Amazon.com essential video

Director Stanley Kramer's socially conscious 1961 film tackles the subject of the war crime trials arising out of World War II in an earnest and straightforward fashion, exploring the consciousness of two nations as they struggle to come to terms with the aftermath of the Holocaust. Spencer Tracy plays the American judge selected to head the tribunal that will try the suspected war criminals. As he sets about his task, he must confront the raw emotion felt by the German people, and his own notions of good and evil, right and wrong. Regarded as a classic, this stark rendering of one of the most pivotal events in the 20th century features a stellar cast including Burt Lancaster, Montgomery Clift, Marlene Dietrich, a young William Shatner, and Maximillian Schell, who won an Oscar for his role as counsel for the defense for those charged with crimes against humanity. Judgment at Nuremberg is important viewing not only for the history of film, but for the history of modern times. --Robert Lane ... Read more

Reviews (30)

Star-Studded Recounting of Legendary Nazi Trials
This star-studded film vividly captures the characters on all 3 sides of the spectrum: The accused, the victims, and the international tribunal judging the perpetrators of unspeakable atrocities against fellow human beings. It is shocking to see how many of the people responsible for the gruesome deaths of millions justified their actions.

After hearing witnesses who often were tortured, mamed by sadistic doctors, and had their loved ones murdered, I can not grasp the fact that the majority of those on trial were released after serving minimal prison terms. Some of them are still among us, while millions of victims lie in their graves at the hands of an evil minority!

Stellar performances by an International cast. Most noteworthy are Montgomery Clift and Judy Garland as testifying victims, Maximilian Schell as Prosecutor (Oscar Winner), Marlene Dietrich as wife of a defendant, and an elderly Spencer Tracy, trying to make sense of it all.

Effective use of B&W photography, first rate sets and costumes, along with many other production values, make this a timeless Classic. Although considerd over-long by some, I recommend this film to be shown to high school classes as a reminder that these things happened in a not so distant past.*****

SCHELL, TRACY, GARLAND, LANCASTER, CLIFT & WIDMARK GREAT!
This is a superb film by Stanley Kramer with an unbelievably great cast at the height of their craft. Each of the legendary actors were at the top of their performances in the reinactment of the Judge's Trial at Nuremberg. The world was tired of the Nuremberg trials. This one was a mopping up operation. Against a backdrop of an escalating Cold War with the Soviet Union, the selling out of justice by prominent Nazi judges serving the Third Reich is put on trial. Spencer Tracey plays Judge Dan Haywood, a retired Maine circuit court judge brought out of mothballs to serve as the chief justice. Amazingly, the usual action actor Burt Lancaster plays the top Nazi judge who at first does not recognize the Nuremberg tribunal's authority to judge him. For some mysterious reason, critics over the years failed to acknowledge the tremendous acting job he did in convincingly carrying off what was perhaps this film's most dynamic character change. However, my personal favorite was Maximillian Schell whose quintessential Germanic Hans Rolfe, the defense attorney released the full range of this incredible actor's virtuosity. For this he deservedly won an Academy Award Oscar.

One thousand words are not enough to celebrate this timeless film: Judy Garland (in perhaps her last film role) delivers a heartbreaking middle aging Irene Hoffman, reliving her experiences of Nazi cruelty on the witness stand; once again. However, not very good was the young Canadian actor, William Shatner playing Army Captain Byers, the aide de camp to Judge Haywood (Tracy). [The Starship Enterprise didn't seem to improve Shatner's skills any.] Richard Widmark (the moody, hostile prosecutor) and Montgomery Clift [who begged for the role he was willing to play without pay!] were excellent. Clift plays a slightly retarded German laborer, sterilized by Nazi doctors because of his mental slowness. This is among the very best films made by Kramer in the decade of the 1960s. Amazingly, it was released one year after INHERIT THE WIND, another Tracy-Kramer classic!

MASTERPIECE
What happens when Stanley Kramer teams Tracy, Dietrich, Garland, Schell, Clift, Lancaster and Widmark in a drama based on the trials in pos-war Nuremberg??? It`s vintage Hollywood; still 1 IF not THE BEST about the horrors from World War II ..... The film should be in every school-library across the world

MASTERPIECE
What happens when Stanley Kraner teams Tracy, Dietrich, Garland, Schell, Clift, Lancaster and Widmark in a drama based on the trials in pos-war Nuremberg??? It`s vintage Hollywood; still 1 IF not THE BEST about the horrors from World War II ..... The film should be in every school-library across the world

Wooooooooow
Ok, you`ll get Garland, Dietrich, Clift, Tracy, Widmark & Schell - the production headed by Stanley Kramer.... the result is pure Hollywood vintage combined with horrors from the 2nd World War??? But indeed; it is a masterpiece.... It should be in every school-library all over the world:-) ... Read more

Reviews (272)

Another masterpiece from Guy Ritchie
Highly talented writer/director Guy Ritchie delivers another masterpiece with Snatch, that equals the sheer quality and genius of his other masterpiece, Lock, Stock And Two Smoking Barrells. Once again the film is edgy with vast undertones of dark, gritty realism centering on the underworld but refreshingly encapsulates a darkly humorous side to it making the film have an even balance and therefore making it more enjoyable and entertaining in the process. The film has a host of subplots all shrewdly linked to the main storyline and a wealth of characters including a couple of likeley Cockney lads who are two novice unlicensed boxing promotors, Turkish (Jason Statham) and Tommy (Stephen Graham), fellow boxing promotor Brick Top (Alan Ford), Mickey O'Neil played by Brad Pitt as an Irish gypsy who gets roped into the boxing match where his opposition is rigged to win, Avi (Dennis Farina) as the man due to deliver a stolen 86 carat diamond and Bullet Tooth Villain (Vinnie Jones) who Avi hires to trace the diamond after he is robbed. The characters and performances are superb and vastly convincing, the host of plots are well-structured and the attutude-laced dialogue rides along like a roller coaster. Snatch on the whole is an utterly compelling film that will grip your attention and not let it go until the film is completed. Essential viewing and the extra features on this DVD are an added bonus. Highly recommended!

Chaotic, kinetic and outrageous fun
Snatch is a fast-paced gangster thriller from England. Like many such British films, it is equal parts drama and black comedy. Our friends in the UK may take crime seriously, but they can't bring themselves to do the same with criminals. Perhaps there is a lesson for us there. I thoroughly enjoyed Snatch, but I must warn you that the accents can sometimes be hard to understand. The one used by Brad Pitt is intentionally indecipherable. Fortunately, I watched the DVD version, which has an option that puts subtitles on the screen whenever Mt. Pitt speaks. The video edition does not have this feature, but that doesn't matter too much. His dazzling performance is entirely physical in nature, so what does it matter what he has to say? The other characters don't understand him either.

The movie was directed by Michael Ritchie, who is probably better known to Americans as Madonna's husband. His first picture, Lock, Stock and Two Smoking Barrels, was also about psycho bad guys; in fact, Snatch is so similar to it that it is practically a sequel. The characters are different, but many of the same actors appear in both movies. Both films also share Ritchie's frenetic, stylish editing, as well as his fascination with lowlifes.

The plot is so complicated that describing it is difficult. I had little problem following it, but several reviewers admitted to getting completely lost. Basically, the story is about a huge diamond that gets stolen from a jewelry company in Amsterdam. It bounces from one group of criminals to the next, and, of course, everybody wants to get their hands on it at any cost. Meanwhile, a boxing promoter is having a very difficult time with a vile, ruthless gang boss who is demanding that he fix a fight. This is where Brad Pitt's character, One Punch Mickey, comes in. He is part of a band of gypsies [thus, the accent] who are the trickiest double-dealing folks you are every likely to see. Soon, everyone is merrily out to get everyone else.

The characters all have names straight out of a Damon Runyon story - Frankie Four Fingers, Bullet Tooth, Boris the Blade, Turkish and Brick Top are some of them. I think the names alone are enough of a clue that the movie is not to be taken seriously. One problem some viewers will have with it is that there are two or three times as many characters than in most movies. Keeping up with them can be a challenge.

Snatch should prove to be great fun for those who love for a movie to be fast and innovative. For those who like them to be cool, calm and collected, another choice of movies is recommended.

