Amazon.com

Caught between the purest of intentions and unimaginative shortcuts tosentimentality, The Mighty is nevertheless rewarding enough to make itworth seeing. Kieran Culkin stars as Kevin, a terminally ill but spiritedyoung boy who befriends a healthy but illiterate social outcast, Maxwell(Elden Henson). They realize that together they are a stronger, braver forcethan they are as individuals, and the various opportunities they have toconfront persecutors and memories of their bad fathers are handled veryeffectively by director Peter Chelsom (a very original filmmaker who made theterrific Funny Bones). The curious adult casting includes Sharon Stone(a natural scene-stealer even when she doesn't intend it) as Kevin's saintlymother, and Gillian Anderson in a quite-unbelievable supporting role.Chelsom's lapses in judgment are not terribly significant (imaginaryappearances by Camelot-era knights on horseback are the most annoying), thoughone could argue that a plot to kidnap one of the boys is a cheesy way tounderscore the kids' redemptive loyalty to one another. Still, all in all, youcan laugh and cry at this tale of rare friendship, and admire the sensitive performances by Chelsom's younger players. --Tom Keogh ... Read more

Reviews (109)

The Mighty(1998)
This movie is about two boys who become really good friends (Culkin & Ratliff) both have really wild imaginations. Both boys are different from each other and everyone else, but much like one another in many ways. This film is the only drama that didn't make me cry, because everything that happened was expected. Sharon Stone who plays Gwen Dillon (kevin's mother) did a fine job with her part. Gillian Anderson (scully from the X-FILES) fit her part very well as an ex-cons girlfriend, who gives max a helping hand. My favorite quote from this movie was said by Stone "Congratulations, you must be proud. You've just given birth to a healthy seven pound dictionary." I think this movie is much like "Simon Birch". Both Simon & Kevin were born with birth defects, and both found one very special friend who was always there for them. I think this movie was very good and so was the book. You should read the book first before you see the movie.

The Mighty(1998)
This movie is about two boys whobecome really good friends (Culkin & Ratliff) both have really wild imaginations. both boys are different from each other and everyone else, but much lie one another in many ways. This film is the only drama that didn't make me cry, because everything that happened was expected. Sharon Stone who plays Gwen Dillon (kevin's mother) did a fine job with her part. Gillian Anderson (scully from the X-FILES) fit her part very well as an ex-cauns girlfriend, who gives max a helping hand. My favorite quote from this movie was said by Stone "Congratulations, you must be proud. You've just given birth to a healthy seven pound dictionary." I think this movie is much like "Simon Birch". Both Simon & Kevin were born with birth defects, and both found one very special friend who was always there for them. I think this movie was very good and so was the book. You should read the book first before you see the movie.

The Mighty
I think that the movie THE MIGHTY was one of the best movies I've ever seen in my life. It followed the book pretty well which is good and the casting was very good. The book brought tears to my eyes and the movie did too. If you like drama, this is a touching story that is good for the whole family. I really enjoy watching it.

A Sweet Film
As of this writing, there are 108 reviews for this film, detailing the plot, the cast, and the plot. I'm not going to repeat any of that.

I'm just going to say that this film was very enjoyable to watch, and certainly worth an evening. This is more than a message film, that the least of us have worth, that good can triumph over evil, that one person's shortcomings can be filled by another's strength.

The Mighty is all of that, but it is entertaining as well. There are life lessons to be learned here, for sure, but the inventiveness and imagination of Kevin, the disabled boy, brings a touch of whimsy and light humor to the film that might be unexpected.

It may not follow the book (which I have not read) closely, but it stands on its own as a sweet film that doesn't lay a message on too heavily, but, with the help of an excellent cast, strikes just the right balance between humor, drama, and pathos.

Recommended.

