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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

Amazon.com

Though it seems like a one-joke premise, this spinoff of Al Franken's Saturday Night Live character, self-help nerd Stuart Smalley, actually has some substance. And, in fact, it offers a message that wouldn't be out of place at an Al-Anon meeting (although with the laughs). Stuart, fired from his cable TV self-help show, goes home to resolve a family crisis. Dad (Harris Yulin) is an abusive drunk, Mom (Shirley Knight) is an enabler, Sis is an over-eater, and Brother has a problem with his temper. The film turns serious, but Franken actually makes the drama interesting, using humor to leaven it. And he brings a certain sympathy and resolve to the lisping, cross-eyed Stuart. To be sure, it's not your typical SNL movie. --Marshall Fine ... Read more

Reviews (34)

ONE OF THE BEST MOVIES I HAVE EVER SEEN...
The first time I saw this movie was when it was in theatrical release, (which lasted about a week). I was in a movie theater in Times Square with a friend, and there were only two other people in the audience. Al Frankin has referred to this movie as a "disaster" because it was pulled from theaters after not even reaching one million dollars. Note to Al: THIS MOVIE IS NOT A FALIURE!

Every detail of this film, from the opening montage to the marvelous acting, (these are TOP NOTCH actors in this film), to the hilarious comedy to the story to the music...everything is hysterical. I only wish they had chosen a different title. Stuart does not save his family, he can only try. The movie should have been called "Stuart Smalley."

I was so astounded by how wonderful this movie was, yet practically no one saw it and Al Frankin calls it a disaster. I honestly, truely, unexagerratedly believe that this movie should have been up for several Oscars, including Best Director and for the supporting cast. The actor who plays the father was especially wonderful. I only hope that more people discover this movie.

When the movie was over in the theater, (I have since seen it again on video several times), the two other people in the audience came up the aisle and also expressed how good the movie was. I wish I could have direct addresses for director Harold Ramis and Al Frankin so that I could write to them and tell them how proud they should be of this movie.

He doesn't really save his family, but...
Sadly, a lot of folks have never heard of this little gem. It had a very short theatrical release but has been gaining a wider audience, largely among members of 12-step programs, through its various video releases.

To describe the story line of this very funny movie would be to sell it short, because the premise doesn't sound like it would lend itself to such a delightful comedy. But the film grabs one's attention from the very beginning with its montage of 50s and 60s family photographs during the opening credits. Are these possibly family photos of the lead actors at an earlier stage of life? When Vincent d'Onofrio's name is on the screen, the guy in the photo looks an awful lot like him. And then we're off and running, with Stuart telling us on his television show that he has just received a sweater that one Melissa D. knitted for him. Melissa is a recovering sex addict and knitting the sweater "gave her something to do with her hands."

From that point on, the pace only rarely slackens, as we are introduced to Stuart's various friends and nemeses, beginning with Roz Weinstock, very possibly the meanest and most sadistic boss since Captain Bligh, and deliciously played by Camille Saviola. Roz has fired Stuart for maligning her on the air, and she is only the first of a series of people Stuart manages to annoy as he lives out his affirmation of "I'm good enough, I'm smart enough and, doggone it, people like me." Perhaps not everyone likes him, certainly not the customer in the restaurant (an unbilled role, possibly director Harold Ramis?) who has to wait while Stuart explains his latest predicament to his best friend and Al-Anon sponsor Julia, wonderfully played by Laura San Giacomo.

From there, it is a constant back-and-forth for Stuart between Chicago, where he lives, and Minneapolis, ironically one of the chief centers of recovery programs, and the home of his very dysfunctional family. Stuart's beloved Aunt Paula has died, setting in motion an ever-muddier chain of events that eventually teach Stuart in a big way that the only one he really has the power to change is himself. Nevertheless, the ever-optimistic Stuart continues to offer his gifts to others, some of which are eventually picked up and appreciated.

Just as the setting goes back and forth from Chicago to Minneapolis, so the time frame goes back and forth from the present to the past through black-and-white flashbacks, some happy, some less so. These give us some idea of how Stuart has come to be the way he is today, and of the ghosts that he has to grapple with while living out his affirmation.

The film does take a rather serious turn near the end, but Al Franken as Stuart Smalley helps to keep the tone somewhat light during this section. And, as in real life, not all the loose ends ever get neatly tied up, but Stuart has nevertheless made his impact, as we see in a very heartwarming ending.

While most of the actors in the film are not household names, a number of them are quite experienced and turn in some memorable performances. Harris Yulin, Shirley Knight, Lesley Boone and Vincent d'Onofrio are all good as Stuart's family members, the men in particular. There are also a number of memorable cameos, particularly Julia Sweeney as the constantly apologizing Mea C., and Walter Olkewicz and Jeremy Roberts as the Skoag brothers who try to force the teetotaling Stuart to drink beer at a bar.

The music is fun also, beginning with the codependent song that is played during the opening credits. And it was great to hear Ethel Merman blasting her way through "Everything's Coming Up Roses," during one of the scenes where Stuart is trying to pull himself up by his bootstraps.

This picture has some of the funniest lines I have ever heard in any film. My particular favorite is Stuart's brother Donnie's attempt to define for him what an "easement" is, despite the fact that he obviously doesn't have the slightest notion. But many will like even better Stuart's comment to his sister about the pound cake. While there is plenty here for audiences in general to laugh at, there are also a number of jokes that are targeted toward members of 12-step programs, and especially those programs geared toward helping friends and family members of those addicted to alcohol and drugs. It's obvious from the writing that these are topics near and dear to screenwriter Franken's heart.

So, I recommend this movie with just the caveat that you will find it funnier and closer to home if you have some familiarity with the programs that the film gently pokes fun at. And even if you don't, after seeing the film you may still wind up with a new approach to life.

Great Great Movie
I absolutely love this movie! I watch it everytime I am frustrated with my family and always end up feeling a little bit better. Other than making us laugh, this movie teaches us that at some point it's ok to separate ourselves from our family's problems and that we have to accept that we can't fix everything for everyone that we care about. I was happily surprised that this movie contained more than obvious humor, it actually has heart!!

If you've ever been a member of a 12-Step Program...
If you're ever been or are now a member of a 12-Step Program you'll find this movie wildly entertaining. Sadly, the humor so evident in this film is so common amongst many familes struggling with relatives of addictions. Key words here are : affirmations, 12-Step, intervention, codependency, and many others to mention here.

A Jewel of a Movie
It's sad when I mention scenes in this movie at work and I get a "huh?" Very few people has bothered to see this movie and I think they're missing something. I found it poignant, funny and subtle. It it has some of the best one-liners and a rather sad but well written ending. Any grown-up out there (belonging to a dysfunctional family) still trying to stay with the concept of "family holiday gathering" should do what Stuart ultimately did in the end. ... Read more

Reviews (72)

My Babysitter was NEVER this Fun!
Elisabeth Shue is Chris Parker, a normal seventeen year old who begins the night with an ordinary babysitting job, sitting two normal suburban children, Sarah and Brad. After her friend - Brenda (Penelope Anne Miller) -- calls from a bus station in the city (Chicago), stating that she has runaway from home and needs Chris' support, Chris takes off to the city with Brad, Sarah, and Brad's friend, Daryl. What should have been a 30 minute ride to the bus station turns into a run through the city as the group of four encounter car thieves, weird mechanics, and a place where nobody leaves without singing the blues.