Where's the snatch?
I thought from the title that this was a XXX porno flick. Silly me. Brad Pitt still spends the entire movie talking like he's got a tampon stuffed in each cheek (sort of like the cotton wads Marlon Brando used in The Godfather). Is this the way these people really talk? And I thought I had a speech impediment. I should start auditioning for parts in movies about Irish gypsies. Still, this was a pretty good flick and I'd actually give it 4.5 stars if I could. Big Bubba says go see it and don't Bogart the popcorn.

I again can not think of a title
Here is the deal about "Snatch", if you happen to be a Brad Pitt fan, you will probably love this movie because the 1st time you watch it, he steals the show, and because he is (if I am not mistaken and I very well might be) the only American actor in the movie and the other actors are not very well known in the states, I mean some people know Jason Statham but who knows the other actors, very few people, or at least, before they see/saw "Snatch". Great movie, hilarious really, it gets old after you watch it a couple of times but if you watch it with your friends, it's all in good fun because you can go on reciting the lines you know and that makes it a lot more fun to watch but the 1st time, it's beautiful.

to all you 3* & below plonkers
Seen some critics say they can't understand what the f*** is being said by the english actors .Some even suggest leaving the subtitles on !

Why should all films pander to a middle USA marketplace .Can't you enjoy the cultural differences & isn't it fun to try to pick up how other people speak the great english language ? We don't have UK english subtitles for US movies .

By the way I'm saying this as a Scotsman living in England . The Londoners find us equally difficult to understand but we don't have english subtitles for scottish actors everyone over here just works it out .

Bloody good film if you make the effort . ... Read more

Amazon.com

The Fox and the Hound marked the last collaboration betweenDisney's older artists, including three of the "Nine Old Men" (FrankThomas, Ollie Johnston, and Woolie Reitherman), and the young animators whowould make the record-breaking films of the '90s. Based on a book by Daniel P. Mannix, the film tells the story of a bloodhound puppy and a fox kit who begin as friends but are forced to become enemies. Tod and Copper barely establish their friendship before Copper begins histraining as hunting dog. Unfortunately, neither character develops much of apersonality, which makesit difficult to care about them. The screen comes alive near end of the film, when Tod and Copper have to joinforces to fight off an enormous bear. It had been years since Disney produceda sequence with this kind of feral power--and years would pass before theysurpassed it. The Fox and the Hound ranks as one of the studio's lesser efforts, butit suggests that better films were soon to follow. (Ages 5 and older) --Charles Solomon ... Read more

Reviews (85)

There couldn't be a better Disney movie to own on DVD.
For me, the Fox and the Hound cannot be matched by any other Disney film. Unlike the stiffer, older films and the newer, hokier ones, the atmosphere in TFATH is just perfect, truly a revolutionary point in Disney's timeline. The animation is very fluid and the characters have great design and movement. Most of the songs are more like talking than singing, but they're few and far between and manage to get the point across. A nice change from usual Disney fare in the surprisingly sad ending. Considering I'm pretty desensitized to on-screen emotion, it's unusual that I cry every time I watch this one. It's the ONLY Disney movie that can make me. Even so, there's a number of comedic moments to get rid of the tension. I'm not sure where the Amazon review got the idea that the characters lack depth. Believe me, by the time this one is over, you'll be wanting to see much more of all of them. It's an excellent feature that carries an important message all wrapped up inside a lovable, heartwarming, and poignant story. You owe it to yourself and your children to see this one.

An All-Time Favourite!
"The Fox and the Hound" was of the last films to be apart of the "Black Diamond Collection" before the "Masterpiecee Collection" came to the markets in 1994. The film was released into theaters in 1981 & 1988 and came to video in 1994! This movie is a really great and colorful movie to add too any Disney collector's collection!

The story is about a kind woman who takes in an abandoned baby fox after his mother is killed in a hunting trip. She names him Tod and considers him as part of her family. Tod then meets a bloodhound dog named Copper (Who lives right next door to the kind woman) and they eventually become good friends. They have no clue that they are supposed to be enemies (Since hounds hunt foxs and other forest creatures)

After returning on a hunting trip during the winter with his master (To learn how to hunt), Copper realizes how he shouldn't hang around Tod to prevent Tod from getting killed by his master. By this time, they are both grown up and all the fun times that they had together suddenly don't seem to matter anymore. Eventually, Tod and Copper become enemies and it is Copper's mission to hunt down Tod. You'll be surprised on what happens when Copper and Tod to come face to face!

The film also includes some great songs like "The Best Of Friends" and "Goodbye May Seem Forever" (Which I still cry at when I hear that song!) This movie will also make you cry, so make sure to have a tissue in your hand when approaching the middle part of the movie! All in all, it is a really great movie and people young and old will enjoy watching it! 83 minutes.

A Good Movie for people of all ages
I am sixteen years old and when I saw this movie, it really brought tears to my eyes. It reminds me of how me and my best friend was. I really enjoyed this movie. Everyone should watch it on Family Nights.

Friends to the end.
This is one of my favorite Disney movies. When Widow Tweed takes in a baby fox, whose mother had been shot by hunters, she names it Tod and raises it. About the same time she takes Tod in, her neighbor, Amos Slade brings home a hound dog puppy named Copper.

One day in the woods, Copper and Tod meet and instantly become the best of friends. When fall comes and Amos takes an unwilling Copper along for his winterlong hunting trip, Tod tries to convince his friends, Big Mama, Dinky and Boomer that even though Copper will come back a trained hunting dog, that they will still stay the best of friends. Big Mama tells Tod that a fox and a hound are natural enemies and that, surprise, you ARE a fox.

When the two are finally reunited in the spring, Copper tells Tod that they can't be friends anymore. After a tragic accident involving Amos's other dog Chief, Copper swears that Tod will pay. Widow Tweed, realizing that she can't keep Tod locked up forever, takes Tod to the game preserve and lets him go. Amos resolves to kill the fox, and with Copper's help, goes to track him down. But when Copper has a run in with a bear, Tod comes to his rescue and, ultimately, Copper gets Tod spared from death.

A touching story about friendship that never fails to bring a tear to my eye.

Finally a DVD Version of this Awsome movie
I love this movie a lot it has great music like "Best Of Friends"
"Goodbye may seem Forever" and "Thats what Friends Are For" are all great songs on this DVD. ... Read more

Amazon.com essential video

Edward D. Wood Jr. was an actor writer-director-producer, occasionally in drag, who combined meager bursts of talent with an undying optimism to create some of the most bizarrely memorable "B" movies to ever come out of Tinseltown. Though Wood died in obscurity as an alcoholic in 1978, his films have been considered cult classics for years. He is consistently voted the worst director who ever lived. You would think this an odd subject, but director Tim Burton harnesses the undying hopefulness that made Wood such a character. Shot in black and white, just like Wood's creations, this stylized, witty production captures the poetic absurdity of Wood's films and his unconventional life. Burton's recreation of Wood's wonderfully awful Plan 9 from Outer Space looks much better than the original low-budget quickie. Burton tackled an extremely strange subject matter for a biopic, but Wood is presented as naive almost to the point of delusion, so the story works. The pace sags in the middle, as the weirdness starts to wear thin, but Depp proves himself an adroit actor, even while wearing angora and a blonde wig. Wood's unconventional repertoire company is faithfully reproduced, including an Academy Award-winning Martin Landau as Bela Lugosi. Landau is pathetic, droll, and charismatic as the elderly junkie who made his last screen appearances in Wood's films. --Rochelle O'Gorman ... Read more

Reviews (150)