For those who've ever felt different, inferior or left out!
Some folks like to "put down" movies that are obviously meant to make a person feel good. This movie really struck me deep down to the core. I was transported back to my own childhood to relive a little pain because I related so much to both of the main characters. With that little bit of pain, I also got to relive a whole bunch of joy, because I also related so much to their triumphs!!! Buy this movie and let yourself feel good. ... Read more

Description

Jan Schlichtmann is a cynical, high-priced personal injury attorney who only takes big-money cases he can safely settle out of court. Though his latest case at first appears straightforward, Schlichtmann soon becomes entangled in an epic legal battle ... one where he's willing to put his career, reputation, and all that he owns on the line for the rights of his clients! Also featuring Robert Duvall, William H. Macy, and John Lithgow -- this gripping, widely acclaimed hit delivers edge-of-your-seat entertainment! ... Read more

Reviews (58)

Riveting and Powerful Cinema - An Eye-Opener for All
This is the most incredible movie ever made about trying a wrongful death case and the accompanying emotional roller coaster the process generates for attorneys. The opening scene will plant you firmly in your chair as Jan Schlichtmann (played by John Travolta) explains the financial calculus behind accepting and declining potential clients with personal injury claims. Jerome Facher (played by Robert Duvall) is infuriating with his unending legal maneuverings designed to extract his corporate client from an untenable legal position permeated with liability. The traitorous conduct of Schlichtmann's partners will make you wretch with disgust as they scramble to save themselves at the expense of righting a terrible wrong evidenced by a dozen dead children. Engrossing, to say the least.

Yes, the movie isn't perfect. Travolta's portrayal of Jan Schlichtmann doesn't completely mesh with the character in the book, there isn't a practicing attorney alive who doesn't know Rule 11 (court-imposed sanctions for unethical conduct), and the legal proceedings aren't quite right. Who cares? If the director had included the day-to-day minutiae involved in getting a case to trial, the film would have been three years long! My fellow reviewers are unreasonable in their unrelenting critiques.

If you're involved in the legal profession, this film will make you step back and reassess your brand of client representation. Are you taking the right cases? Are you serving the needs of you clients - or yourself? Are you willing to give your all to the law? Interesting, and always stimulating, food for thought.

If you're a lay person, hold on - you're in for the ride of your life.

Well-adapted story with terrific acting
After recently reading Jonathan Harr's book A Civil Action, I eagerly awaited seeing the movie version of this sad and absorbing story. The film version condenses the story and leaves out several interesting portions of the book, but is fine nevertheless. John Travolta is a perfect choice to play Jan Schlichtmann, the egotistical, free-spending attorney who dives headfirst into a damages case against the corporate giants Beatrice and W.R. Grace, who are accused of poisoning the drinking water of Woburn, Massachusetts and causing a leukemia outbreak. William H. Macy, Tony Shalhoub, and Zeljko Ivanek co-star as Schlichtmann's partners in the firm, and one only wishes that they would have protested his actions, which led to the financial ruin of him and his firm.

Robert Duvall gives another terrific performance as Jerome Facher, Beatrice's attorney, who is the complete opposite of Schlichtmann. In a scene at a fancy hotel conference room, the frugal Facher is not impressed by any of the lawyers or their arguments, but the free pen that he can take home. It's a subtly funny scene that illustrates Facher perfectly. John Lithgow does a terrific job as Judge Walter Skinner, who Schlichtmann believes is siding with the enemy.

A Civil Action is a story where the winners and losers are unclear, and it must have been difficult for writer-director Steven Zaillian to condense Harr's technical-laden novel. The result is a solid drama with powerhouse acting. Highly recommended.

Intelligent and Compelling Courtroom Drama
Jan Schlichtmann (Travolta) is a Boston tort lawyer and something of an ambulance chaser who is initially reluctant to take on an industrial pollution case involving some children dead of leukaemia in rural New England. He changes his mind when he realizes the likely defendants are a couple of big companies with particularly deep pockets and smells the possibility of serious money. Over time, however his interest in the case becomes a moral obsession. The cynical becomes a crusader, refusing offers to settle as his company's finances spiral downwards towards bankruptcy.

If you like courtroom dramas, this is highly recommended. It's one of the best specimens of the genre to come out of America since 'The Verdict'. It's interesting to compare it to 'Erin Brockovich' released a couple of years later. EB is about how a heroic small timer takes on the big boys of corporate America and how her pluck and determination triumphs over all obstacles, something of a legal feelgood movie in other words. Which this, to its great credit, is not. Its central character, for starters, is far more amibivalently likeable: initially just out for a fast buck, moral seriousness has to creep up on him and take him by surprise (perhaps reminding writer/director Zaillian of Oskar Schindler whose story he scripted for Spielberg a few years earlier) and the story's development paints a significantly more ambivalent picture of what pluck and determination can accomplish. It's a highpoint of Travolta's acting career even if he is comprehensively upstaged by Robert Duvall, on brilliant form as his quietly cynical adversary, bigshot lawyer Jerome Facher who knows far better than to look for the truth in a courtroom...

