us to understand the characters a little bit more (Commudus' sword smashing of his father's marble bust is a most see), although they neither add nor take of the story. The casting is superb, with Russell Crow in the main role, Joaquin Phoenix as the Emperor Commudus, along with such legends as Oliver Reed as the freedman slaveholder and Richard Harris as the great Marcus Aurelius.
I'll recomend strongly that anyone who sees this movie shoudl do his/her homework and do a little of reading about Rome, both as a Republic and after, and the huge importance of the entertaining business in her late everyday life (an importance unreached until recent times).
Overall, a classic epic of an scope and ambition not seen since 'Ben Hur'; full of action, drama... and yes, more action.
As the Romans themselves said, Faber est quisque fortunae suae... each one is the architect of his own fortune. Feliciter!

Decent story, captivating effect
Ridley Scott's movie, "Gladiator" is one based on fiction of a General in the times of Marcus Aurelius. It tracks the life of a general who is effective in battle and is to rewarded by the emperor with the crown of Rome until it can be handed back to the senate. The movie won 5 oscars and is compared to Ben-Hur, which is ludicrous. For starters, Ben-Hur had William Wyler as the director who went to Gore Vidal to fix the screenplay. This movie will imaginative has so many historical inaccuracies, it is funny that it can be even thought to be in the same league.

Some of the actors did a decent job, these include Richard Harris as Marcus Aurelius and his daughter, Lucilla. I had problems with Russell Crowe's acting. He is unmistakably patrician, however, and physically very like Richard Burton, with Burton's battered face and gravel-voiced machismo. But Crowe's Maximus is no Mark Antony; there is no destructive love interest in the picture. Maximus is sweetly devoted to his late wife; though it turns out he once had a bit of an unbuckling thing going in his backstory for Commodus's lovely sister Lucilla (Connie Nielsen). I did not think that he deserved the best actor oscar. He has a very limited repertoire of actions and emotions. Crowe is no Tom Hanks or Geoffrey Rush in acting, he does not have depth and breadth of acting.

This movie cannot stand the test of time, it does not have great screenplay and historical integrity. It will gradually ebb away from the minds of the people. To stand out from the other movies, it has to have a new paradigm, either in acting or story or screenplay, none of which are depicted. Another one of those movies that do not deserve the best picture oscars. It is OK to watch this once. If you compare this director with Ang Lee, who did "Crouching Tiger, Hidden Dragon", "Eat, Drink, Man, Woman", and "Sense and Sensibility" you can see the difference in directing talent. See them and judge for yourself. ... Read more

Amazon.com

After the Sunset may not be the greatest jewel-heist caper comedy ever made, but it sure is easy on the eyes. Shifting back into his crowd-pleasing Rush Hour mode, director Brett Ratner kicks off the action with a rousing chase scene that pretty much describes the entire film: utter nonsense, but adequately enjoyable. Things get very sunny thereafter, when FBI agent Woody Harrelson lands in the Bahamas to track down ace diamond thief Pierce Brosnan and his lovely accomplice Salma Hayek, whom he suspects of planning their next big heist on a cruise ship. A Bahamian gangster (Don Cheadle) wants in on the action, and the whole thing's about as fluffy as an Elmo doll and just as harmless, especially when you consider Hayek's revealing wardrobe (which, thankfully, distracts from Brosnan's less-than-Bond-like physique). There's an abundance of witty banter between everyone, and the tropical locations make After the Sunset a balmy, vicarious vacation. Critics weren't exactly kind to this breezy dose of popcorn entertainment, but it's an agreeable time-killer and an instant cure for seasonal affective disorder, even if the comedic chemistry leaves something to be desired. --Jeff Shannon ... Read more

Reviews (45)

Better Than I Expected
This isn't really a caper film, which is one reason I enjoyed it more than I thought I would.Sure, it has some of the elements of the Hollywood caper movie--the debonaire, super-clever and super-successful thief, the cop out to thwart him, exotic locations--but the movie isn't really about will-he-pull-it-off-or-won't-he.It's more of a cat-and-mouse buddy movie.That the heists are utterly implausible, to the point of being ridiculous (as they are in most caper movies, like Oceans's Eleven and Ocean's 12) doesn't matter as much, because it's not what the movie focuses on.