Good Movie about a horrible film-maker
Ed Wood, Jr. is more beloved than reviled as the "creative mind" behind such grade-z movies as "Plan 9 From Outer Space", "Glen or Glenda". Though it's generally accepted that Wood wasn't playing it straight with his horrible scripts ("he's been killed, murdered....and somebody's responsible!"; "Future events like these will affect you in the future!"), unbelievable special effects and nonesensical plots, this film slightly suggests that Wood actually bought into his own nonsense. Here, Johnny Depp (is there anything he can't do?) plays the beloved but infamous Ed, a WWII vet, failed movie maker and transvestite. Playing Ed as if doing an extended Jon Lovitz impression (his lines delivered all high-pitched and non-stop), Depp's Ed is mostly innocuous and guiless (his genuine belief in the implausible predictions of self-proclaimed seer, Criswell, are a hoot) and incapable of seeing his own sheer lunacy. The script uses "Glen" and "Plan 9" as bookends on Ed's checkered career - with the first film marking his collaboration with the then well-faded horror star, Bela Lugosi (Martin Landau), and the second marking a sort of tribute to the star who died before its completion. Director Tim Burton stocks the film with a well-rounded cast - Bill Murray as transvestite "Bunny" Breckenridge, Jeff Jones as Criswell, Sarah Jessica Parker as Ed's long suffering girl friend, Dolores, Lisa Marie as "Vampira" and George Steele as Tor Johnson - that's a lot of fun, but doesn't do much with them. Bill Murray seems at times the saddest transvestite in history, mulling his paltry earnings from Ed's flicks to pay for his "procedure" while Jones' Criswell puts a damper on things when he makes all too clear how he invents his predictions. Instead, Burton's attentions are reserved for Ed and Bela, with Landau turning in a performance that's in turns hysterical (when revealing his hatred for arch-rival Boris Karloff), heartbreaking and terrifying (the forgotten star dies trying to kick a heavy heroin habit). Even so, the script doesn't stay consistent, with the emotional and humours highs isolated in their own scenes. The script reaches a depth of sorrow and horror when revealing Lugosi's profound suffering in de-tox, yet only briefly. (The script dangles the question of how well the dying star recognized the inanity of Woods' work). In other moments, the film hints at other real-life horrors like Ed's war experiences, but much of the film is actually shy of risk. Much of the conflict is between Ed and his backers - mostly evangelicals conned into thinking they were financing a religious picture and slowly realize Ed's true caliber as a film maker. Ed fights back to preserve his artistic vision without having to prove what his vision is or whether he even has one. His flagging self-confidence is restored by a chance encounter with Orson Welles (Vincent DoNofrio, also an underappreciated Hollywood fixture, his lines dubbed by the same guy who voices "Brain" on "Pinky and the Brain"). The more famed director is about to start work on a troubled epic of his own which, though never named, will be instantly recognizable to film students as "A Touch of Evil" ("Can you imagine Charlton Heston as a Mexican Cop?", Welles laments). Plunging ahead, the film works to the climax of Ed's career- the infamous "Plan 9 from Outer Space"! With Ed's trademark horrible special effects, unintelligible plot and insultingly poor script, "Plan" is almost guaranteed cult-status. Burton only recreates some of the scenes, so the last few minutes of the film plays like a montage of SNL skits, with Ed almost crying as he savors each frame. Leaving Ed before the credits roll on his "masterpiece", we never see Ed's lowly ends, his own substance abuse problems or the more clearly horrible films that marked his latter years. Burton never confronts this and misses an ironic motherlode - whether the ridiculous fantasy of Ed's pictures were supposed to be scary, or whether in seeming scary but so ineptly so, they were actually meant to symbolize a safer world than the one he experienced for real.

Plan 10 From INNER Space -- a true American classic!!!!
Yes, Eddie!
Not only Burton's best yet, but one of the finest
American films from the 90's -- or of any decade for that matter.
Cleverly written, lovingly directed, stylishly shot, acted
with empathy, scored and designed with tasteful camp, ED WOOD
is a virtual paen to Hollywoodism (whatever the hell THAT is!).

Just Czapsky's cinematography or Shore's soundtrack alone are
worthy of immense praise. And Tim Burton hits all the right notes flawlessly (for a change). Definitely his Citizen Kane.
Can't praise Depp and Lugosi enough, nor the editing, or....oh, hell! If you have any affection for the 50s, or B-Movies, or Bela Lugosi (God rest his soul), or Maila Nurmi (yum-yum), or angora, or pulp American cinema - meaning REAL American movies - then you should be a fan of this movie, regardless of what you think of Ed Wood's stuff.

Last point.
This movie is overdue for a worthy DVD treatment: docus, bios,
making-of-background -- the whole bit.
Was good enough for an Oscar for Landau, so why are we still waiting?
Yes indeed, pull that (angora) string!

No really this is good, honest
Watching Ed Wood movies and watching Ed Wood there is an alarming thing - Ed Wood's life was better suited to a movie than he was as a director! And as he tried woefully to express this side of his personality to the public with the woeful Glen or Glenda ( " Did you see the movie? Uh huh. Worst movie you saw in your life? OK but how about.....hello hello! )

Johnny Depp is hilarious as Ed and really plays the part extraordinarily well. You almost feel sorry for him as he gets rejected from everyone because he seems to have his intentions right no matter how skewed they end up being.

Of course Ed has a fetish for women's clothing which would make itself known in the film Glen or Glenda but Dolores wouldn't know about this until she read the script. Let's just say she doesn't take to it as well as Ed's rather naive script would like her to be! Although I have to admit that Sarah Jessica Parker is not exactly that easy to like in the movie

Martin Landau is the one who I think plays Bela Lugosi and I have to say that the resemblance is uncanny that you almost feel like singing the line from the Bauhaus song Bela Lugosi's Dead -" Oh Bela, Bela's not dead " indeed!

Bill Murray is fantastic in his role. As ever, he has the best lines in this movie. One of the best roles I've seen him in

I've seen this film - it must be about nearly 7 or 8 times and it's so funny that some of the lines in it are implanted in my head. One that has to be watched for those interested in seeing something a little unusual

My Favorite Movie of All Time
I have watched this movie probably 100 times and can never get enough. I cannot believe it hasn't been released on DVD yet.

The portrayal of Ed Wood is of a guy that never gives up even though he is terrible. Ever the optimist and the king of spin. He gives his pre-released version of 'Glen or Glenda' to a producer. When ED is told it's the worst movie the producer has ever seen---Ed's answer, "My next one will be better!"

When Ed is told that Bela will be kicked out of re-hab due to lack of insurance---Ed goes to Bela and tells him, "The tests all came back great---you can go home now."

Ed is a testament that it is more important to be positive and tenacious----rather than good.

Martin Landau REALLY deserved this Oscar. Like another reviewer said, he becomes Lugosi. I really feel Martin's portrayal of Bela more than I have ever felt any on-screen performance---ever. He brings me to tears almost every time. It's heartbreaking, funny and perfect in every single way.

From getting the whole crew baptized to finance a movie----to parading around the set in a wig and a dress. It's a great movie.

Enjoy!

Release it on DVD already!!
I'd heard good things about Ed Wood from critics, and decided to rent it to see for myself. After all, most of the movies I enjoy the most are movies that are panned viciously by said critics. Guess what? for once, I agreed with the "screen snobs" and enjoyed this movie just as much as the ones normally dismissed by the critics.

Johnny Depp is brilliant as the ever optimistic, supremely untalented Ed Wood. It is strange to contemplate the irony that it took such a top notch director, cast and writer to honor someone like Ed.

Speaking of brilliant, don't miss Martin Landau's Oscar winning turn as Bela Lugosi. By turns hilariously profane and poignantly troubled, Landau earned his Oscar for this part.

I just wish the powers that be at the studios would hurry up and put this gem on DVD so that we can all enjoy it! ... Read more

Reviews (344)

Visually spectacular (unbelievably cheesy storyline)
I know "What Dreams May Come" is a constant punching bag for movie critics alike and it wasn't exactly a blockbuster smash for Robin Williams but I sincerely like this film. I first saw "What Dreams May Come" when it was in the movie theaters. It was total eye candy with the gorgeous colors and the art-like quality. I felt like I was watching an artist creating his art work. The premise of the film is a bit silly. Robin Williams's character Chris is killed in a freak accident, leaving his emotionally unstable wife Annie played by Annabella Sciorra devasted and alone. The viewer also finds out that their two children were killed earlier in a car accident so when Chris dies, Annabella is completely consumed by grief and chooses that life is not worth living any more. Chris is sent to heaven which is basically a Monet painting. The bright vivid colors were stunning and made it a joy to watch. Cuba Gooding Jr. welcomes Chris into the after life and eventually helps Chris in his quest to find Annie. At the time, I enjoyed the storyline but as I was watching it tonight on tv, I never realized until now just how hokey the storyline and dialogue could be. Despite the hokiness of the film, I still enjoy watching "What Dreams May Come". I think my favorite scenes had to be when Chris literally went to purgatory. The images and colors were spectacular. Those scenes of people falling from the waves as well as from the air and exploding when hitting the ground was stunning to say the least. Those scenes were pure eye candy. "What Dreams May Come" is a good movie. It isn't nowhere as emotionally manipulative as "Patch Adams" was except maybe for a few scenes that involved the children. Otherwise "What Dreams May Come" is a good popcorn movie. It may not be Masterpiece Theater but I will take this movie over something as tripe as "Patch Adams" or overblown as "Armaggedeon" any day.