The book is SO MUCH BETTER
The movie is fine... but the book is an amazing read. There is so much detail and nuance lost in the adaption to a visual medium.

A Civil Travolta
This is a really good film that didn't get near the attention it should have. A great story, a terrific premise and plot. And Travolta nails his performance as a man faced with the dilemna of doing the "right thing" at great personal expense, or walking away with what he has left. This is a morality play of sorts and Travolta is the conscience of us all. We're thrilled when he triumphs; we breathe a sigh of relief and unclench our fists. Yet, we probably wouldn't have blamed him if he had walked. A nice film. ... Read more

Reviews (35)

Doesn't stand up to the original
Despite fine performances by all, especially Jack Lemmon in the Fonda role, this remake does not even come close to the original. It lacks the punch of the original and not all the actors meet the standards set by the original actors. Even the great Hume Cronyn, as good as he is, doesn't compare to his predecessor. Maybe I am disappointed in this movie because I saw the original first and judge it by that standard. On it's own, it's not a bad film but once you've made a classic why remake it? Do you really think you can get it better. Don't waste your money. Buy the original.

What a remake!
I consider myself a very demanding movie watcher, and this one definitely satisfies my expectations. I had the chance to see both 1957 and 1997 versions for "12 angry men", and I must say my vote goes to the recent one. Friedkin manages to create a whole atmosphere which seems much more realistic to me than the rather rigid and sometimes mechanic performances shown on the earlier version. In my opinion, Friedkin's cast looks so natural in their expressions and personality, they don't seem to be 'acting', which is a fault often seen in older movies. Characters and psychological profiles were improved so that you recognize and identify everyone of them, and you have a feeling no man's missing and no man's unnecesary. Jack Lemmon and George C. Scott offer an astonishing display of talent, and Scott's final monologue makes Lee J Cobb's performance look pale and opaque. If I were to choose a lawyer, I'd take Lemmon instead of Fonda, no doubt about it. The variety of the cast brings a refreshing, believable and solid mosaic of personalities I just don't see in Lumet's film (1957). Don't turn your back on this remake. You may be missing a great movie.

Nice effort, but doesn't stand up to the original
I really don't think a masterpiece like 12 ANGRY MEN needs a remake. This remake of the classic 1957 film makes many good efforts, but falls short in many points. First of all, I think Scott is excellent, and could stand serious comparison with Cobb in the original. (Alright, maybe his final monologue isn't quite as cyclonic as Cobb's, but perhaps Scott was wise in not trying to emulate that.) Many of the other actors are also very good. But some of the actors miss the mark on their characterizations. Olmos' watchmaker is a confused mess. (Who is he? Where is he from? What is his social class?) Gandolfini's Juror # 6 is surly and disagreeable, unlike Edward Binns' kindly original. The actor playing Juror # 5 is too confident and bold; in the original, this character was a scared and self-conscious young man who identified with the defendant. I admit that making Juror # 10 a former Nation of Islam member was a creative choice. But why does the judge (female in this version) not set up the atmosphere of physical discomfort and indifference, which are important themes in the movie? And why does # 10 decribe the defendant as a "common ignorant slob"? His appearance and dress do not suggest this! In the original movie, ALL the actors were superb and perfect for their parts; there were no weak links.

Another problem I have with this movie is that in some places it fastidiously modernizes, while in others it stays stubbornly in the 1950's. Why are there two Europeans on the jury? Before I saw the movie I thought sure there would be a Hispanic, an Asian, or a Middle Easterner. Why does Juror # 7 still sell marmalade as in the original? (Danza seems more like someone who would sell sports equipment or big-screen TV's!) Why does Juror #12 still present the dated stereotype of the 50's advertizing man? Why is the Olmos character still a watchmaker? Indeed, the screenplay was adapted by Reginald Rose, the writer for the 1957 version, and it is pretty close to the original script. I think in some instances he should have changed more than he did. The black and white and the camera work of the original do a much better job of creating the atmosphere of heat, claustrophobia, and grittiness in the jury room. And of course the central problem of updating this movie is that juries today would probably not consist entirely of men.