Instead, we get a lot of cute banter and bonding between Harrelson and Brosnan, who are fun to watch.There are some good, low-brow laughs in this movie--they are enough for me.I laughed out loud, for instance, when during the fishing scene Harrelson is putting tanning lotion on Brosnan's back, and Brosnan says, "My pole!" and Harrelson pulls back with disgust and says, "No way, I'm only doing your back!" (Of course, Brosnan meant, Look at the pole; I caught something.)There are other, similar crude jokes and sight gags.

Both men are good in their roles, and fun to watch.The female roles in the movie seem incidental, a formulaic requirement of Hollywood movies, and are never really developed beyond that basic requirement.And what is Don Cheadle, a great actor, doing in such a miniscule role?Anyone could have done his rolel he's sadly wasted.Chris Penn has an amusing cameo...but my goodness, has he gotten fat.I remember seeing him in movies in the 80's, before he starting hitting the Big Macs.You don't often see an actor let himself go like that.

Commercial for Bahama Tourism Starring...
After the Sunset is a fluffy piffle that is almost always beautiful to look at, but emptier than the nutritional content of cotton candy.

Pierce Brosnan and Salma Hayek make a good-looking couple, and the movie actually TRIES to address a theoretical dilemma that is infrequently brought up in movies.If a rich and successful criminal retires, what do they do?If, presumably, part of why they were a criminal in the first place is for the thrill of it, how can they be content simply retiring?If being a thief is both your job AND your hobby, what do you do after the last "big one"?The only film I can think of that showed the boring lethargy that sets in on a successful criminal is the end of "Scarface" when Al Pacino is lying around in the marble tub of his palatial bathroom, smoking a cigar and cursing at his wife and buddy.

But I digress.After the Sunset would be familiar territory if the only movies you had seen were the "Ocean's 11" remake(s).It's a "steal the jewel" caper.It tries to be a comedy, but Brosnan and Woody Harrelson don't have the comic chemistry we've seen both of them have in other work. Harrelson appears as the FBI agent who has been repeatedly burned by Brosnan, and wants to get his revenge.It follows the film cliche where the lawman is "hot on the trail" of the criminal - a la "Heat", etc., but instead of an edgy relationship between the Thief and the Lawman we get a bumbling comic relationship between Brosnan and Harrelson.

The "star" of the film is the way it looks, and much of that is owed to the Bahamanian resort standing in for paradise.The movie made me want to go there - but it didn't make me want to ever see this film again.

Our family has been in manure for three generations!
Did I miss something?Was there a contest going through all the Grade Schools of America to find the best story for acclaimed director Bret Ratner to bring to the silver screen?If so, why wasn't there a calendar made for those who didn't make the final cut?Oh, wait, apparently children did not write this film, but instead a guy that wrote for the TELEVISION SERIES the Weakest Link.That surely makes him ready by all means to tackle the caper genre and inherit a big payday ... right?You are the weakest link ... good-bye.This movie was a disaster from the beginning.With cardboard acting, an aging (and girth growing) sex symbol, and a corny ending that incorporated nothing that we were shown through the entire film, it is a big wonder how After the Sunset ever saw the illustrious "green-light".Perhaps it was the size of Salma's boo ... name, or perhaps the fact that Pierce Brosnan's The Thomas Crown Affair was such a cult film, or maybe because Don Cheadle was in it, because it had really no pull with just Woody headlining.So, how did this film get made?This film targeted pre-teen boys and retirement communities, and with their great pull, the financing behind this film became very easy.

This was a caper film right?We are supposed to go on this roller coaster ride of who's conning whom, coupled with lies, deceit, and a surprise ending that will make you want to rewatch from the beginning to experience anything that you missed.That is the focus, goal, and overall tone that a film like this should have followed.Instead, Ratner decided to just make a movie without any sort of excitement or drive.As I watched this film, I never once felt excited about the plot.Why?Because there was nobody getting me excited.The acting in this film was well below par for anything that Hollywood has released.Pierce tries, but just can't seem to capture the essence of the film.There is no little demon inside you rooting for anything.Salma's role was basically for eye-candy.She provided nothing spectacular either.I can literally say the same for Woody and Cheadle as well.Here we have strong actors doing absolutely nothing during the course of about two hours.These characters never drive the plot, they bring nothing but clichés to the table, and by the end we really don't have any true grasp as to whom they are.Honestly, cardboard cutouts could have replaced the actual actors and After the Sunset would have been a better film.There was no depth to the characters, no emotion, no structure, just the simple direction of "step here, say your line, step here, look surprised".It was embarrassing for all that were involved.