I wish my dreams were this cool.
What Dreams May Come is a very powerful movie. Simply put, it can make you think some very deep thoughts.

The story is very moving and brilliantly crafted. The main character is a doctor named Chris (Robin Williams). He has a wife (Annabella Sciorra) and two kids. His family is great and he seems to be living the American dream. Then his children are killed in a car accident and his life is shattered. He spends the next four years trying to recover from the tragedy. Then he is killed in another traffic accident and the story takes off as he goes to the beautiful afterlife.

The movie seamlessly transitions from present to flashback to give a sense that time is irrelevant in the afterlife and to fill in the rest of the story. The first person he sees is a young version of the doctor he apprenticed under (Cuba Gooding Jr.) who later turns out to be someone else, but I won't tell you because I don't want to ruin any parts of the movie. He is then taken to a beautiful heaven, which is actually his mental re-creation of one of his wife's paintings. He later learns that his wife has committed suicide and in doing so has trapped herself in a never-ending spiral of guilt (a.k.a. Hell). Chris then has to travel to the depths of Hell to find and attempt to bring back his wife.

This movie is loaded with abstract thoughts and themes. For example: Your obsessions in life will become your afterlife; Thought is real, physical is the illusion; God lets bad things happen to good people; and far too many others for me to list here.

The movie is visually breathtaking and the computer-generated graphics add greatly to the realness of the movie. The acting is good and director obviously knew what he was doing. I will recommend this movie to anyone who has ever contemplated his or her existence.

Visually beautiful and theologically interesting
There are surprisingly few movies dealing with a nonterrestrial afterlife. While there are hundreds of films dealing with the existence of individuals following death as embodied or disembodied spirits on earth, there are remarkably few that provide any glimpse of heaven. The few that do tend to present it as an inconceivably white, vast, and indistinct place, from HERE COMES MR. JORDAN to A MATTER OF LIFE AND DEATH to THE HORN BLOWS AT MIDNIGHT. In contrast to these other films, WHAT DREAMS MAY COME stands out as one of the most intensely colorful, beautiful, and vividly concrete films in cinema history.

The cast of the film is strong, but it would be a mistake to imagine that they are the reason for the film's success. Robin Williams as Chris Nielsen, Cuba Gooding Jr., Rosalind Chao (who I previously mainly knew only from STAR TREK: THE NEXT GENERATION), Max von Sydow, and the lovely but underused (not only in this film, but by Hollywood in general) Annabella Sciorra all hand in wonderful performances, but they are largely overwhelmed by the astonishing beauty of the sets, the inconceivably vivid colors, and the marvelous use of light. No performers could have competed, though they try gamely.

I find the film especially interesting for theological reasons. Ron Bass based the screenplay on a novel by Richard Mattheson. I must confess to not knowing the work of either, but I would lay heavy money that one of them (probably Mattheson) knew well C. S. Lewis's THE GREAT DIVORCE. In that work Lewis was concerned to lay out a concept of heaven and hell that did not regard God as responsible for sending people to hell. Instead, he described an afterlife in which people in hell still had the option of leaving hell and departing for heaven. These two ideas--of people placing themselves in hell and of having the option to leave hell for heaven--drive the metaphysics of WHAT DREAMS MAY COME, as I'm sure anyone who has seen the film will recognize.

So why do I give the film only four stars after all the nice things I have said about it? Primarily because the film doesn't really have all that much of a story to tell. The plot feels like a short subject stretched to feature length film proportions. Once you subtract all the amazing visuals, there simply wasn't that much to the film. The challenge for the filmmakers was primarily padding out the action of the film. Nonetheless, I do recommend this as an interesting and intensely beautiful film, despite the slender narrative.

Interestingly, the title of the film comes from Hamlet's famous soliloquy, in which he ponders whether or not to commit suicide. In the end, he decides not to because of the dreams that the dead may dream, presumably worse for having killed oneself. But such dreams did not prevent Annie Nielsen in the film from committing suicide. It is a nice ironical touch.

A Different Type of Love Story
This is a wonderful tale of death and love. Robin Williams dies in a car crash and wakes up in heaven. He sees his old dog and friends from his life that have died before him along with his two children that have died in a previous car accident. Robin finds out he that his wife is having an impossible time of living without him. She ends up committing suicide and then is sent ot hell. The rest of the movie is Robin on his quest to find his wife in Hell. The movie is stunning in detail and is truly beautiful to look at. Cuba Gooding Jr. and Max Von Syndow give stellar performances as supporting actors in this film. The DVD has the usual extras including a less than happy alternate ending.

A great movie despite some flaws
"What Dreams May Come" is an overlooked film that should have gotten more attention than it did. While not perfect, it's one of the most visually stunning and thought-provoking films to come around in a long time. Chris (Robin Williams) and Annie (Annabella Sciorra) are a happy couple who suffer the devastating loss of their children. Shortly afterwards Chris dies himself and goes to an afterlife, which turns out to be a surreal lush dreamworld that is a reflection of his wife's paintings (which deservedly won the Academy Award for Best Visual Effects). While there Chris meets an "angel" (Cuba Gooding Jr.) who guides him through the transition. Meanwhile, back in the real world, Annie becomes unable to cope with all the pain and losses and takes her own life, sending her to Hell. Determined to rescue Annie from an eternity in damnation, Chris sets out to find her and re-establish their bond together.

This movie could have easily been a masterpiece, with such a great cast, excellent visual effects and production. However, there are two things which severely take away from its effectiveness. For one, the flashback style becomes tedious after a bit and interrupts the flow of the story. Many other reviewers have commented on this. It's a major drawback. And two, some scenes simply do not work. For example, when Chris arrives in Hell and begins maneuvering around the heads sticking out of the ground. This scene is done in a humorous way, seemingly for comic relief. It simply does not work and is majorly out of place. Comic relief isn't what should happen here.

Aside from these flaws, "What Dreams May Come" is an enlightening viewing experience and will stay with you long after you're finished watching it. It can be interpreted in many ways: a film about the possibility of life after death: a film about never-ending love: a film about affirming the beauty of life. However you may see it, you will surely take away at least something from it after the credits roll. ... Read more

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Hearts of Darkness is an engrossing, unwavering look back at Francis Coppola's chaotic, catastrophe-plagued Vietnam production, Apocalypse Now. Filled with juicy gossip and a wonderful behind-the-scenes look at the stressful world of moviemaking, the documentary mixes on-location home movies shot in the Philippines by Eleanor Coppola, the director's wife, with revealing interviews with the cast and crew, shot 10 years later. Similar to Burden of Dreams, Les Blank's absorbing portrait of Werner Herzog's struggle to make Fitzcarraldo, the film chronicles Coppola's eventual decent into obsessive psychosis as everything that could go wrong does go wrong. Storms destroy sets, money evaporates, the Philippine government continually harasses the director, Coppola has romantic affairs, and he can't write the story's ending. Everything is captured on film. In the most disturbing scene, we watch Martin Sheen have a drunken nervous breakdown while his director goads him on (he eventually suffered a heart-attack, but finished the film).