But above all, I find that this remake lacks the depth and richness of the original. I could spend all day analyzing the 1957 version, its many telling details, its layers of meaning, the countless psychological insights which the actors lend to their portrayals. Not so here. A case in point is Lemmon. His performance is good as far as it goes, but it is straightforward and one-dimensional. He has none of the complexity and shades of self-doubt that Fonda brought to the role. He seems more like a self-assured amateur lawyer than an architect pulled from the street. To sum it all up, I think the original 1957 12 ANGRY MEN is a timeless classic that neeeds no updating. This version has some good performances and is interesting to watch, but in the end it is superfluous.

A Great Success
This movie was simply mesmerizing, I saw the first 12 angry men on AMC. But it was very tedious, and boring. My mother got summoned to jury duty a few months later and she would come home pissed off that she had to do this boring civil duty. so one night she stopped by BLOCKBUSTER VIDEO and rented the new version of 12 Angry Men and it blew us away. We still watch this video at least two times a week, Because it's hilarious, and refreshing to see the diversity in the cast (mainly due to a 40 year time time difference in the two movies) . At the same time it makes you think. I love all the performances by these fantastic actors. Especially those of Mykelti Milliamson, and George C. Scott, potraying the angriest jurors of all. I love when people can let their rage take over and show us all their real feelings towards people from other races, countries,etc.

Very good!
Excellent remake, I think this one is better than the original. George C. Scott and Jack Lemmon are at their absolute best. Highly recommended. ... Read more

Amazon.com

In its second season, The Sopranos sustains the edgy intelligence and unpredictable, genre-warping narrative momentum that made this modern mob saga the most critically acclaimed series of the late 1990s. Creator-producer David Chase repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen.

That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between capo Tony Soprano (James Gandolfini) and monstrous matriarch Livia (Nancy Marchand), whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Jennifer Melfi (Lorraine Bracco) also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow, as well as son Anthony Jr.'s sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement.

Without spoiling the surprise of the season's climactic last episode, it's worth noting that only on The Sopranos could we expect a scene that sets up a mob hit with a perversely funny touch of magic realism--a talking fish, lying on a fishmonger's iced display, speaking with the voice of the victim. It's a touch at once morbid and goofy, and consistent with the show's undimmed brilliance. --Sam Sutherland ... Read more

Reviews (86)

The Second Season: Nearly as Great as the First
THE SOPRANOS had a tough act to follow after that remarkable first season. With so many characters having gotten wacked by the end of the first season, the show faced the always-tricky challenge of integrating new characters into the mix.

Although there are some lulls early in the second season, the show ultimately surfs the transition extremely well. Episode 14, the first of the second season, reveals what became of Big Pussy Bonpensiero; it also introduces us to Janice, Tony's ne'er-do-well sister from the West Coast. In episode 16 we get a blunt introduction to Richie Aprile (brother of the late Jackie Aprile Sr.). Richie has just been released from prison, and we immediately know that he's going to be a nasty thorn in Tony's side. But frankly, you could skip over episodes 17 and 18 and you would barely miss a thing. By far the most significant long-term development in those episodes occurs when Tony brings Furio back after a "business trip" to Italy.

Things really start cooking in episode 19 when we meet Tony's high school buddy and "degenerate gambler" David Scatino, brilliantly played by the underrated actor Robert Patrick. (Frank Sinatra Jr. has a cameo in this episode). It would be unfair to newcomers to detail any more plot twists beyond this point.

The sessions between Tony and Dr. Melfi remain the prism through which the entire show is filtered. One of their best and most pointed exchanges occurs in episode 22. Dr. Melfi asks Tony if he believes that his nephew Christopher will burn in hell because of his mob activities. Who among us really belongs in hell? "The serial killers, the people who kill for pleasure, the child molesters, the Hitlers, the Pol Pots. Those are the [...] who belong in hell, not my nephew," Tony responds (I'm paraphrasing a bit). After all, "Rockefeller and J.P. Morgan were crooks and killers too." But those Gilded Age elites needed Italian immigrants "to build their cities and dig their subways and make 'em richer." The rise of La Cosa Nostra early in the twentieth century, Tony concludes, was simply a class struggle in which the hard-working sons of Italian immigrants claimed their rightful "piece of the action." Not even Dr. Melfi can stomach this much moral equivalence. In one of the few times that she blows her stack at Tony, she angrily asks, "Does that justify EVERYTHING you do?"

The show's little touches are almost as impressive as the big ones. For example, episode 23 begins with an eyewitness telling the cops about a murder. Later we see him at home, sipping wine and reading ANARCHY, STATE AND UTOPIA. This episode also reveals Richie and Janice's unorthodox (and hysterically funny) lovemaking techniques, which only the two of them could have dreamed up.