Adventures in Babysitting is THE fun movie of the 80s. Well, THE fun movie that doesn't contain little monsters, goonies, or Tom Hanks. As we follow the quartet through Chicago, we are introduced to hilarious scenes and crazy antics as they get themselves in the middle of a car heist, a cheating wife and her enraged husband, and many more. I must say that one of the biggest highlights of the film is the Blues Bar scene where Elisabeth Shue and the kids absolutely have to sing before leaving the bar. It's great.

The films is full of great characters. Elisabeth Shue is vibrant as Chris Parker, the babysitter gal. Her interaction with the kids was great, and she handled her leading status with ease. Maia Brewton is little Sarah who offers a lot of the laughs in the movie. She was awesome - I wonder where she is now? Keith Coogan and Anthony Rapp (Rent! Mark in Rent! I love Rent!) are Brad and Daryl, and both stay true to their roles and make them entertaining. But did anyone else want to occasionally strangle Anthony Rapp for that laugh?! We also see the likes of a young Penelope Anne Miller and Vincent D'Onofrio in cameo roles. Although Miller's role is a bit bigger, and very hilarious.

Although the DVD release is bare, without even a nice trailer to suit a fan, we do get a nicely widescreen anamorphic presentation with nice picture (Although there are signs of an aged film) and good audio.

Adventures In Babysitting is definitely one of my favorite 80s movies. For the fact that it's a great, fun, and crazily adventurous comedy.

Don't Mess With This Babysitter!
In the tradition of the "Goonies," Elisabeth Shue shines in her first starring role as Chris, whose day starts out on a bad note. After her boyfriend cancels their date, Chris decided to babysit for a couple who are in dire need for her services. In care of charges, Brad and Sarah, Chris believes this will be an ordinary job, however trouble comes knocking, first when Brad's pest of a friend, Daryl comes to stay over, and then when Chris' best friend is stranded at the bus depot in downtown Chicago.

What follows are a series of madcap adventures that take these suburban kids into the heart of the city. After their car's tire goes flat, the Chris and the kids must find a way to find their way back home and go help her friend at the same time. However, when they run into a car-theft ring headquarters, their night won't be the same again.

Featuring a wonderful cast including many actors unknown back then (Penelope Ann Miller as Chris' friend; Vincent D'Onofrio as the mechanic, etc.), "Adventures in Babysitting," marks the directorial debut for director Chris Columbus ("Home Alone"; "Stepmom"; the upcoming "Harry Potter" film adaption) who does an excellent job of making this film work. His ability to stretch character limits works well here, as he is able to place the kids in nearly impossible scenarios. The most memorable scene in this film that captures Columbus' imaginative directing features Sarah scrawling the windows of the towering building in downtown Chicago where her father works at night. As she scrawls the windows in fleeing from a member of a car-theft ringleader, she sees her parents at their party from the outside. Who could have thought of such a funny way of seeing your parents at the wrong place and wrong time?

Similar to other amazing average-day adventure films such as "Ferris Bueller's Day Off," and the "Goonies," - "Adventures in Babysitting," is still as entertaining today as it was over a decade ago. Truly this is one of the late 1980's hidden comedic gems.

WHEN THE SHUE FITS
ADVENTURES IN BABYSITTING is a wonderfully entertaining film from the late eighties that still resonates almost 20 years later. Chris Columbus (the future director of the first two Harry Potter films) brings us a series of vignettes resulting in Elizabeth Shue's Chris Parker babysitting for the precious Maia Brewton and the mooneyed Keith Coogan. Shue is marvelous; Coogan and Anthony Rapp are delightful; and little Maia is appropriately cute and loveable. Penelope Ann Miller as the nearsighted Brenda is a riot...especially when she picks up a stray "cat" at the bus station.
Of course, the primo scene is the "nobody leaves till you sing the blues" with Albert Collins. Shue's transformation as she gets into the "Babysitter Blues" is priceless.
This is one feel good movie, and in spite of some of its profanity, a film everyone should enjoy.
It's a minor classic to me!!!

Excellent movie...not too many great DVD features, though
This is an 80's classic! I have always loved this movie...and I was pretty shocked when I found out that Anthony Rapp...aka Mark in RENT is in it! That was soo cool, especially since I liked his character alot. If you've never seen this movie, you should check it out, but if you're going to buy it, unless it's to add to your DVD collection, I'd stick with VHS.

stray dog
if i've said it once, i've said it a million times: keith coogan, where are you? this 1987 flick is hysterical! ya think? ... Read more

Description

The story of an 18-year-old marine recruit named Private Joker - from his carnage-and-machismo boot camp to his climactic involvement in the heavy fighting in Hue during the 1968 Tet Offensive. ... Read more

Reviews (317)

Kubrick Addresses The Complexities Of War
The dual nature of man, wherein he is able to embrace both war and peace simultaneously, is addressed by director Stanley Kubrick in the decidedly anti-war film, "Full Metal Jacket," starring Matthew Modine. Divided essentially into two parts, the first half follows raw recruits through basic training at Parris Island, where the effects of what it takes to turn a man into a Marine / killing machine is explored, predominately through the characters of Private "Joker," played by Matthew Modine, and Private Leonard Lawrence (Vincent D'Onofrio), dubbed "Gomer Pyle" by the D.I, Sergeant Hartman (Lee Ermey). It's a hard, stoic study of techniques and motivation that inherently questions the system itself, and is deftly and succinctly illustrated by the results achieved, which are not entirely those desired. It's hard stuff to swallow at times, but engrossing, and Kubrick manages to gradually build the emotional intensity that gives such impact to the climax of this first part, which is without question the strength of the entire film. The second half switches suddenly to Vietnam, where Kubrick takes up his pallet and canvass, and while attempting to paint a realistic portrait of war, instead takes more of a turn away from reality, and the film takes on a sense of the surreal; the result is more reminiscent of the visual artistry of "The Thin Red Line" than of the truly gritty realism of "Saving Private Ryan," and rather than make his statement directly through the use of the story, he uses the movie to stage sequences of events to demonstrate the contradictory nature of war and it's consequences, and man's involvement therein. And while he compares the moral and emotional conflicts with the physical, it is an acknowledgement of an inner struggle devoid of any proffered solution, though delivered quite subjectively. The pace of the film is very deliberate and much of the dialogue has a "staged" sense about it that, rather than underscore the issues being addressed, has more of an alienating effect which serves to neutralize the emotional aspects of what is being presented. The story is told from the point of view of Modine's "Joker" , but though Modine does a passable job, his is a rather unsympathetic character whose purpose it would seem is merely to act as narrator and to serve as the "eyes" of the camera. And, again, it only manages to distance the audience further, as Joker becomes a kind of buffer between the viewer and any sustained level of emotional involvement with the story or any of the characters. Instead of a stirring fulmination against the lunacy of war and man's enablement of it, Kubrick's approach creates more of a sense of rather cold ambiguity. Had Joker (as the lead) been a stronger character, and had the second half of the film been more like the first, instead of nothing more than a series of vignettes, this could have been a dynamic movie; as it is, because of Kubrick's choices, he made a good movie, but not a great one. There are two memorable performances here, one by Vincent D'Onofrio, who did an exemplary job of creating the hapless Leonard; the other by Lee Ermey, as the Gunnery Sergeant who could be the poster-boy for an anti-enlistment campaign. Also worthy of note is the work of Arliss Howard, who brought "Cowboy" so credibly to life. Rounding out the supporting cast are Adam Baldwin (Animal Mother); Dorian Harewood (Eightball); Kevyn Major Howard (Rafterman); Ed O'Ross (Lieutenant Tinoshky); and John Terry (Lieutenant Lockhart). With "Full Metal Jacket," Stanley Kubrick raises issues that are important, and makes some valid points about the causes and complexities of war, and the moral and ethical challenges of those presented with it. Obviously, this was a passionate endeavor; if only he would have allowed more of that passion to make it's way onto the screen. What a movie this could have been.