I think a major flaw to this film was that Ratner did not fully understand, or was prepared, for the caper genre.From the opening moments until the end of the film, you can tell that Ratner is just trying to use his friends in the industry and show the world that he has some power as well.I say this because I saw no true direction or moment of impressiveness where he defines himself as a director.He reuses the same ideas throughout the entire film, he doesn't give anything strong to his players, and nothing stood out in this movie.Sure, it was a beautiful location, but am I to believe that Salma spend a majority of the film building a deck for them to sit on?Am I to believe that Pierce is still a sex symbol even with a HUGE gut sticking out?Am I to believe that Cheadle is a bad guy/imported American who is at the top of the community?Finally, am I to believe that Pierce could still move as quickly as Ratner defined?I swear that in the final unclimactic moments of this film, I could hear Pierce doing some heavy breathing to get from point A to point B.Maybe he isn't ready for the next Bond role.

So, without a good story, or decent characters, maybe there was some humor in it that could pull us away from the sour sensation cultivating in your mouth.Well, guess who is placed in to do the humor element? Woody Harrelson.Now, I don't mind Woody, but in this role, he just wasn't believable and his humor was so cliché that I had trouble believing that he brought anything to this character.He literally plagiarized his entire role.Teachers, and film viewers of the world, should be very upset with him.Instead of bringing a new twist to his character, he resorted to weird sex humor, skimpy bully humor, and that ever-popular drunken humor while fishing that is sure to make that senile woman in the front burst out with laughter. To me it was pathetic and a worthless attempt to make a joke out of already dead film.

Overall, this was a massive disappointment.Here you had a decent director, some strong players, but the worst story ever written by a man who wrote for a game show.Which piece does not fit?There was this huge sense of apathy throughout this entire film and clichés riddled it that I just couldn't get past.Brosnan had trouble with this film, and I couldn't tell if it was because he just didn't care, or because he was working with such low-talent that his heart just wasn't in it.The ending hurt as well.There was no excitement or intensity, just plain ... "here it is ... like it or not".I personally couldn't digest this film with its poor acting and below-par story.This may be a good film for some that are not familiar with the caper genre, but for me it was just hogwash.

Grade: * out of *****

I Liked It
I liked this movie alot. I watched it twice. I really enjoyed the little twist it had at the end.

AFTER THE BOREDOM! (21/2 ) STARS
Where the hell was the action in this movie! It started off
decent, then went down hill from there. The only thing that
kept me watching this lame script, was Salma Hayek! I gave the
movie 1 1/2 stars, and Salmas body 1 extra diserved star! ... Read more

Reviews (12)

mel mel mel
I personally thought that this movie was hillarious. The first time i saw it i couldn't stop laughing. Yes, it's true that it's not the best Brooks film but i thought it was a great change from watching most of his recent movies. The little things in the movie crack me up, like when the Col. keeps falling off the desk. That's just classic Brooks. Brooks is one of my favorite actor/directors and i think that it might not match up to Space Balls, Young Frankenstein, and others, but, i still think it's a great movie and very entertaining.

A nice little movie
When I see the name Mel Brooks on a film title, I think bawdy gags, double-entendres and a bathroom-humor punchline. (But that's me!) This movie was a pleasant change from the usual Brooks offerings with crisp dramatic direction, a good dramatic cast (Ann Bancroft was perfect as the wife with a wandering eye) and a bitter sweet plot. Watching Mel Brooks interact with some accomplished actors, you realize the depth of his talent - he holds his own very well and has a strong screen presence. Although this is a remake of a wonderful 1930's Jack Benny film, Brooks does a great job updating the script for today's audiences. It's not Young Frankenstein or even High Anxiety but it is a nice little movie that any Brooks fan will thoroughly enjoy. As an aside, I think Mel must lay awake at night thinking of ways to poke fun at Nazis in general and Hitler in particular (think Producers, Blazing Saddles...). He does it so well, I hope he never stops.