One could go on and on about what makes this show so special. The key to the show's success, I believe, is that it tends to be character-driven, whereas too many other shows are strictly plot-driven. That explains why THE SOPRANOS almost always rings true. Thank God this show is on HBO and not regular network TV.

Every time I think I'm out, it pulls me back in!
Things are going pretty well for Tony Soprano at the beginning of the second season of "The Sopranos." With most of his enemies safely sidelined, he is the unchallenged boss of the New Jersey mob, with lots of lucrative business opportunities presenting themselves. Yet, as always, new problems present themselves. His kids Meadow and A.J. are as rebellious as ever, and wife Carmela is increasingly fed up with Tony's absences, infidelities and fits of temper. Janice, his hippie-dippy sister, shows up unexpectedly. Richie Aprile, a mobster so greedy and violent that he scares even Tony, is released from prison and starts muscling in on Tony's business. Dr. Melfi, Tony's shrink, refuses to talk to him. And then, as always, there are the feds... As always, "Sopranos" creator David Chase and his superb team of writers cook up a fascinating, mesmerizing witch's brew of money, murder and various misbehaviors, enacted by what may well be the best ensemble cast in the history of television. (If there were a Nobel Prize for TV acting, James Gandolfini and Edie Falco certainly would be on the short list every year.) Once again, if you're offended by rough language, nudity and violence, stay away. Otherwise, be prepared to get hooked.

The 21st Century Is Awesome, So Is This Cable TV Show
Thank God for the 21st century, we live in a great time of great
movies like The Lord Of The Rings Trilogy, Crouching Tiger
Hidden Dragon, A Beautiful Mind, and Chicago. A great time of
great music like: Linken Park, and Fisher Spooner. A great time
of miniseries: Band Of Brothers, the miniseries of Ken Burns, and Angels In America. A great time of Books: Film books, and
all other types of reading. And also a great time of great TV:
HBO's Oz, Deadwood, Six Feet Under, Aqua Teen Hunger Force, Family Guy, and of course The Sopranos. What I love about this show is everything, it is completely flawless from the fascinating storylines to the outstanding performances from
everyone involved. James Gandolfini not only plays mafia family
man Tony Soprano with character and depth, but with his persona-
lity he captures the works of Hollywood legends Robert De Niro,
and the late Marlon Brando, who was such a legendary actor with
classic films like The Godfather and On The Waterfront (I coulda
been a contender) which De Niro used for his Jake La Motta role
in the flawless masterpiece Raging Bull. Edie Falco brings
human emotion to her role in the show as Carmella Soprano, and
another standout is Michael Imperolli (Who played Spider in
Goodfellas). This is what TV should be. Five Stars.

Can you survive thirteen episodes with The Sopranos?
I was totally looking forward to this second series of The Sopranos. Its amazing writing and compelling story lines are the finest ever to emerge from TV. Never as a TV show had the same effect on you as a movie does.

Series Two is a lot better than series one and contains more depth in the characters. If the Sopranos just went about killing one another we wouldn't really care about it, but because it could almost be described as a psychological drama (with guns) it is fantastic. I'm Italian American and don't mind one iota at some of the humor in this and appreciated every second this DVD had to offer.

If the creator David Chase is reading this (ha) then when The Sopranos finishes, how about a prequel/spin off with JOHNNY 'BOY' SOPRANO in the fiftys? It'll be a sure hit.

It's a Family Thing....
The Sopranos is one of HBO's greatest achievements (although I admit that I think it lost some of its momentum and spark with seasons three and four). When I first saw the show, I was hooked. I'd watch anywhere from three to four episodes a day. One of the great things about first watching this show on DVD was that I could watch any number of episodes instead of just watching one per week.

"The Sopranos: The Complete Second Season" has to be my favorite season. As much as I love the first one, this was when things were really funny, intense, dramatic and involving. The season doesn't let us down when it comes to Tony having more problems than ever before. Both in his Mafia Family and his immediate family, Tony can never get a break. His wife gives him grief while his kids keep doing things that upset him. And don't get me started on his ill mother and self-centered sister. Life isn't much better in his Mafia Family when the brother of Jackie is released from prison and is giving Tony a hard time both personally and professionally. Not to mention that his long time friend, Big P. comes back from a long hiatus when he was first suspected of turning rat to the Feds. All of this leads to one incredible and unpredictable season that showcases the show like none other.