Great movie,but not my favorite on Vietnam
Stanley Kubrick's Full Metal Jacket is a very good movie,but I like others on the subject of Vietnam better.It follows a group of Marine Corps recruits from boot camp to the war in Vietnam.I thought the boot camp sequence was outstanding.Gunnery Sageant Hartman is an unforgettable character,(every time I see R.Lee Ermey in a movie I'm reminded of him)probably the best drill instructor ever in a movie.The rest of the cast was very good,as well,especially Vincent D'Onofrio as Gomer Pyle,and Matthew Modine as Joker.After boot camp the movie shifts to Vietnam,where the action is seen mostly through Joker's eyes.The movie show's some of the horrors of war,but not as well as other Vietnam films such as Platoon and Hamburger Hill.(of course that's just my opinion,you may disagree)I've read that the movie was shot entirely on soundstages in England,rather than on location,and it looks incredible.Overall,while not my favorite movie about Vietnam,it is a very good film.

Fantastic
First of all....many Marines say that the first 30 minutes of the movie about boot camp is THE most accurate depiction of Parris Island in cinematic history. And of course Lee Ermey himself being a former Marine drill instructor tops it all....his profanity laced tirades are totally outrageous.

Second of all, the latter half of the movie deals with a subject not covered in Vietnam movies, a squad getting lost and having to face a lone sniper. Its a radical departure to be sure, but Kubrick in his usual cinematic mastery makes it very gripping.

So if you like Vietnam movies that are a bit different but still as strong as Hamburger Hill and Platoon, check this one out....its fantastic.

full....metal...jacket.
one of my favorite movies kubrick and matthew modaine how better can it get.lol. i suggest this omvie to anyone who likes kubrick, war movies or both for that matter. i also read the book that its based off of "the short timers" by gustav hasford it was really good but i still liked the movie better becasue it had vincent d' onfario and and the segarent(its like blasphemy that i cant remeber his name at this moment) but this movie is great, kind of boring at parts but still its deffinalty worth a watch.

An Near Masterpiece.
When Ordinary People are all Plunged into a Boot Camp Hell Pitbulled by a Leatherlung D.I. (R.Lee Emery) to Prepare for the Vietnam War and the Dehumanizing Process that turns People into Trained Killers.

Produced and Directed by Stanley Kubrick (2001:A Space Odyssey, A Clockwork Orange, Eyes Wide Shut) made a Savage Vietnam drama with a dark sense of humour. There's terrific performances by Matthew Modine, Adam Baldwin, Vincent D'Onofrio, R.Lee Ermey, Dorian Harewood, Arliss Howard, Kevyn Major Howard and Ed O'Ross. The first 45 minutes is a Masterpiece and then the last 71 Minutes, the movie turns into familiar territory with dark humour. The film's conculsion is Strong and Satifysing. This newly restored DVD is better than the previous DVD transfer. DVD has an sharp Pan & Scan (1.33:1) transfer and an strong newly remastered in Dolby Digital 5.1 Surround Sound. This is a Well Made film, which it might be far from some of Kubrick's best films but his elements are here. It's worth viewing. Based on the Novel "The Short-Times" by Gustav Hasford. Screenplay by Kubrick, Hasford and Micheal Herr. Grade:A-. ... Read more

Reviews (4)

Bleak and Erotic
To my surprise, upon viewing this movie, I discovered that it is a love story...albeit dark, depressing love story with little if any light at the end of the tunnel. Claire Dolan (the late Katrin Cartlidge) is a high priced prostitute working to pay off her pimp. She tries to escape from New York to a town in New Jersey to live a legitimate life as a hairstylist. Believing she's being followed one night, she hits on Elton (Vincent D'Onofrio) in a bar in order to obtain protection. However, as she slow dances with him, she becomes less fixated on watching for enemies and surrenders to the romantic moment.

Eventually she's sucked back into life as a prostitute but Elton sticks with her. Their sexual relationship starts out rather stiff and impersonal but gradually becomes more passionate as she comes to trust him, and he becomes increasingly obsessed with her and with trying to understand her sordid life. Meanwhile Claire's evil pimp (the fine Irish actor Colm Meaney, the only upbeat character in this film) isn't happy about her love affair and does what he can to interfere by playing Claire and Elton against one another.

Most of the sex in this film is cold, but there are two tender, passionate love scenes between the Claire and Elton which caused me to root for them as a couple. On the other hand, be warned that there is a scene between them toward the end which is a bit hairy. This film is definitely not for kids under 17.

"Claire Dolan" isn't a great movie as it is overly artsy, complete with perpetually frowning actors and monosyllabic dialogue. I found it rather hard to believe that businessmen would pay hundreds of dollars to sleep with Claire, who is so grim, pale and waifish that she seems better suited to a gothic film than an erotic drama. I recommend the movie for fans of Vincent D'Onofrio, as this is one of his better indie film performances; he proves here that he can do understated roles as well as he does the big, showy stuff. Female fans may find him exceptionally attractive here...great hair, guy's-guy wardrobe, big puppy dog eyes. It's certainly an interesting movie, despite its drawbacks, and many of its scenes have stuck with me.

review about the movie Claire Dolan.....
Firat of all there is actually no meaning to the story but to say that a woman by the name of Claire Dolan sleeps and earns money from men he came across and give the money to the high class Pimp(whom receieve the money) after her mother died. The taxi driver whom she slept with thought that she was not a hooker at first and have been staying around with her ever night and there was once that he found out from the Pimp(wearing suite) that she is a hooker when he went on a private investigation by himself. He ram home on her hard and before she left for Chicago, she had a strong sex with another man. She found that she already had a baby boy(without father) after she settles down in Chicago and the taxi driver himself married and formed a happy family after the wife is expecting his children while he was talking to the Pimp he met him on the street. This movie contains LOS and the scenes are not sustained for long unlike the movie forbidden, which contains hot sex or even sexual intrigue. I would rate that story as 3 star and the sexual acts in the movie as 4 stars. This is one of the very good movie to watch and collect(to those out there still considering).

VD saved this one too!!!!
As the greatest D'Onofrio fan (me again)...I was very taken with his performance...(He's good no matter who he is!!) I must tell you...he really saves many of these movies...and he did this one.
If you like alot of sex, this is it, but all in all....sex is better in a dream!!