Other incredible footage is not visual, but aural as the film includes tapes Eleanor Coppola recorded without Francis's knowledge. In them, he truly sounds like a madman as he confesses his fears about making a bomb of a movie. But while Hearts of Darkness is an amazing, voyeuristic experience, its importance lies in the personal reflections offered by those involved. Sheen, Coppola, and Dennis Hopper speak frankly without embarrassment, offering us an essential piece of film history. --Dave McCoy ... Read more

Reviews (15)

Wonderful Documentary Is Even Better than the Actual Movie
Shot by Francis Ford Coppolla's wife, Hearts of Darkness is an incredible, one hour fifty minute documentary that reveals the horrors of making the very popular Apocalypse Now. The film took forever to make, driving many of its participants to the brink of insanity, not just Coppolla, who was emotionally-unstable for much of the film. Viewers of this fascinating documentary will be amazed to learn that Harvey Keitel was originally cast as Willard, but was dropped after only two weeks of shooting. Though only 36 years-old, Martin Sheen suffered a heart attack during filming, an event that further postponed its debuts in theaters. There is some really great footage included here, especially the shooting of the opening sequence of the film which involves a very drunk Sheen lashing out as both his character and himself (at that point, Sheen was experiencing a lot of hostility towards Coppolla and had it out with him right then and there, an episode that would appear in the finished movie). Even if you didn't particularly care for Apocalypse Now, you will most likely find Hearts of Darkness interesting, nonetheless. It is a magnificent look at the troubles and triumphs of a film crew headed by a somewhat mad, but brilliant director. This shouldn't be missed.

A stirring portrait of the making of a masterpiece
Subtitled, "A Filmmaker's Apocalypse", this 1991 film is a documentary about the making of "Apocalypse Now", the 1979 film based on Joseph Conrad's "Heart of Darkness". Set in Vietnam, it is the story of a captain, Martin Sheen, and his crew's mission to find and kill an insane colonel, Marlon Brando, who had created his own kingdom deep in the Jungle. On the way, everyone is touched with the evil around them. This summer I saw the re-edited version of the film and have been intrigued by it ever since. When I heard about this "Hearts of Darkness" I just HAD to see it.

The filming of Apocalypse Now was supposed to take just sixteen weeks at a budget of $13 million. It wound up costing more than $30 million, much of it put up by Francis Coppola himself, and took almost three years to get to the public. Coppola' wife Eleanor and their three children went along on location in the Philippines. She was interested in making a documentary and shot a lot of behind-the-scenes footage, even secretly recording private conversations she had with her husband about the film. The authenticity of the experience really comes through, as everyone involved with the production seemed to go a little bit insane.

Coppola had serious doubts throughout and we hear his words of despair as he thinks he's making a bad movie. We see the terrible typhoon that destroyed all the sets and realized that the helicopters that were being used for the shooting were actually property of the Philippine government who kept calling them away to fight a real disturbance that was going on just ten miles away. We see shots and scenes that never made it into the original film (although much of it eventually made it into the 2001 "Redux" version). We see and overweight Marlon Brando who insisted on being filmed in shadows. And we are right there to watch the filming of the scene in which Martin Sheehan has a mental breakdown. In order to do this he became bleary-eyed drunk, cut his thumb on a mirror and used the blood as part of the scene. The intensity is chilling and when, a short time afterward, he has a life-threatening heart attack at the age of 36, we're all there to see him as he is given first aid.

Now, years later, some of the actors are interviewed about their experiences. We learn that they did a lot of drugs during many of the scenes - acid, speed, marijuana, alcohol, which certainly added to the authenticity as well as the craziness of the whole production. Robert Duval talks about how his famous line "I love the smell of napalm in the morning was improvised. And the whole cast talks about how they improvised a massacre scene. Laurence Fishburne was only 14 when the film was made, a real coming-of-age experience for him. But this very stirring film portrait belongs to Francis Coppola. We get to meet him as a very imperfect human being doing his best to create an art form out of the script, changing it constantly as he went along, and eventually turning out a small masterpiece which went on to be nominated for eight academy awards.

I give this video my highest recommendation. It is a "must" for movie buffs. And an essential education for anyone involved in filmmaking itself. Don't miss it!

A Great documentary&RIP Marlon Brando
this Documentary truly hits behind the scenes&captures the strong acting&Overall Chemistry of the Film.Much Props to Marlon Brando who shows why He is One of the Mount Rushmore's of Actor's.you get a great Climpse at the workings&the overall concepts&Direction of this Film.truly a Must have.

"Hearts of Darkness" IS "Apocalypse Now"
The only known versions of this "essential" documentary are V-taped from the "Pay-Per-View" broadcast. ALL officially packaged VHS versions have long since disappeared from the video store shelves once it was discovered that this title was pulled "out" of release. Now my 1st reaction was that they were preparing to "bundle" "Hearts of Darkness" with a Special Edition release of "Apocalypse Now:Redux" and was thoroughly dumbfounded to find out otherwise.

That said I will take this oppurtunity to advocate that the ONLY other RIGHT way to release this "essential" documentary left would be as part of a 25th Anniversary ( "Apoc..Now" was 1979 release ) Special Edition Collector's Boxed Set of "Apocalypse Now".I say this because ALL afficianadoes of masterworks of filmcraft will agree that you just CAN NOT apprreciate "Apocalyspe Now" ( or Redux version for that matter ) WITHOUT the inclusion of "Hearts of Darkness" .

In essense, "Apocalypse Now" and "Hearts of Darkness" are ONE FILM and are to be experienced as such. I would also stress that suched a special Edition Boxed Set would be found slakcing "with extreme predjudice" if it didn't also include a "commentary" version from none other than AND inclusion of the ORIGINAL ending.
That amazingly surreal soundtrack intensifying the mysterious destruction of Kurtz's temple compound makes the full ending credits far more dramtically displayed by being displayed "in context" with the obliteration of the world of "Apocalypse Now"; an ending also portraying a rather telling , if subconcious, expression of Copolla's psyche at the time of "that" final cut.
The eerie set of events and the surreal convergences of professional lives on the line surrounding the making of "Apocalypse Now" is one of the great , even historic , filmmaking stories of the 20th century and I effortlessly rank it right up there with the story of the making of "Citizen Kane". Orson Wells' wunderkind stature in pulling off the "Citizen kane" masterwork humbles even Francis Ford Copolla ( which I'm quite sure HE would readily admit ). Copolla was cetainly in awe of that Wellsian masterpiece, as well as of Wells himself, when making his artistic masterpiece, but the parallels of BOTH of their artistic daring and "risking it all" to get their vision on film are striking and awesome nonetheless.
( Perhaps one day we'll see someone equally surreal, like some future Terry Gillaim, attempt making an even more Wagnerian-proportioned dramatization about the making of "Apocalypse Now" the way they made "RKO 281: The Battle Over Citizen Kane" ).
Anyway, the absolute importance that "Hearts of Darkness" serves toward understanding just what planet "Apocalypse Now' came from is inarguably cast in stone as "essential"!
I just wanted to bring in some salient points not yet presented here in making the case for DVD release of "Hearts of Darkness".
My job is done here.

Life As Art As Life As Art As Life As Art...
It's truly a shame that this amazing documentary is now out of print. Hunt down a used copy or find it at your local video rental place. It's well worth the effort.

The amazing thing about the Coppola's efforts is the circular karma that seemed to go into overdrive: Francis tries to make a film based on "Heart of Darkness", a story about a man and a country that gets lost in his mental interior while probing the interior of an alien land. He uses the story to try and tell the story of a different man and a different country getting lost in their mental interiors while probing the interior of another alien land. In the process Coppola, trying to deal with his lead actor getting lost in his mental interior while probing the interior of an alien land, loses himself in his mental interior while probing...well, you get the picture. ... Read more

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Thelma & Louise is a feminist manifesto writ large on the big screen, a smart and funny gender reversal of the standard Hollywood buddy formula, a road movie extraordinaire, with characters who became instant cultural icons. No matter how you define it, Ridley Scott's 1991 box-office hit pinched a nerve and made the cover of national news magazines for tweaking gender politics like no movie before or since. Callie Khouri's screenplay overhauls the buddy formula with its story about two best friends (Susan Sarandon and Geena Davis) who embark on a liberating adventure that turns into an interstate police chase after a traumatic incident makes both women into fugitives; they are en route to a destiny they could never have imagined. The perfect casting of Sarandon and Davis makes Thelma & Louise a movie for the ages, and Brad Pitt became an overnight star after his appearance as the con-artist cowboy who gives Davis a memorable (but costly) night in a roadside motel. --Jeff Shannon ... Read more

Reviews (90)

Enjoyable "Buddy Film" classic
Is there anything more satisfying then a romantic, funny, action-packed, well scripted AND well acted movie? Perhaps, but after watching "Thelma and Louise" I certainly have my doubts. Susan Sarandon and Geena Davis star in this highly entertaining, truly heartfelt movie. When one begins this film, you immediately feel the need to choose a "favorite" between the two characters, Thelma or Louise. It is impossible. You can masquerade that you like Thelma more, or that Louise tickles your fancy...but the truth is that both characters are immediately likeable and hard not to love.