For me, this was the most entertaining season of them all. I loved the characters, the constantly changing storylines, and the personal and business life of Tony Soprano, which is superbly balanced in this season. There's still the much appreciated humor in these episodes that were found lacking in the next two seasons. It doesn't feel like a soap opera, but a more enhanced look into the Mafia world. There's plenty of action as well as dramatic storylines that will make everybody happy for the most part.

This season comes in a set of four discs, totaling at 13 episodes. The great thing about the show is that it is presented to us in a widescreen format that is enhanced for widescreen TVs. This really makes the show that more effective because you feel like you're actually watching a movie rather than a show on cable. The picture and sound quality is great and really shows. There are some nice little extras, such as featurettes, brief previews and recaps of episodes, web-links and more.

"The Sopranos: The Complete Second Season" is a bundle of laughs, suspense, drama, action and surprises. You're always on your toes and you never know what's coming next. One thing's for sure; this is the most unpredictable season out of the four seasons (the fifth one looks pretty promising thus far). While you'll want to start with the first season if you've never seen the show before, you'll know that you will have something special to look forward to once you get to the second season. In my opinion, this is where Sopranos is flawlessly at its best. -Michael Crane ... Read more

Description

Some suburban households have two cars. Some have two houses. But Tony Soprano has two families. This could be why the FBI is going to such lengths to wiretap his home. Why the son of his dear late friend Jackie Aprile is causing him such agita. Why a Russian housekeeper is searching for her missing leg. Why his son is vandalizing school property and his daughter is getting her heart broken. Why his wife Carmela is both consulting a psychiatrist and confessing to a priest. And it's also why Tony Soprano is still seeing Dr. Melfi for his anxiety attacks. It isn't easy heading-up the mob in New Jersey. But that's what puts dinner on the table for the two families of Tony Soprano. ... Read more

Reviews (85)

A series that just gets better and better.
The third series of 'The Sopranos' consolidates the brilliance of the first two, rather than taking it in any radically new directions. The characters, their relationships and their environment are so strong; the dramatic irony between our sympathy with and enjoyment of these people, and our knowledge of their brutal and unhypocritically presented crimes, is so complex, that any blatant originality merely for the sake of it would be a betrayal.

But, because the central components are so strong, there is plenty of room for play - in the way narratives are set up to encourage then defy expectations; in the interplay with canonical gangster texts, especially 'The Godfather'; in the consistently creative use of music - for mood and to emphasise character, yes, but also to create ironic distance, to add montages of 'commentary' over the stories, to connect apparently disparate scenes, to add a depth of texture. Because it is in texture that 'The Sopranos' has really developed - the recklessly confident film-making; the layered scripts; the rich dialogue; and the knowing acting combine to create programmes of truly, yes, operatic density.

There are a number of new plot developments in this series - Meadow goes to Columbia University; the FBI (in a supremely funny handful of episodes) attempt to bug the Sopranos; the Russian mafia grow in menacing importance; Janice takes up with a Christian musician; Anthony Jr. becomes increasingly unmanagable at school and at play, but proves an unexpectedly skilful footballer; Ralph (Joe Pantoliano) replaces Richie Aprile as the major made-guy thorn in Tony's side; Carmela feels increasingly guilty about her mob-financed luxury; Tony begins an affair with a beautiful, smart, successful car saleswoman (Anabella Sciorra) who has even more mental problems than he. Most crucial for the series is the role of Jackie Aprile Jr., college-mitching son of Tony's former mob boss and best friend, who wants to see some of the criminal action, and starts dating Meadow as a spectacularly misjudged entree. The major weakness of the second series - the tokenistic continuation of the Dr. Melfi framing scenes long after they've outrun their dramtic usefulness - is corrected by both bringing the psychotherapist (dangerously) closer to Tony's life, and by having Carmela join in the sessions, to comic effect.

There is a brooding, elegiac feel to the series, with Tony thinking not just about his mother, but his dead friends, Pussy's actions in the last series, and the future possibilities open to the younger generation. If nothing else, Series 3 boasts the best-ever episode of 'The Sopranos', directed by one Steve Buscemi, which begins farcically, with Paulie and Christopher accidentally killing an irate Russian, and bungling the disposal of his body in a snow-wasted forest; before turning into a nightmare, as they lose their bearings after the corpse runs off, and they are stranded in the middle of nowhere. Loosened from the secure ties and identity-affirmation of family and Family, the episode brilliantly encapsulates what's at stake in the series, as unforgettably as the immortal 'Seinfeld' episode when the quartet can't find their car in the shopping mall car park.