Cure for the blues
I love this movie--I watch it whenever I feel down . It's my favorite Mel Brooks film--relatively clean and much much funnier than Space Balls or History of the World. "Sweet Georgia Brown" in Polish is great, as well as "Excuse me.Pardon me......" Young Frankenstein and The Producers are great, but for a cure for the blues, you can't beat To Be or Not to Be!

just a fun movie
Can anyone tell me if/when we will see this on DVD? Very cleverly written with excellent performances from ever single person in the film. Charles Durning was nominated for an Academy Award for his role. Durning is great in everything he does but I believe he is at his best in this.

To Be or Not to Be
Mel Brooks is off again, this time taking us to Poland as it is invaded by the Nazis. Even the title makes fun of an earlier spy movie produced during world war two.

The cast is brilliant, spearheaded by Mel Brooks himself. Its pretty much a roll call of 1970's comedy and is just brusting with Brooks's usual silliness(silliness is used in a good contex here)

My impression-Great movie, but at times doesn't measure up to some of Brook's other films. ... Read more

Amazon.com essential video

Emma Thompson scores a double bull's-eye with this marvelous adaptation of Jane Austen's novel. Not only does Thompson turn in a strong (and gently humorous) performance as one of the Dashwood sisters--the one with "sense"--she also wrote the witty, wise screenplay. Austen's tale of 19th-century manners and morals provides a large cast with a feast of possibilities, notably Kate Winslet, in her pre-Titanic flowering, as Thompson's deeply romantic sister. Winslet attracts the wooing of shy Alan Rickman (a nice change of pace from his bad-guy roles) and dashing Greg Wise, while Thompson must endure an incredibly roundabout courtship with Hugh Grant, here in fine and funny form. All of this is doled out with the usual eye-filling English countryside and handsome costumes, yet the film always seems to be about the careful interior lives of its characters. The director, an inspired choice, is Taiwan-born Ang Lee, who brings the same exquisite taste and discreet touch he displayed in his previous Asian films (such as Eat Drink Man Woman). Thompson's script won an Oscar, and 1995 was a fine year for Jane Austen all around: Persuasion was made into an excellent picture, and Emma became the spritzy high school comedy Clueless. --Robert Horton ... Read more

Reviews (225)

English Romance At Its Finest
Jane Austen is a fine writer, but her wordiness tends to drain the life from many of her characters. Thankfully, Emma Thompson recognized the limitations of the novel and adapted her screenplay accordingly, enhancing the humor of the original story and adding more drama to make the film more enchanting. A cast was then chosen, made up of very talented thespians, including Miss Thompson herself. Add to that splendid English landscapes, excellent directing, and superb cinematography, and what emerges is a modern masterpiece.

This is not a movie for action fans; it is far too cerebral and requires a serious attention span. For those who enjoy a good love story well told, this is it. The characters are three-dimensional and their dilemmas full of human drama, bound as they are by the morals and manners of the times. Three sisters and their mother are left virtually penniless by the stricture against females inheriting property then in place in English law. The half-brother to the Dashwood women receives it all, but his selfish wife talks him out of helping his stepmother and half-sisters. It is up to the two older girls---sensible Eleanor and passionate Marianne---to seek their fortunes in romance while lacking a dowry to help them.

Eleanor finds her soulmate in shy, retiring Edward Ferrars, brother of the selfish sister-in-law. Her budding romance is shelved when his sister makes it clear that Eleanor is "unsuitable" for Edward. The sisters and their mother then go to stay in a cottage owned by a kindly relative, Sir John, and his mother-in-law, the irrepressible Mrs. Jennings. The old woman is a confirmed gossip and matchmaker, bound to see one of the two sisters hitched up to Colonel Brandon, the most eligible bachelor in the area.