The basic plot: Thelma and Louise go on a seemingly weekend long roadtrip as a brief escape from their drab, unexciting lives. Their first night out, Thelma has a terrifying experience...Louise, in her efforts to save her, commits a major crime. Suddenly, they are no longer two pals going on a trip...they are fugitives running for their freedom and from the law. As the story progresses, their list of crimes grows longer, and their chances at reaching their destination seem to get slimmer as they get closer to it.

A thrilling romp through the southwest, with beautiful acting, writing and cinematography, this movie is a classic "buddy movie", "road movie" and "chick flick". Whatever label it is given, it is one of the best of its kind.

The Ultimate Road Movie!
This is an instant classic. Controversial and creating two instant female American icons. Susan Sarandon and Geena Davis are nothing short than perfect as Thelma & Louise, both creating equally likable and complex characters. Considered to be a female buddy road-trip movie, but this film is much, much more, mainly because of the excellent multi-layered screenplay. Ridley Scott directed an instant American classic. Some scenes are now considered classics, such as the ending. The 'male' part of the cast are all excellent, Harvey Keitel and Michael Madsen are great. Brad Pitt is also a stand-out in the role that shot him into stardom. Extremely entertaining and even poignant near the end. This one is in a category all of it's own. From a scale of 1-10 I give this film an 8!

A remarkable movie!
Originality is the supreme adjective for this picture. It won deservedly the Academy Award as Original script. Ridley Scott made an authentical road movie but loaded with humor , cynicism , haunting and above all very anti macho movie.
The sinister fact that will turn a twist of fate in these two women who only wanted to have fun just for a while will become in a permanent and menacing nightmare for both of them .
The spectacular landscapes are a huge background all the way reminds us Paris Texas . The use of big lenses and the arresting images walks together with a solid script .
Brad Pitt appears briefly as the hitch hike guy who eventually seduces Thelma . Susan Sarandon and Geena Davis are the mirror images of Sundance Kid , you may consider it a speculation, but think it carefully . Since the accidental murder , and the sweet smell of the risk when Geena robes a supermarket , the dramatic car chase is very close in spirit to the sudamerican getaway and above all the ending sequence .
Keitel works efficiently , once more and Scott shows us once more why he's on the top direction .
Consider this one from its release as one of the most powerful nineties cult movies!

The Ultimate Buddy Movie.
This is definately Ridley Scott's best film to date. Thema and Louise may be one of the most popular chick flicks, but you do not have to be a woman to like it. This film is the absolute perfect movie to watch with your best friend. The way that Susan Sarandon and Geena Davis take you into the lives of these two friends is amazing. On their jouney they encounter lots of characters including a perverted truck driver, and a young drifter played by Brad Pitt. The movie all in all is good, and I would definately give it two thumbs way way up.

A modern classic
I saw an interview with Susan Sarandon, and she said that "Thelma and Louise isn't about feminism, it's about human liberation." I completely agree.

If you put the sexual politics aside, what you have is a story of two human beings who have spent their whole lives being oppressed and controlled by other people. Louise (Sarandon) is a waitress with a tragic past and an unreliable boyfriend. Thelma is a housewife with an arrogant, controlling husband. The two decide to embark on an impromptu vacation, but while stopping for a couple of drinks at a redneck nightclub, Thelma is almost raped by a lecherous customer, and Louise shoots and kills him in the parking lot. Instead of going to the police, the two decide to skip the country and head to Mexico, but a string of unfortunate events forces the two to commit even more crimes, turning them into bona fide fugitives and outlaws.

Strangely, what the two characters discover is that their new lives as outlaws are more satisfying than the stifled lives they led before. At the end of the film, the two make a choice to remain free and never surrender, despite the consequences.

This film asks the question: is the only way to be free in our society to be an outlaw? The answer just might be yes. ... Read more

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Not an ideal choice for younger kids, this hip and violent animated feature from Disney was nevertheless a huge smash in theaters and on video, and it continues to enjoy life in an acclaimed Broadway production. The story finds a lion cub, son of a king, sent into exile after his father is sabotaged by a rivalrous uncle. The little hero finds his way into the "circle of life" with some new friends and eventually comes back to reclaim his proper place. Characters are very strong, vocal performances by the likes of Jeremy Irons, Nathan Lane, and Whoopi Goldberg are terrific, the jokes are aimed as much (if not more) at adults than kids, the animation is sometimes breathtaking, and the music is more palatable than in many Disney features. But be cautious: this is too intense for the Rugrat crowd. --Tom Keogh ... Read more

Reviews (339)

Well worth your hard earned money
This new two disc set for the Lion King is yet another masterful DVD production job by the Disney folks. The video and audio quality are top notch, with plenty of choices how to see the film (both original and extended). There are an amazing amount of extras included on disc two, it will take some hunting to find them all, and quite a bit of extra time to view the entire contents. A few are overly self promotional, but there is so much stuff here, just skip to the next item if that bothers you. Some of the games are actually fun too.

With both Lion King and Sleeping Beauty being newly released on DVD right now, if you can only get one of them, there is no question this is by far the better choice. The impressive animation, the story, the fantastic sound, the extras are all superior in this Lion King package. This still isn't my favorite Disney release (Roger Rabbit will always have that honor), but maybe top 5--certainly top 8.

Lion King Platinum is well worth the investment for your DVD collection. Your family will get many years of enjoyment from it.

The Lion King
The first time I ever saw "The Lion King" was on September 14th 1995, the day it came out on video. Strangely, I went to all of Disney's releases from "The Little Mermaid" to "Aladdin" (including rereleases of their older classics) but missed out on "The Lion King". Silly me. "The Lion King" is a masterpiece. The film is visually amazing. Some scenes stand out in particular; such as the wild-beast stampede and the opening sequence. The movie wouldn't be completed without the powerful score and songs, composed by Hans Zimmer and Elton John, respectively. The Oscar-winning "Can You Feel The Love Tonight" and the ever-popular "Circle Of Life" are all here. The characters in this movie have also become wildly popular, especially Timon and Pumbaa. The villain, Scar, is the ultimate villian: evil and deceitful, yet wit and sarcastic. In this 2-disc special edition, the film looks like a video-game, in terms of sharpness and clearity. You won't believe of how smooth the image can be. "The Lion King" is a movie that deserves all the praise and success that it had gotten.

Earns its place among the old Disney classics
Animation films are incredibly tricky. Adults(or just mainly uptight people view animated films as kids only. However kids see them as great pieces of film that they "get". For once, Disney gets it right. This was really a powerhouse film when it came out and held the record for the biggest animated film of all time(until recently when a so-so film about finding a fish called Nemo came out).

Simba is a young lion in the Serengeti(they call it the Pride Lands though) who just can't wait to be king. However, he's a mischievous little cub who gets into trouble a bit easy. When a terrible tragedy strikes, Simba exiles himself where he meets a warthog and meerkat and develops a carefree lifestyle. Now an adult, he returns to the Pride Lands to reclaim the throne from his evil uncle, Scar.

Sounds a bit like Hamlet huh? But you won't care. Many impossibly catchy songs, funny moments and jokes and words that even appeal to adults(do you really think a kid would understand "illustrating the differences in your royal mangerial approaches"? Exactly.)

Voice acting is top notch, animation is absolutely gorgeous, and it's done by hand by the way, none of that Finding Nemo/Toy Story/A Bug's Life CGI stuff. There's a reason why this is considered the best Disney film but you owe it to yourself to find out why.