Sexuality without love or tenderness
For those of you who have seen this and are looking for a message, I can say that the brutal facts of life, that is to say, an animal existence, will out. Whether we are talking about sexual desire and sexual release, or about reproduction--especially that--it is the fundamental animal drives that control our lives and dictate our actions.

This movie offers nothing beyond that, and it shouldn't. It is perfect as it is. There is no phony sentimentality to entice us to delusion, or any sort of Hollywood ending. There is no redemption here. There is no spirituality. There is only desire and fulfillment; desire and frustration; desire and the end of desire which comes with... The movie doesn't say.

I don't know if this makes my top ten of the nineties--I have seen a lot of movies--but it makes my most memorable. I will not forget this stark performance by Katrin Cartlidge, who plays Claire Dolan. She does not have the charisma of a great actress, and the range of what is required here is limited, but within that range she is stunning. A good part of the credit surely goes to director Lodge Kerrigan, who emphasizes the tight, washed out lines of desperation on her face, along with her intense sexual desire and the stark, rapacious environment of the urban jungle in which she plies her trade. This is a movie that might well be viewed following Pretty Woman (1990). I wonder how many people who allowed themselves to identify with Julia Roberts as a whore, would like to identify with the high class prostitute of this film. Could they even watch it?

I was mesmerized by the sharp cuts and the film verité editing, the effective use of line and shadow, sound and silence, the clean, focused camera work. Our modern cities in all their indifference--the hard concrete and steel, the harsh lighting and intrusive sounds--are captured brilliantly. The script, cut lean and without comment, surprises us by turns, and keeps us on the edge of our seat throughout. The sex scenes are raw, intense and numerous. This is not a film for the kiddies. And that is an understatement.

Vincent D'Onofrio, who is an actor of suburb balance, plays the cabby who loves women, especially perhaps those in great need of his love, and he plays his part with subtlety and control. Colm Meaney plays the psychopathic pimp, a brutal man without conscience who uses force when necessary and a kind of cheap charm when it isn't. He has the type of the animal trainer, who plies the whip and the carrot, which he uses on women. Note well how Kerrigan has ironically emphasized this despicable man's ability to reproduce himself, making him the father of four children.

If I could sum up the life that Claire Dolan leads, I would say she lives among the wolves with a burden...her sexuality. She has a flat affect, strangely bereft of normal human expression. She is a kind of woman seldom seen on the silver scene, presented without an ounce of sentimentality. She feels life most strongly through sexuality, and only smiles at the result of sexual behavior, children. There is something profound in the realization that she is only really freed from her almost maniacal desire when she is with child. Meaney's character says he has known her since she was twelve and she has always been and always will be a whore. She will die a whore, he says. If true--and again, the movie lets us decide for ourselves--the question is, how did she become that way? The implication is that she was led or forced into prostitution at twelve. That is why she cannot feel about sex the way others feel, and that is why she finds it so difficult to feel affection for others. Hers has been an animal existence. She is always on her guard, and she shies away from a world that seems always about to hurt her brutally. ... Read more

Reviews (26)

The greatest movie I've ever seen!
I've seen BLOOD OF HEROES about 10 times. Some people find it primitive and bad (all of my friends, unfortunately), and I have no one to talk this film with, so far. I find this movie excellent because of its music and actors (actresses). It has fantastic music and sounds (including the sound of the juggers' stick hitting the other's stick). The plot is excellent. David Peoples is my favourite director, Rutger Hauer is my fav. actor. So, if you like sci-fi movies, you'll have to see this magnificent creation. If anyone wants to talk about this movie, please write me on my e-mail address.

Tip your hat to the Aussies again...
THE BLOOD OF HEROES is yet another example of a good post-apocalyptic movie about life lived by remnants of a once great civilization. If you liked the ROAD WARRIOR trilogy you will most definitely find this movie enticing. Pay close attention to the music, dialogue,background sets, and general psychology of town inhabitants as you walk with Rutger Hauer, and an all-star cast on a journey from dogtown to dogtown toward the fabled NINE CITIES in which the brutal rugby/gladiator-like game to pin the dogskull on the opponents' stake is played. I particulary fancy movies that take time to think about what people would be like if they were subjected to the conditions brought on by extreme global changes. It is a movie with good action sequences, thought-provoking vision, and even some comic relief. I recommend it to people who enjoy exploring the human condition,the darker side of life and its struggles, and reading between its lines to see what makes up the time period.

Cut down version, but the only game in town.
I loved this movie. I went out of my way to get a copy of a film whose popularity led to its release after a 13-year lapse between the film and the issue of the DVD. Needless to say, 14 lost minutes add up to a lot on a disk with only 91 minutes. I will continue to watch this version only because it is better than not having one to watch, but will do whatever is necessary to get the full version. Take 15% out of the Godfather and see what happens. Still a good film, but no middle and no end. A sad, very sad treatment of a terrific film.

Good Movie, Terrible DVD
I saw this movie in the theater long ago, and could hardly wait for it to come out on DVD. But when it did... Ouch.

Three HUGE problems with the DVD: 1) The color/brightness are terrible, some scenes so dark that they're almost impossible to see -- you have to crank up your TV's brightness to get a clue. 2) The sound is totally muddy -- several lines we had to replay to decipher at all. And 3) why is there no widescreen option?

All of these problems could have been avoided. In theaters, the movie was widescreen, well-lit, and sounded good.

Lions Gate has taken a great post-apocalypse action movie and released a DVD that's best used as a coaster for your drink. I love the movie, but DO NOT BUY THIS DVD.

Brutal and exciting!
I became a huge fan of this film when it first came out in cinemas in the late eighties. Here in Australia, it was called "Salute of the Jugger" (personally, I think a better title than "Blood of Heroes" - more relevant, for a start). I was so impressed by it that I even created a set of rules for The Game for use in my favourite roleplaying game! I've watched the rental VHS version countless times and loved every frame. However, I was a little shocked that some of the scenes that featured in the theatrical release (e.g. paying the toll to the Enforcers, the extended end scene) don't appear in the DVD. Why couldn't they have been included at the very least as deleted scenes? The DVD features (or general lack of) are also disappointing, and the image quality of the movie itself is very ordinary - and what, no widescreen? However, watching the DVD again the other day reminded me that this movie has not aged a bit - it is still great fun to watch. And if you love the DVD, don't forget to get the CD as well - the music is excellent! ... Read more

Reviews (64)

Very Intelligent and Entertaining Thriller
"The Player" is one of those fascinating comedic thrillers with one defined dramatic plot, and various subplots dealing with the movie industry. Player is not a fast paced thriller, but rather an intelligent and laid back story surrounded by Hollywood and the business of film making. Tim Robbins plays Griffin Mill, a studio executive whose main job is to decide which scripts make it to the big screen. When he starts receiving threatening postcards, he suspects they come from a writer whose script was turned down. Hence, he tries to identify the writer in order to pay him off and stop the blackmail. Apparently he found the writer , apparently not. Murder. Whoopi Goldberg's performance as detective Avery, investigating the murder, is simply wonderful and provides humor with her spicy language. For the rest of the plot, you must see the movie. Directed by Robert Altman (Gosford Park), Player's cast include Greta Scacchi, Peter Gallagher, Fred Ward, Lyle Lovett and numerous cameo appearances by familiar faces such as Lily Tomlin, Bruce Willis, Robert Wagner, Susan Sarandon, Julia Roberts, Nick Nolte, Andie McDowell, John Cusack, to name a few. Besides the main plot, this is certainly a good perspective of how decisions are made in Hollywood, and the dynamics and politics of movie making . Player views the "film noir" and independent film making alternatives, and flirts with the concepts of dissociation of the big studios with the artistic ("Ars Gratia Artis") philosophies of the old days, those being replaced with the "money-making-happy-ending" driving forces of modern day Hollywood. DVD version.