Brandon first sees Marianne singing a melancholy song and is incurably smitten. She in turn loses her heart to a dashing young man named Willoughby, who is her ideal of a Victorian-era gentleman, complete with a pocket book of sonnets. Brandon, who loves her more than his own happiness, steps aside and even encourages their relationship, despite his dislike for the handsome rogue.

Things take an unexpected turn for the worse for both sisters---Willoughby drops Marianne and flees to London with no explanation and Eleanor discovers that Edward is engaged to a shallow young woman named Lucy Steele. The ensuing twists and turns in the plot make this film both agonizing and entertaining to watch. Mercifully, everyone winds up happy at the end with the right person as a spouse.

The whole film is solidly done, but it is the acting that really shines. Thompson is perfect for the role of the calmer sister, while Winslett is brilliant as the mercurial Marianne. Grant is endearing as the gentle Edward; Rickman finally gets to display his considerable ability to act the part of a very good and unselfish man. The rest of the cast keeps pace with the leads, and Hugh Laurie is indescribably funny as the sarcastic Mr. Palmer. One very beautiful aspect of this movie, along with the tendency to get drawn into the story, is the haunting and evocative musical score.

All in all, this is a wonderful example of a film genre that is so often overlooked in today's world---period romance. More movies like this one desperately need to be produced. Buy this one today because it's a gem.

JANE AUSTEN'S TIMELESS CLASSIC COMES TO LIFE
This film is so beautifully realized, in its scope and execution, that I have nothing but praise for both screenwriter/actress - Emma Thompson and director Ang Lee. Based on the novel by Jane Austen, the film follows the exploits of Mary-Anne (Kate Winslet) and Eleanor (Thompson) Dashwood; two angelic sisters determined to find romance amidst the sublime grandeur of the English countryside. Also stars Hugh Grant and Alan Rickman.
Columbia's transfer is, on the whole, gorgeous. Colors are well represented and fine detail is rendered accurately. Contrast levels are subtle, as they should be and dark scenes are accurately represented with only a slight loss of fine detail to speak of. Unfortunately, there are several scenes that exhibit pixelization that breaks apart background information. There is also the inclusion of some minor edge enhancement that, while not terribly obtrusive, is nevertheless present. This special edition includes a wonderful featurette and Emma Thompson's witty acceptance speech at the Golden Globes - a real treat. FINAL WORD: There's no costume drama of the 90's more poignantly captured. A British legend becomes an American Movie Classic. Get this one!

A classic based on a classic
It seems that for a few years, Hollywood couldn't turn out Austen movies fast enough. This is the only English production of the bunch, and it is wonderful.

The casting is perfect. I thought it very silly that Emma Thompson was going to be the 19 year old Eleanor, and since she produced the movie I thought that was just silly vanity. But she is actually perfect as the too-sensible-for-her-own-good Eleanor. Kate Winslet is great as flaky Marianne. Even little Margaret (Austen's only fully-realized child character) is great as the spunky pre-teen. I remember when the movie came out one reviewer said that Hugh Grant's character "looks like he's forgotten to take the coat hanger out of his clothing" and that is so true... but he's so good as the clueless cad.

The film is beautifully shot, with great sets and scenery. It's a little hard for a modern person to understand why the Dashwoods were so upset to have to move to such a charming cottage! Historical perspective is maintained in the movie, though.

It is also very well written, with my very favourite line in any movie appearing (though I've read the book twice looking for it). Truly words to live by, Mrs. Dashwood tells blabbermouth Margaret that if she can't think of anything appropriate to say, "please keep your conversation to the roads and the weather!" Advice that has never failed me yet :-)

Great commentaries (contains spoilers)
When I first heard this film was being made and that Emma Thompson and Hugh Grant were going to be in it, I thought, "Yes! Hugh Grant as Willoughby and Emma Thompson as the unpleasant sister-in-law!" But no. However, the commentaries explain the casting and then it made more sense. By the way, Kate Winslet is perfect and Alan Rickman gets the girl.

Very Good Indeed!
This is a wonderful movie with a wonderful cast and beautiful script. I don't really know what else to say except that I absolutely adore this film. Alan Rickman is superb as Colonel Brandon, I fall in love with him over and over again each time I watch this movie. He's wonderful, as is Hugh Grant as Edward Ferrars. Both characters are so likeable and real, they fit perfectly with their characters and make each viewing as enjoyable as the last. Kate Winslet, as well, is one of my favorite actresses. She fits so well in period pieces like this one.