This is NOT a violent movie for kids
I'm sorry, but if you found this movie to be too violent for kids over the age of five, then you're robbing your children of a valuable experience. Yes, there is death. Yes, it is not a safe and simple death. But kids CAN handle it. An evil man killed a great man. It's not a theme that kids should enjoy, but it's one that is of particular resonance to us as Americans. This movie is simple, beautiful and moving- seemingly one of Disney's last treasures. While the Broadway show may be even more moving, this movie has the power to move us. I hope you'll see it if you haven't. I hope you'll let your kids watch it if you haven't. And I hope you'll enjoy it as much as I have. Humbly submitted, -Matt Calcara, Overland Park, KS

Best movie of all times
I really love this movie it was so cute and the songs were great I gave my neice this movie when she was born and she watches it all the time and she is 7 years old now Thanks to everyone who created it your the best ... Read more

Reviews (5)

A wonderfully dark film!
Blade Runner tells of human-like robots which are in danger of gaining emotions and becomming too human to exhist by human laws. I loved this movie when I first saw it and I find it wonderful to notice in the background the company logos (which at the time were powerful up and coming companies) of which most are out of business (though Atari has made a comeback). The soundtrack sets the tone and the weather (which it always is raining in the film except for the very ending) also keep things looking bleak. I do enjoy the directors cut cause I am a big fan of Widescreen... but that is the only reason I like it. I wish they had kept the narration (or at least had a two sided disk so a person could chose to have the original unedited narration or the directors cut version). I know some people think the narration is the studios way of saying that the audiance cannot understand the film without dumbing-it-down with narration. This is definitily not the case. The narration reminds me of those old TV Cop dramas where the cops thoughts are always stated as the action is happening. I do feel that it adds to the film. I highly recommend the movie regardless of which version you see. Rutger Hauer is my favorite.

A Dirty Future run by Businessmen and Politicians
It is never enough for the powerful: in this film they manufacture people and then "recall" them like Chevy did the Vega... but we find that people aren't machines even when they are manufactured. The man who is called to track down the last of the androids falls in tough love with the last best of her breed!

Dark Sci Fi at its best
A truly fabulous cinematic work, I only wish it was still available for purchase. Philip Dick would be proud of the adaption of his novel. Vangelis renders a beautiful score. No one does it better than Rutger Hauer.

A depressingly dark moody film that makes you think.
I have both versions, the original release with Ford's voice over, and the "Director's" cut (which is surprisingly, shorter than the original). Of the two, I tend to prefer the original.

Purists tend to find the voice over of the original distracting and un-necessary, but I find it adds to the mood.

I love the cinematography.

It also sports early or first appearances of many now well known actors.

I would consider this movie to be within my top favorite movies.

The very best science-fiction/action/romance ever made.
Okay, the voice-over detective's dialog is hokey, but I love it; it's Sam Spade with smog. Years after the original release, the movie isn't dated or tired. It may always be my favourite flick. ... Read more

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Sixteen years after Francis Ford Coppola won his second Oscar for The Godfather II (his first was for the 1972 Godfather), the director and star Al Pacino attempted to revive the concept one more time. Despite an elaborate plot that involves Michael Corleone seeking redemption through the Vatican while simultaneously preparing his nephew (Andy Garcia) to take over the Corleone family, the film fails to take shape as a truly meaningful experience in the way the preceding movies do. Still, Pacino is very moving as an elder Michael, filled with regret and trying hard to make amends with his wife (Diane Keaton) and grown children (one of whom is played, and not all that well, by the director's daughter, Sofia Coppola). --Tom Keogh ... Read more

Reviews (104)

A movie that should not have been attempted
"The Godfather", and its sequel, are quite possibly the greatest films made after the golden age of movies. It's all the more disappointing, then, that "Godfather Part 3" is a turgid, impotent movie that is always trying to set up a big finale, but never concludes anything convincingly. The cinematography lives up to the Godfather pedigree, but that's where the similarity ends. Coppola is clearly trying to revive feelings for Michael Corleone, his now-estranged wife Kay, and introduce newer characters like Sonny Corleone's bastard son (acted superbly by Andy Garcia) and the family's lawyer (George Hamilton). But years after Michael's overboard vendettas in "Godfather 2", the story has too much catching up to do to draw the viewer in. Coppola uses a heavy-handed technique to bring the audience along. The film often recalls previous scenes: the opener is a social gathering... there's a bloody "hit" that wipes out assorted gangsters... there's kitchen plotting... there's an Italian festival as a backdrop for murder. The look is there, but the feel isn't. Equally distressing is the casting. Hamilton's tanned, lounge lizard oiliness make him more of a corporate than "criminal" lawyer. Garcia should have acted the part of Michael's son. Sofia Coppola is sadly wooden, and I suspect she's not just acting the part of a bored princess. Michael's son is totally useless, as are the myriad characters flitting in and out of this film. We get a pope, a priest (unconvincing as Tom Hagen's son), a shifty cardinal, two beefcake bodyguards, a cowardly financier, an assassin who's not very good, and Father Guido Sarducci. Michael's old hitman Al Neri looks a bit paunchy as he fingers the chocolates that conceal his pistol... and what the heck is Brigitte Fonda doing in this story? In the first two films, every character mattered to the plot; there wasn't a dead character ('scuse the pun) in either story. Arguably, the first "Godfather" was a complete entity that needed no sequel. Coppola gambled and came up a winner with Part 2, but it's a tall order to repeat that formula in Part 3. When I fire up the "Godfather" films, I have no trouble forgetting that Number Three was ever made.

Great way to end the classic epic
i Don't understand why everyone are hating on ''the Godfather III'' after all it was nominated for a best picture in 1990 (Goodfellas should have won that year)true it's was not as brilliant as the first film mostly because there was too much recylcling going , but overall Godfather III was a good film .

Lay Off Sophia!
Sophia Copola has been bashed too much, and it's undeserved. While she had no experience, she had a certain sweetness about her. She's also much prettier than Wynona Ryder- YEAH, YOU HEARD ME! Coppola had a certain innocence about her. After all, she was never convicted of stealing.

The bigger problem is with Robert Duvall's absence as the lawyer Tom Hagan. Without his charasmatic presence, the film is seriously lacking. But the film does have its moments.

Good Movie, but ruined the Trilogy
Godfather 3 was a movie saved by one person, Al Pacino. His powerful acting in the first two Godfather films was without a doubt visable in the third. But this movie was destroyed by horrible acting. Andy Garcia portrays Micheal's (Al Pacino) nephew from his dead brother, Sonny. Andy plays Vinnie, a youthful hoodlum looking for power and respect. This movie got Andy Garcia famous, even though it was obvious he was just trying to copy Marlon Brando and Al Pacino's prefomance's in the last two Godfathers, and he did a horrible job and tore down the legacy of Godfather with every scene he was in.

But it wasn't just Andy Gracia who tore apart this movie, oh no. He had some help. Sofia Coppola plays Mary Corleone, Micheal's daughter. You could tell she had no idea what was going on. It was like Francis Ford, the director, just told her to say random things without even giving her a script. Marlon Brando, may he now rest in peace, was probably disgusted with this movie before he died.

To make this movie even worse, they decided to have a dramactic ending scene with Mary shot by a some random person sent to kill Micheal. This scene ends with Al Pacino screaming his lungs out, and the whole time I was sitting there saying, "That guy did you a favor by killing off that unholy death angle sent from the deep dark bowels of heck." The final scene, was indeed, a sad one, but with the acting skills in this movie, I don't blame Micheal for dying. I do have to admit, there are no words to describe the death scene of Micheal Corleone, because that marked the end of the Godfater lagacy, hopefully, forever. But don't get me wrong, I still love the Godfather trilogy, and always will. It just needs to end, here and now.