Hectic Life of Hollywood Wheeling & Dealing
This film has the most unique opening scene (which lasts about 8 or 9 minutes in a single frame!) I have ever seen in a movie! Tim Robbins plays the role of a producer who "just does his job", which includes brushing off hopeful screen writers and being nasty to his assistants. Little does he know, that others are good at back-stabbing too, and that his name is about to be dropped. All depends on his next project; if it stinks, he sinks! -- A few clever twists, including black-mail and manslaughter, keep the viewer interested, right up to the surprise ending. Watch for Whoopi Goldberg and Lyle Lovitt as police detectives (I couldn't picture either of them in such a role, but they did surprisingly well!). This is a very good film, but I still have a problem with how everything turns out (which I can't dwell on, or I'd spoil it for those who haven't seen it). See for yourself!

Gripping & Hilarious!
Only Robert Altman could make a movie like this. With its huge, sprawling cast of talented actors and famous people dropping by for cameos, Altman has created one of the best Hollywood satires ever made. I think the only other movies gunning for this title would be "The Day of the Locust" and Steve Martin's "Bowfinger."

Recent Academy Award winner Tim Robbins plays a sleazy movie exec who deals with the writing talent. A bunch of mysterious and threatening postcards show up at Robbins's office, and a tense thriller unfolds. Interspersed between the classic thriller elements, Altman stuffs a making-the-movie subplot in there which pokes fun at Hollywood producers and actors, as well as developing a convincing and warm love story. How does he do it? He's Robert Altman, for Christ's sakes. And he does it seamlessly - by the time the movie is over, you're wishing it had just begun.

Altman uses text messages to get points across to the viewer, and the background becomes almost as important and pertinent to the plot as the physical action unfolding before you. Perhaps this is a comment on our celluloid-dampened minds and our inability to see, as it were, the "writing on the wall." For if the characters in this film stopped for a moment and saw where they were, what they were doing, and why, perhaps none of those people would be in trouble. It's a nice jab at our MTV attention spans, and hilarious when foreign films are mentioned Hollywood Types, who immediately clam up and say, "Haven't seen it."

Good times, indeed. You'll have tons of fun just pointing out the celebrity cameos in "The Player." Altman probably did this to give the audience the same awe-struck sensation they would get if they were amongst those power players. You find yourself pointing at the screen and saying, "Hey, that's Susan Sarandon!" or "That's Jack Lemmon playing the piano there!"

So not only is "The Player" an excellent and biting comedy, it's a convincing thriller as well. And nobody could've guessed the ending, which leaves you ... well ... it's difficult to describe how "The Player" ends without giving too much away. So rent it, buy it, spin it on your finger and give props to one of the greatest living American directors.

"IF THE PRICE IS RIGHT, GRIFF..."
This is one of my all-time favorite films, a scathing, paced look at inside Hollywood that deciphers the netherworld of studio execs, producers, directors, actors and, most importantly, those over-abused prostitutes of the industry, screenwriters. Tim Robbins is Griffin Mill - smarmy, corporate and slick as cat manure on a vinyl floor. Robert Altman brought in an array of big names to lend this film their aura. Everybody was in it. Buck Henry pitches the best film idea that never happened, "The Post-Graduate", which is the sequel to "The Graduate".

Grif is getting poison pen mail and he explores it a little too much, leading him to an art house in Pasadena where he accidentally kills a teed-off scribe, then into the man's ice queen girlfriend. Plot twists and studio politics intersect, and Whoopi Goldberg is insane as the cop who knows Grif got away with murder, which he does.

There is no morality, just cold-hearted realpolitik. Do not miss Altman's interview at the end. Like "Sunset Boulevard", this one captivated and irritated this closed industry which still believes its press releases. Robbins is as good as it gets. This is sex and power, the ultimate aphrodisiac.

The plot twist that ends it is one of the best ever devised, with Grif and his blackmailer suddenly co-producers "if the price is right..."

As Matthew says in the Bible, "what does a man profit if he has the world but loses his soul?"

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
...

A Keeper!
This is a great movie! I usually shy away from Tim Robbins' work, ever since "Bull Durham" anyway. His politics are the reason, I cannot stand the sanctimonious "message" movies he and others such as Oliver Stone repeatedly assault the general public with from their pulpits of privelege. All that aside, Mr. Robbins is quite great in this movie, treading the line of being a typical Hollywood ahole yet still evoking sympathy from the audience for his tenuous hold on his studio position. At least that's what I felt. I was glad when he "got away with it". All in all this is a really good movie and it really gives one the sense of being "in the scene" much like a documentary does. My one fault is the way the crowd scenes, such as in restaurants were handled, from a sound standpoint. I'm sure the overlapping dialogue was intentional but it was distracting more than anything. Great Movie...did I say that enough times? And where has Greta Scacchi gone? She is sexy as heck here. ... Read more

Amazon.com essential video

This imaginative summer comedy from director Barry Sonnenfeld (Get Shorty) is a lot of fun, largely on the strength of Will Smith's engaging performance as the rookie partner of a secret agent (Tommy Lee Jones) assigned to keep tabs on Earth-dwelling extraterrestrials. There's lots of comedy to spare in this bright film, some of the funniest stuff found in the margins of the major action. (A scene with Smith's character being trounced in the distance by a huge alien while Jones questions a witness is a riot.) The inventiveness never lets up, and the cast--including Vincent D'Onofrio doing frighteningly convincing work as an alien occupying a decaying human--hold up their end splendidly. --Tom Keogh ... Read more

Reviews (194)

A thoroughly enjoyable ride
Loosely based from a 1990 comic book series, this 1997 blockbuster combined eye popping special effects, classic sci-fi fare, and off the wall comedy and featured Will Smith and Tommy Lee Jones as Agent's J and K respectively. Both of whom are members of the MIB: a government organized secret group who keep the knowledge of extra terrestrial life under wraps while keeping the planet at peace. Director Barry Sonnenfeld handles the film very well and keeps it at a crowd pleasing speedy pace throughout most of it's running time. While it does start to lose steam towards it's climax, where Men in Black shines is with the casting: featuring Linda Fiorentino, Rip Torn, Tony Shaloub, and Vincent D'Onofrio in lively roles, with D'Onofrio being his usual scene stealing self. This Deluxe Edition of the film seems like the umpteenth time MIB has been released on DVD; but out of all the previous editions this seems to offer the most bang for your buck.

Much more fun than I expected
After seeing the previews, I had no desire to see "Men in Black." It just looked silly and didn't make sense. I finally watched it only because my boyfriend had the tape in his collection and I was bored. Boy, did I misjudge this movie! It was ABSOLUTELY HILARIOUS!