This film is great whether or not you've read the book. It's good all on it's own. My only complaint is that I cannot picture Eleanor as only 19. While I've always pictured her well above her years, I have a difficult time accepting her age in the film. This is overlooked by Emma Thompson's brilliant portrayal of her. ... Read more

Reviews (67)

Wild Horses
The rural grazing life in the Snowy Mountains has hardly changed since Banjo Paterson traveled the high country and wrote his famous "Man from Snowy River" poem. His poetry is an authentic voice of a frontier society in which song and campfire recitation were much appreciated entertainment.

"And the Snowy River riders on the mountains make their home,
Where the river runs those giant hills between;
I have seen full many horsemen since I first commenced to roam,
But nowhere yet such horsemen have I seen."

Andrew Barton Paterson was born in New South Wales and was the son of a Scottish immigrant. Paterson was a poet, journalist, lawyer, jockey, soldier, farmer and one of the best-loved figures of Australian literature. His poem is the basis for this gorgeous movie about the treacherous terrain and bands of wild, stampeding horses. He also wrote Waltzing Matilda, which is lovingly woven into the soundtrack.

The Man from Snowy River Movie tells a more in depth story of a cattle baron Mr. Harrison (Jessica's father) who has had a long quarrel with his brother Spur. Kirk Douglas plays both roles. When one brother finds his fortune, the second goes searching for gold. This is a story based on a time when families tended their sheep and cattle. Ghost towns from the gold rush still haunt the landscape.

Set against the untamed Australian Outback, a love story unfolds between Jessica Harrison ( Sigrid Thornton) and Jim Craig (Tom Burlinson). Jim seems to have a way with horses and Jessica is a bit of a brash filly herself.

She has her own ideas regarding a woman's choices in life and choosing the path she will take in her own career. She defies her father and runs off to find Jim. Her anger towards Jim over a horse riding accident is like a summer storm that quickly disappears once she experiences the excitement of forbidden love.

Her father, Mr. Harrison, has not yet learned that there is a beautiful place inside each person where we are either nurtured or destroyed. He seems emotionally destructive and Jessica rebels because he won't let her follow any of her dreams. He seeks to trap her in his own wishes and thinks she should settle down into a domestic lifestyle.

Jim and Jessica are soul mates with hearts as wild as the horses running free through the snow. While at first they fight their mutual attraction, Jessica seems clearer in her thinking after she almost dies and realizes there are just some things in life worth fighting for.

Equestrian Heaven with an impressive conclusion! You must see this movie once in your life if you love horses. The wide-screen edition is highly recommended!

What's Not To Like...??
"NEVER CRY WOLF"..."FLIGHT OF THE PHOENIX"..."THE ENLGLISH PATIENT"...

...all, cinematic and character delights - as you will find "THE MAN FROM SNOWY RIVER"...

Technically a "10", this Aussie (and World) classic, may leave you none-the-less breathless. George Miller's direction, Cull Cullen's script (enhanced by John Dixon and David Bradshaw's, "A.B. 'Banjo' Paterson", whose original poem is the essense of the film), Keith Wagstaff's absolutely stunning cinematography and Bruce Rowland's original and heart-tugging music (particularly, the piano solo, "Jessica's Theme") may bring tears to your eyes with this simple, Down-Under western plot -- but it took a world-class editor like Adrian Carr to put this gorgeous film into the top ranks of movie-watchers the globe over. Carr's timing of Wagstaff's photography and Rowland's music is the stuff legends are made of...just, dare I say it, "Professional Grade"(!)
It didn't hurt to have a made-to-order cast. Burlinson is quietly, and wonderfully, cast as the young male hero, "Jim Craig." Kirk Douglas hasn't played a better role - and, as a double. Terence Donovan played the quietly strong, short-lived role as Burlinson's father, "Henry." Sigrid Thornton was exemplary and believable as Tom's love interest, "Jessica" (the woman is beautiful) and the venerable Jack Thompson was magnificent as