Oddly compelling despite subject matter
The third season of HBO's acclaimed Sopranos continues the established tradition of this film-quality television series. The Sopranos are a fairly normal suburban New Jersey family except that the father, Tony, is the head of an organized crime organization. In the third season, Tony's mother Livia dies (as did the actress that portrayed her, Nancy Marchand), daughter Meadow goes off to Columbia University, son Anthony, Jr. struggles to stay in high school, and Tony's mobster friends continue with their regular business ventures. James Gandolfini's portrayal of Tony is always at the heart of the series' success. He is able to pull off the difficult task of being likeable as a suburban father while simultaneously cheating on his wife and killing people. People I know who don't usually care for onscreen sex, violence, and foul language are irrestibly drawn to this series because of its compelling performances, professional direction and screenwriting, and long-spanning story arcs. There is a large cast of supporting characters whose stories progress as the audience becomes more familiar with them, as in a daytime soap opera. Of course, some of them get whacked. Actually, the third season has considerably less killing and nudity than the first two. But the profanity continues in full force. This is not material suitable for the kiddies. To me the best aspect of the content of this series is the way it examines the themes of integrity, responsibility, and especially loyalty. There is a perverse sense of justice when a disloyal mobster is "disappeared" by the collective efforts of his mob family. The DVD extras are very slight. The featurette is very short but does offer a chance to hear the actor who portrays Furio speak without his Italian accent. The audio commentaries by actor/screenwriter Michael Imperioli, director (better known as an actor, though not of Sopranos) Steve Buscemi, and creator David Chase are among the least informative I have ever heard. Buscemi, one of my favorite actors, is entirely too humble and deferential to the set-in-place Sopranos powers-that-be to deliver any sort of authority on his commentary. But despite the lack of substantive DVD extras, this package is well worth watching to those who like competently delivered episodic television. But do definitely start with the first season!

My Favorite Season of the Sopranos
I'm a great fan of the series and have all four seasons on DVD and just finishing watching 5 on HBO. The third season is my favorite by far. Some reasons why:

The introduction of Ralphie Cifaretto to the show (played outstandingly by Joe Pantoliano), the hilarious and well acted Pine Barrens episode, the great chemistry and high drama between Tony Soprano & Gloria Trullo (Anabella Sciorra), and Jason Cerbone as Jackie Aprile (nice plot line involving him and besides he's great eye candy), the return of Janice, Carmella's scene in the male psychiatrist's office when she briefly confronts the reality of her life.

It's just fantastic and like the entire show so far, it's a must see. Although some were disappointed with Season 5 and truthfully it could have been better, the Sopranos continues to be complex and quality TV. It's more than just a mob show, for sure.

BADA BING...BADA BOOM...
If you are looking at this review, you probably already have the first and second season. All I can tell you is that the third season is as good, if not better, than the first and second. This is truly one of the best series ever to have graced the television screen. Leave it to HBO to have come up with such an engaging, well-written, well-acted, and totally addictive series.

There are some major plot developments this season. Starting off slowly, the first episode chronicles the synchronized, often comical efforts of the FBI, which is trying to get an electronic surveillance bug in place in the Soprano's household. The season then heats up considerably from thereon.

Livia Soprano, Tony's wicked mother and a canker in her children's lives, dies, bringing daughter Janice back from where she had fled, after she had bumped off her manic boyfriend, Richie Aprile, last season. Janice returns with a narcoleptic, musician boyfriend who is the antithesis of Richie. As always, Janice likes to stir up trouble, and her mother Livia's wake and funeral services are fertile country for her new machinations and self-importance. When she tries to stir up trouble with Livia's one legged, Russian caregiver, which leaves the caregiver searching for her missing prosthetic leg, however, Janice soon discovers that she has gone too far, and her chickens come home to roost with a vengeance.

Meadow, the Soprano's daughter and eldest child, a college student at Ivy League Columbia University, gets a new boyfriend, Noah Tannenbaum. He is handsome, intelligent, and articulate, and Tony hates him on the spot for reasons the viewer will quickly discern, as Tony pulls no punches with Noah. This will create a certain amount of tension between father and daughter, and an estrangement ensues. When Noah breaks her heart, Jackie Aprile, Jr. is waiting in the wings with her parent's blessing, and Meadow goes from the frying pan into the fire.