Part of my problem with the previews is that I wasn't quite sure what the plot was about so let me start there. The "men in black" are part of a special super-secret immigration agency dealing with extraterrestrials. Unbeknownst to the general population, space aliens have been living amongst us for several decades. As long as they behave, they are welcome. If they misbehave, they may be deported or zapped with some pretty fancy weaponry.

Will Smith plays an ultra-hip New York police officer who comes to the agency's attention after chasing down a space alien. Tommy Lee Jones plays his very experienced, suave partner. Jones' dead serious interactions with the panoply of odd aliens is outrageous. And although I'm not a Will Smith fan, I have to admit that in MIB he's just just too cool for words!

MIB is definitely a must for the video library!

Different type of illegal aliens in New York
So much has been written about the brilliance of this gooey sci/fi comedy, that it would be redundant for me to tell you how great it is. But what I enjoyed most about "Men In Black" is that it is such a New York film.

When Will Smith is being oriented to his new job by Tommy Lee Jones, he's informed that many New Yorkers are disguised space aliens. "Like cab drivers?" Smith asks. "Not as many as you think," Jones responds.

The fact that the MIB have a car that can defy gravity is funny enough, but the fact that it needs such a vehicle to fight the perpetual traffic in the Midtown Tunnel is even funnier.

An alien disguised as a dog in an I LOVE NEW YORK tee-shirt is fairly funny. But when it speaks with a New Yawk accent as thick as Bugs Bunny's it makes it funnier.

When the edgar bug alien hauls a mideastern cab driver out of his cab, not funny. When he tosses his wooden-bead back massager at him, funny. But on top of that, when he throws the ubiquitous air freshner out, then its hysterical (without being racist).

The whole concept that the World's Fairgrounds in Queens is a hangar for spaceships is just brilliant. And I've always wondered what that structure at the head of the Brooklyn-Battery Tunnel was!

Glimpses of the World Trade Center are a little bitter to take, even now. And there is that sense that this film is from an innocent pre 9/11 time but, really, the rest of the movie still rings true of the New York of today.

Good!!
I like this movie because it has a a lot of good scenes where you laugh, the situations are ludicrous just like the aliens. And what about the screen where you can see Steven Spielberg, Sylvester Stallone or Oprah like aliens? And it's full of irony besides good special effects. If you want to have a good time buy this one. By the way, has anybody realized that the green baby alien, that Will Smith has in his arms, has the same face as Jedi Knight Kit Fisto?

Funny and witty!
This movie is a hilarious take on the whole concept of the Earth being populated by extra-terrestrial beings and two agents named Agent K and agent J are assigned on a mission to stop a menacing alien cockroach who is trying to gain a hold of an artifact.

Tommy Lee Jones and Will Smith are a really hilarious team and their acting is phenomenal! The special effects are also really cool and the alines are so funny.

Go and buy this DVD and get teh Deluxe Edition because it has so much cool stuff on it! Peace out! ... Read more

Description

A film that chronicles New Orleans district attorney Jim Garrison's investigation into the assassination of President John F. Kennedy. It explores all the credible assassination theories that have raised the nation's persistent questions, doubts and suspicions. ... Read more

Reviews (228)

Makes You Question Reality
This is the best film you could ever watch about the JFK assassination. The movie compells you to research the events leading up to the conspiracy that ended the life of the 35th President of the United States.

Some people have complained that elements within the "JFK" version of the conspiracy are historically inaccurate and fabricated. This was done on purpose by Oliver Stone so people will look at the real-world evidence for themselves and discover the truth. What is the truth? The truth is that a conspiracy occured on November 22nd, 1963 because there is no way in the entire existence of universe that one man could engineer all the events that led up to Kennedy's assassination.

Those who continue to believe that Oswald did it alone will always be in denial and are forever brainwashed by the Warren Commission. Anybody who watches the Zapruder film and doesn't see the glaring evidence of a gunman on the grassy knoll when Kennedys head falls back and to the left during the head-shot is either ignorant, stupid or both. People who believe that Arlen Specters "magic bullet" can pause, stop, spin and do U-turns in mid-air to make the seven wounds in Kennedy and Connally, will believe the moon is made out of green cheese and walk off a cliff when told to do so.

Two versions of history have been a war with each other since that fateful day in 1963; written history and memorized history.

Written history is designed for those who want to control your thoughts with mind control. Memorized history will always keep your mind free from those who want to control your thoughts.

Oliver Stone's masterpiece
Now that some time has passed and the dust has settled, JFK can be looked at as a movie that is NOT historically accurate portrayl of what went down on that fateful day in Dallas, but rather an engaging, nail-biting thriller.

Whether you agree or disagree with Stone's view, there is no disputing the craftsmenship that went into this film. The use of multiple film stocks that create layers upon layers of interpretation of the events depicted. The editing alone is masterful as Stone juggles many subplots at once. Robert Richardson's cinematography is incredible (there's a reason why he won the Academy Award that year) and has become Stone's signature look.

And there is the cast: Kevin Costner does a fine job as the Gary Cooper-ish Jim Garrison who doggedly pursues his investigation. From here on in, there is a staggering who's who of big name and character actors filling in major and minor roles: Jack Lemmon, Walter Matthau, Tommy Lee Jones, Kevin Bacon, Vincent D'Onofrio, Gary Oldman, Joe Pesci, and the list goes on. Everybody does a great job and give the film an authenticity and believability.

This new, 2-DVD set is a HUGE improvement over the old, single flipper-disc. The entire movie (Stone's preferred cut) is now on one side and included is a fascinating audio commentary by Stone who manages to keep it going for the entire running time! His commentaries have always been a real treat to listen to and he does not disappoint on this one.

The highlight of disc two is a nice collection of deleted and extended scenes with commentary by Stone. It's pretty obvious why they were cut but nice that he included them.

This is a DVD that should be in every movie lover's collection. It's an important work and a cinematic landmark. It's influence can be felt in the TV show, 24 and the made-for-TV movie, The Pentagon Papers. I would also recommend picking up the annotated screenplay to the film which acts as the perfect companion to the film.

Shocking and thought provoking
Okay, I have a little trouble with the swearing but guess people can ignore it or get a blocker. That said, this was an outstanding movie and really made you think about the unthinkable. There are coverups that most of us have no clue about.The higher ups regardless of what people may think pull many strings to get done what they want done. Those we have always sought to trust can also be the ones who betray us. War is money and I am convinced, that the murder of JFK was a well orchestrated event. Buy the DVD with the accompaining documentary. It amazes me how some people refuse to believe it. BELIEVE IT. I love America but we are no saints here. Money and power is always a driving force. Don't ever think it can't happen here. Kevin Costner gives a brilliant performance and the impassioned speech in court toward the end of the movie that he gave portraying Jim Garrison drew me in like nothing I have ever heard. Watch "Thirteen Days" first than this one and rethink the situation and see what you come up with.

Scary
Oliver Stone's Director's Cut DVD has an extra seventeen minutes of footage added. This adds to the general suspense of the movie. JFK starts off very slow, like a History Channel documentary, and you think "Bo-ring!" But suddenly, in the whirlwind of dizzying camera shots and angles, you realize you are witnessing dark and distorted history being unearthed. By then you are so deep in, it is impossible to get out.