If you ever plan to watch this movie, tape a knife under your couch, just in case you feel like killing yourself after seeing the horrible acting presented by the infamous Andy Garcia and Sofia Coppola, The Destroyers of the Godfather Trilogy.

soso
godfather III was entertaining, in that we got to see what happened to some of the characters we loved (or hated) from the first two movies. this alone is reason enough to rent it (not buy!). however, godfather III should NOT have been made. the moral of the story is fulfilled with the last scene from godfather II, where michael is sitting alone, old and graying, face lined from a stressful life. after watching "II" i felt that the corleone tale indeed had nowhere left to go. anything after that would be harmful to the artistic acheivement of the first two movies. mario puzo said that his godfather books were really stories of family. michael the all-american marine, from the beginning of "I," and michael the morally bankrupt head of a crime family at the end of "II," should be seen with what has happened to his family along the way. THAT is what the godfather story means. godfather III isn't useless. again, it's fun to see what has happened to those interesting characters from the first two movies. but i wouldn't trade all three hours of director's cut "III" for that last scene in "II"! ... Read more

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Although it's been three years since we last saw Bridget (Renée Zellweger), only a few weeks have passed in her world. She is, as you'll remember, no longer a "singleton," having snagged stuffy but gallant Mark Darcy (Colin Firth) at the end of the 2001 film. Now she's fallen deeply in love and out of her neurotic mind with paranoia: Is Mark cheating on her with that slim, bright young thing from the law office? Will the reappearance of dashing cad Daniel Cleaver (Hugh Grant) further spell the end of her self-confidence when they're shoved off to Thailand together for a TV travel story? If such questions also seem pressing to you, this sequel will be fairly painless, but you shouldn't expect anything fresh. Director Beeban Kidron and her screenwriters--all four of them!--are content to sink matters into slapstick, with chunky Zellweger (who's unflatteringly photographed) the literal butt of all jokes. Though the star still has her charms, and some of Bridget's social gaffes are amusing, the film is mired in low comedy--a sequence in a Thai women's prison is more offensive than outrageous--with only Grant's rakish mischief to pull it out of the swamp. --Steve Wiecking ... Read more

Reviews (101)

The sequel surpasses the original.
I've seen several movies that were sequels but they were never better than the first movie. But for the first time with this movie I found the second better than the first one. If you have seen "THE DIARY OF BRIDGET JONES", you must see this one and if you haven't seen it. I would recommend you to start with that one so you can follow better the story.
This time the picture starts with a very happy Bridget (Renée Zellweger) who is deeply in love with Mark Darcy (Colin Firth) and that love is mutual. Everything goes perfect until Bridget and Mark have a fight that ends with the relationship because Bridget is jealous of Natasha (Mark's friend who is beautiful and rich) and because Mark is still very arrogant with her. After this appears once again Daniel Cleaver (Hugh Grant) who is called to work with Bridget. The story goes to several places from this point and you can laugh very much and have a great time with this movie that also has a wonderful soundtrack featuring songs by Joss Stone, Mary J. Blige and Robbie Williams along others.
With the speacial features you can find a hilarious interview from "serious journalist" Bridget Jones and actor Colin Firth and alternativebeginnings, deleted scenes plus others.

Hey Hugh, Colin called you a big sissy!
There's really only one reason to see this movie: a recap of the great girly-man fight between Hugh Grant and Colin Firth. It's almost as funny as the first time around, with some great hair-pulling, body-slamming interludes. The rest of the movie left my mind almost at the same time I watching it, except some painful memories of cheesy looking sets and politically correct third-world prisons. Any movie set in Thailand with no filth and squalor goes way beyond comedy to a kind of propagandistic obscenity. Don't be fooled, tourists of the world, "Edge of Reason" is to the real Thailand what Woody Allen films are to the real New York.

Fall in Love All Over Again...
Bridget Jones is passionate about passion. She inspires a dreamy admiration for love itself as she longingly gazes at Mark Darcy, wrapped in lavender sheets. Unfortunately (and fortunately for the viewer) Bridget keeps tripping over herself in this sacred dance of love. Her antics are deliciously funny all while her heart reaches for the profound moments in life.

You can't help but fall madly in love with Bridget Jones (Renée Zellweger) because she is a real woman, struggling with all the decisions of daily life and all the insecurities society promotes. In this daily life she also retains the right to vivid fantasies and creative conclusions inspired by jealousy.

Life seems to keep getting in the way of her fantasy existence especially when she is drenched by passing buses. In fact, she spends a great deal of this movie running about in the rain or looking quite deliciously natural with her hair all a mess and very little makeup. She honestly tried, but it is like the elements have ruled in favor of the natural look.

While she obsesses endlessly over her main rival who seems to have her eye on Mark Darcy, she condenses her thoughts into sly little schemes with hilarious results. She has a tendency to put herself in physical danger - falling from airplanes and sliding off skylights into gardens. Her ever-curious nature makes her almost kittenish at times and I thought the humor was shockingly good.

How does Bridget go from being an "award-winning" journalist to being thrown into a Thai prison where she undergoes a hilarious name change? What is even more fun is how she always survives her mother's seasonal curry buffet.

Colin Firth is especially dashing in this movie as he ends up completely drenched in a fountain in his suit. He is at first emotionally withdrawn, but his heart reaches out through his eyes as he longs to be fully trusted and admired. Of course, Bridget can't fully trust him because of Daniel Cleaver's antics and she is just waiting for him to cheat on her and ruin their beautiful relationship.

Daniel Cleaver (Hugh Grant) is still as naughty as always and his boyish charm and attempts to control his overwhelming appetites encourage our sympathy. I especially loved the scene where he recites the Thai Poem and when he tells Bridget she is the best he has ever had. Of course, current research tells us that women who are slightly overweight are much more interested in sex for very biological reasons.

I've been listening to the soundtrack in hopeful anticipatory mode, knowing the songs would sound perfect in a movie. I was not disappointed. This movie also has a quiz option. You can take the test after various scenes of importance. While the main plot elements from the book are still all in place, there are a few surprises.

In the end, I think this movie is romantic because it appeals to a man's need for respect and a woman's need to be passionately loved for who she is, just the way she is even if her hair is not perfectly done or her makeup perfectly applied. What is more beautiful than a man telling you he loves you, even if you are a few pounds overweight? This is about total acceptance and loving a woman as a soul. It is rather profound from a woman's perspective because society judges us on our weight and not our heart.

It seems Beeban Kidron shares my fascination with water images and I look forward to more movies in the future with rain, rivers and oceans. If you enjoyed this movie, also look for "Swept from the Sea."

~TheRebeccaReview.com

Mildly amusing, but ultimately pointless sequel
The first Bridget Jones movie was a perfect little human comedy.Although absurdly unlucky, Bridget remained a consistent and logical (in her own way) centre to the film.The humour grew organically from her "logical" reactions to the absurdity happening around her.And we had a nice, romantic happy ending.The same praise cannot be given to this sequel, "Bridget Jones - The Edge of Reason."Don't get me wrong - I enjoyed the film in a superficial way, at least while I was watching it.Unfortunately, it's entirely unecessary, except as a money-making grab by the studio.

The plot: Mark Darcy is seen in the presence of another woman.Bridget assumes he is cheating on her and is then assigned a job in Thailand with Daniel Cleaver (the "ex").Therein lies the main problem I had with the film: the entire story is built on misunderstandings that could be cleared up with the tiniest application of logic on any one of the characters' parts.Similarly, actions are not driven by the nature of the characters, but rather the requirements of the plot.For example, almost immediately after starting the relationship with Mark Darcy, Bridget's friends are advising her to dump him.Why?I have no idea - I guess because the screenplay told them to!Similarly, if Bridget is thrown in a Thai jail while on assignment for her TV network, wouldn't someone at that network notice that she had gone missing?

Am I applying logic where none is required?Probably.But a sequel should be able to build on the characters rather than making them more two-dimensional (or making their actions arbitrary).I should be asking is the film funny?Are the actors good?The answer to both questions is undeniably "yes!"I applaud the idea of building a comedy around the question, "what happens after happily ever after?" Unfortunately, the film bails and gives us a series of silly little scenes that work on their own, but never add up to anything worthwhile.

On the plus side, Mirimax has deigned to give us at least a few extras on the DVD.There are some deleted scenes, the most welcome being the infamous "Bridget interviews Colin Firth" scene from the novel.Obviously, it became impossible to put this in the movie with Firth playing Mark Darcy, but they filmed it anyway at the end of a day's shooting and stuck it on the DVD as a treat to those who have read the book.There are also some scene breakdowns and a director's commentary.