Kevin Costner is brilliant as New Orleans D.A. William Garrison, the man who brought the only public trial to this date on the JFK assassination. A string of brilliant and well-known actors complement the film. Joe Pesci, Donald Sutherland, Kevin Bacon, Sissy Spacek, John Candy, Ed Asner, Jack Lemmon, and Tommy Lee Jones give the movie so much credibility because their performances are simply so believable, and way out of the usual roles they play. In fact, this whole film represents a role the U.S. player that is far, far out of the role we usually play.

The score by John Williams alternately scares the beejesus out of you, or galvanizes you to action.

Lee Harvey Oswald is Innocent!
"I felt very emotional and very carried away for Mrs. Kennedy, that with all the strife she had gone through...that someone owed it to our beloved President that she shouldn't be expected to come back to face trial of this heinous crime."
-Jack Ruby
He supposedly killed Oswald because he loved our President, yet he has been proven to be a hater of the Kennedy family & has connections to the mafia! Very odd!
The records of the Kennedy Assasination specifically say Kennedy was killed with a "High Velocity" rifle, but the Italian Rifle which Oswald supposedly used in the killing was NOT a High Velocity rifle!!!!
It's pretty SAD that Americans actually accepted the "Official Story" of Kennedy's death. If you take a look at the Zapruder film & slow down the slides, you can actually clearly see that is was "doctored" & that some of the slides were taking out of the original film.
The common people are a bunch of sheep! ... Read more

Reviews (5)

Ridiculous, annoying joke of a film
This silly film is about a clueless family whose life revolves around a sociopathic loser (Charlie) who, in his late twenties, still lives at home loafing and mooching off his parents, acting like an angry 12 year old and driving everyone around him nuts. The only thing that kept me watching to the end was my desire to see Charlie get a long-overdue butt walloping. The turning point of this film, which transformed it from your standard sappy touchy-feely Hollywood melodrama to an unbelievable joke of a film, was when Charlie was allowed to return home EVEN AFTER burning down the family house, facing no consequences but getting roughed up a little by his brother.

Forgiveness: GOOD! Personal responsibility: BAD!
Writer/Director Michael Bortman brings us a movie which will be loved by everyone who feels that the number one thing you could ever do in your life is support your family. On the surface, that may not sound like such a bad thing. After all, everyone wants to be loved and supported by their family. However, "Crooked Hearts" goes WAY past that.

The movie follows the ups and downs (mostly downs) of the Warren family. The members of this family are the type of people who would support their brother or son even if they were a convicted serial child molester. That's how obsessive and blinding their family structure is. I could never feel connected to any of the characters in this film because only one of them seemed like a nice person. To make things worse, the one nice guy is presented to us as being weak and childish.

Almost everyone in the Warren family is dishonest and selfish. In fact, at one point in the movie, being an arsonist is presented to us as simply being a very minor character flaw. This pathetic situation spirals out of control until tragedy strikes the family in one of the absolute most manipulative scenes EVER put to film.

The acting is quite good. That shouldn't surprise anyone who glances at the list of cast members. However, anyone who believes that taking responsibility for your actions is a positive trait will not enjoy this movie. Its "ethical" stance is completely at odds with anyone who believes you should be honest, thoughtful and stand up for what you believe in.

great caracters, great acting
I am suprised that none of the other reviewers mentioned Juliette Lewis. She had a few great moments in this moovie and it was the first time i ever saw here. All the actors and actresses in this moovie have become more popular and all are quality actors. I think this movie was kind of a stepiing stone for Jennifer Jason Lee's comeback in backdraft.

The interplay between caracters was great. Very realistic diolog for some very intense situations.

Good ensemble film, even ok if you hate family films
The cast features up-and-comers who have up-and-come, like Peter Berg (here Pete Berg), Noah Wyle, Joshua Jackson, and more. It also has Jennifer Jason Leigh doing her usual fine job with a limited part, considering she's second billing in the film. My favorite line is JJL's to Peter Berg (her boyfriend as the film unfolds) when he talks about how weird his family is. She replies "unlike you, I'm not intolerant of weird." Worth seeing, especially for JJL fans.

A good family movie-must see on holidays.
The film stars familiar faces like Joshua Jackson in Dawson's Creek, Noah Wylie from ER, Pete Berg from Chicago Hope, Vincent D'Onofrio from Men in Black, et.al. Convincing performance of Peter Coyote. One feels compassionate with Noah's character. Pete Berg was believable. Vincent was the villain-kinda hated him. The rest - good casting ensemble. ... Read more

Reviews (30)

Quirky story with great acting!
Happy Accidents is a great film because it deviates from the norm. It successfully mixes a bit of science fiction with a bit of romantic comedy to produce a great off-beat film. Vincent D'onofrio once again does a smashing job portraying his character. The quirky guy from the future with his lovable and lamentable idiosyncrasies comes off perfectly. Marisa Tomei does a fine job as well, though I cringe everytime she screams.
The film is laced with laughs, but at the same time is very touching and convincing. I especially like the scene where d'onofrio's character explains how time travel works. "Do you know how a combustion engine works?"
I'll admit, the film probably isn't everyone's taste, but it's great for a few laughs, some touching moments and another magnificent performance by Vincent D'onofrio.

Keeping the future safe for love and codependency
It turns out that lovestruck kooks from the future are much less entertaining than killer cyborgs from the future. That's one of the ways that HAPPY ACCIDENTS, a boy-travels-through-time-to-get-girl romance, suffers by comparison with such genre greats as James Cameron's 1984 masterpiece THE TERMINATOR, Terry Gilliam's macabre TWELVE MONKEYS, and Robert Zemeckis' BACK TO THE FUTURE franchise. If you haven't seen these or the more recent MEMENTO (which uses time in other, equally fresh ways), HAPPY ACCIDENTS is a harmless enough knock-off.

Child-like Sam Deed (Vincent D'Onofrio) "back travels" from the year 2460 to prevent an unhappy accident from befalling serial romantic Ruby Weaver (Marisa Tomei). Ms. Tomei brings a novel appeal - call it whiny eroticism - to Ruby's too-caring bachelorette. But Mr. D'Onofrio's Sam, afflicted with time-travel jet lag and repeatedly caught in the lies his secret mission demands, comes off as more pathological than quirky, unappealing even by Ruby's low standards. Their chemistry peaks early, and Sam is reduced to spouting the hackneyed pseudo-science of time travel fiction while Ruby frets about her taste in men. Fortunately, a great supporting cast adds texture, led by Nadia Dajani as Ruby's SJF best friend, and Ruby's therapist (Holland Taylor), a wise comic voice with a few surprises of her own. These small delights, rather than its central characters or plot, make HAPPY ACCIDENTS worthy of the name.

Cheeseman's Theory of Emotional Energy
Rarely do I find a movie that I can watch twice, let alone in a week's time. But having seen it on the Independent Film Channel I subsequently bought a copy online and watched it again with the same delight as the first go around.

Vincent D'onofrio plays Sam, a man from the future (Dubuque, Iowa on the Atlantic Coast to be specific) who after some tragic events in the future has broken the time-space continuum and traveled back some 400 years to find his one true love Ruby, whose picture he found in a curio shop. After a "chance encounter" in a park in NYC where they strike up a conversation and Sam entertains her, he seeks to find where she lives to return a book that she has forgotten on the park bench. The love-shy Ruby, who has had her share of "losers" in the past, is aloof when he approaches her but all the same curious of who this strange man is. To skip giving away any of the plot-line and formation, they begin a romantic relationship. But as the eccentric time-traveller starts to display odd and suspicious physical and personality traits, the neurotic Ruby begins to think that he is playing her for a fool. She confides finally in a therapist and after many see-saw episodes between the couple she believes that she must leave him. To keep her love he slowly uncovers the truth about who he really is. From this the main thrust of the movie becomes encapsuled in a simple futuristic ideal: Cheeseman's Emotional Energy Theory, which holds that if you can concentrate enough emotional energy on a particular moment in time you can alter the past and create a new future. Thus Sam has come back to save Ruby and himself from their tragic lots in life.

The strange sci-fi aspect of this romantic comedy is what fuels it to excellence and keeps it from becoming the prototypical toothy-actor "loser" meets the Hollywood starlett "princess" which normally plagues the genre. D'onofrio, though sometimes an over-actor, is always believable and sincere in his performances unlike a Tom Cruise or Harrison Ford, who no matter what they do, we are cognizant of the fact that they are mega-stars playing a part. Sam is real and likeable and thus the storyline becomes engrossing and brilliantly devised. Marisa Tomei, who I have never really thought twice about, is equally supportive and performs well and to the extreme which obliterates anything hackneyed or cliched about the film. A must have movie.

A real sleeper
Why didn't this movie click at the box office? The characters played by Tomei and D'Onofrio are people you actually care about; that alone makes the movie superior to 99% of what passes as romantic comedy these days. Tomei especially sells her part (a difficult one) with touching credibility. A nice bonus is the believable relationship Tomei has with her parents, especially her Mom (who gives her daughter a pep talk about love that is one of the best scenes in the movie). Finally, a special nod to Holland Taylor, who just gets more terrific with the years, in a crucial supporting role.

(One word of warning: if you ever do get a chance to see this in the movie theaters, don't. Nothing will kill the magic of the film's ending faster than having some lamebrain behind you wailing to his/her date: "But I don't UNDERSTAND -- what did she see in that photograph, anyway?"

Fun and holds your attention
It was a happy accident that I saw this movie. It is like all the time travel clichés wrapped up in one. However they picked just the right actors for the parts. You of course recognize Marisa Tomei from the movie "Oscar" (1991); however it may take you a second to recognize Vincent D'Onofrio as the bug in the Edgar suit in the movie "Men in Black" (1997). There is never a dull moment following all the twists and turns.

Sam and Ruby run cross paths and immediately know they have met before. She says déjà vu; he says time travel. And as they get to know each other he comes clean about being from the year 2472 and she figures out where he is really from. Checking out the pictures in his wallet really help tie the movie together and is a nice added touch to most "K-Pax" type "are you or aren't you" movies.
However do not let this fact or physics get in the way of a story that is in truth about people.
So sit back kibitz a little and enjoy ... Read more

Reviews (54)

It's P.K.Dick: Fugitive in the Future to Unsettle Your Heart
Facts first. "Impostor" is based on P.K. Dick's short story and its cast include familiar faces in this sci-fi genre; Gary Sinise appeared in "Mission to Mars": Vincent D'Onofrio in "Men in Black": Madeleine Stowe in "12 Monkeys" and Tony Shalhoub in "Galaxy Quest" and "Men in Black" again. Typecast? You may think. Forget it, and watch the names of director and writers.

Gary Fleder is famous for the gripping thriller "Kiss the Girls" but more impressive names are Ehren Kruger and David Twohy. Kruger is responsible for "Scream 3" "Reindeer Games" and that shocker "Arlington Road," and of course Twohy is a guy behind the camera of "Pitch Black." Now you know what I am going to say. "Impostor" is very an unsettling movie, to say the least.

And the original short story was written by P.K. Dick, master of creating an authentic view on the future world. The film version respects that merit, and in the first three minutes throws you into the world at a devastating war with aliens in the shortest way. After that, the film follows the protagonist, a scientist Spencer (Sinise), who, without his knowing, got involved in a plot whose nature should remain secret here. As a result, Spencer runs away in a "Fugitive" fashion to prove the truth, hiding from the government agent (D'Onofrio) who is obsessed with hunting down every suspect in an uncompromising way. Here the director Fleder keeps a good, fast pace from the surprising opening to the end, grabbing your attention throughout the movie. The producion designs that realize the bleak future world (including a hospital where Stowe's character works, or ID system that recongize you anywhere you go) are, if familiar, very impressive visually. Though the idea itself is not particularly new, the director guides you skillfully through the maze of the future world.

This film has already been released theatrically in Japan with the title "Clone" in the autumn of 2001, and is originally based on a short film Fleder is said to have made. Dimention Films first commissioned omnibus short sci-fi films from three directors, and one of them was Fleder's. The company was so happy about his segment that they made it a feature film, which turned out to be "Impostor." As this production history suggests, "Impostor" suffers a little from the prolonged middle-section. The episodes about stealing medicines, or unlikely friendship between a bounty hunter (Mekhi Phifer) and Spencer seems a bit contrived though still engaging in their ways. And you may think that underrated Shalhoub is wasted again in a relatively minor role.

However, as a whole I am satisfied with this adaptation of the sci-fi master P.K. Dick, and if you are interested in his name (or anyone involved in the film), have a look. It is worth that. But beware: this is not a film for everybody's taste.

B- Movie Packs a wallop
I loved Impostor. I knew it was a B movie from the get go, so it's important that you know that. It has a Total Recall feel to it, and it should since it was written by the same author.

The movie takes right off, but towards the middle begins to drag. The action doesnt stop but there are too many scenes with Gary Sinise just breathing heavily, staring at the camera. Impostor is based on a short story, and you can tell by all the time that is wasted.

Vincent D'Onofrio (Men in Black, Law and Order CI), is great. I only wish his character had more to do. He's the villian because he's chasing the main character, however he would be very much likable if he were on our team. He's a brillant actor, hopefully we'll see more of him on the big screen.

Some of the scenes are a little hard to believe. A lot of futuristic movies deal with a humanoid fight with Aliens. I really hope our future doesnt pin us living in fear on earth. This movie has us living without the sky, meaning the cities that are left, are coverd in Domes protecting them from Alien attacks.

Gary Sinise is great in this movie, his best work since The Stand...has he been in anything else?

In the Future, not everyone is who they seem to be.
Inspired by a short story written by Phillip K. Dick, the author who inspired one of the greatest sci-fi films of all time in Blade Runner (1982), Impostor (2002), directed by Gary Felder (Kiss the Girls, Don't Say a Word), stars a pretty impressive cast in Gary Sinise, Madeleine Stowe, and Vincent D'Onofrio. It's odd that I hadn't even really heard of this film other than on here, but it could be it wasn't promoted enough to garner a larger audience or it may have gotten lost among the other releases that year...either way, I enjoyed it