Anthony Soprano, Jr., the Sopranos' other angst ridden teenager and youngest child, who has turned out to be an unexpected gridiron wonder, is also sowing his wild oats, getting himself in deep trouble at school, much to his parents' anger and dismay. When Anthony, Jr. continues in this vein, there is a big surprise in store for him, causing him to undergo a major life change. He is not, however, the only Soprano family member to do so.

Tony finds himself head over heels with Gloria, another of Dr. Melfi's patients. A Mercedes car salesperson, Gloria, the new light of Tony's life, is gorgeous, passionate, and a totally loose cannon. She will cause quite a bit of conflict for Tony as their affair heats up, as Gloria likes to fight fire with fire. Gloria has to watch out that she, herself, does not get burned.

Carmela, Tony's long suffering and patient wife, being only human, finds her thoughts increasingly absorbed by Tony's henchman, Furio, the sexy, pony tailed Italian. The problem is that Furio, too, is experiencing deep feelings for Tony's wife, a situation that can only become increasingly dangerous for all concerned. How Furio and Carmela handle their feelings and resolve this potentially dangerous development is of great interest.

Dr. Melfi herself undergoes great personal angst this season, following her violent rape at the hands of a stranger. A very conflicted Dr. Melfi finds herself on the edge of taking a path from which there can be no return. This season also finds Dr. Melfi doing husband/wife tag team counseling with both Tony and Carmela, a venture that provides some comic relief and gives rise to potential conflict of interest.

Meanwhile, Jackie Aprile, Jr., Tony's godson and Meadow's new main squeeze, the deceptively soft spoken and good looking son of the late mob boss, Jackie Aprile, Tony's best friend, is up to no good. Lying through his teeth about everything to everyone, he is misguided by his seriously unstable step-father, mob made man Ralph Cifaretto, who is busy plying both sides of the coin. It seems that Ralph, dissatisfied with the role to which he has been relegated within the family, is doing Tony dirty, going against his wishes at every turn, and the situation with Jackie, Jr. is no exception, a situation that will culminate in heartbreak for all concerned.

Back at the ranch, Tony's other henchmen seem to have their own troubles. Corrado "Uncle Junior" Soprano, the nominal boss of the family, who is kept in check by his nephew Tony, is busy battling cancer and a federal prosecution. Young Christopher Moltisanti, Tony's nephew, gets his long desired promotion, and is told to report to Paulie "Walnuts" Gaultieri. Christopher soon finds out that with Paulie "Walnuts" business is business. Meanwhile, Christopher gets involved in a sideline that bodes ill for him and his fiancee.

When Tony sends a resentful Paulie "Walnuts", accompanied by Christopher, on a mission that should have been that of another, Christopher sees an unexpected side of Paulie. When the mission, involving a member of the Russian mob, goes bad at the hands of an angry Paulie, Christopher discovers that Paulie may not be as stand up a guy as Christopher thought. While this is a terrific episode, very funny in a macabre sort of way, it also cleverly sets up Paulie in a new light for future developments. This particular episode, one of my favorites, is a feather in the cap of actor Stephen Buscemi, who directed it.

These are just some of the highlights of the third season. There is so much more! The writing continues to be intelligent, and the story lines are as well thought out and engrossing as ever. The performances are uniformly stellar. The late, great actress, Nancy Marchand, whose portrayal of the venomous Livia Soprano was a feather in her cap, left a legacy of memories, having died after creating such a memorable character. She will sorely be missed. This third season's attempt to bridge her death and use existing footage and computer effects to create a dialogue between Livia and Tony, however, was misguided, as its effect is a tad ghoulish, as well as disturbing. Nonetheless, I absolutely love this series!

Tony is harder, more killings and rape.
If the last episode of Season Two got you hooked, you're going to be on the edge of your seat for Season Three. The DVD screensaver intro is different than past collections. Special features are also on Disc 1 which leads to cast and filmmakers,series index and DVD-ROM/Weblink. If it has been awile since you've seen Sopranos, it also offers you a Season One and Season Two recap. Actress Nancy Marchand who played "Livia Soprano" died so they used prior footage and also a body double with CGI computerized image of her face to complete the scenes in the second episode (#28) of the Third Season. Tony's psychotherapist is attacked and raped by an Italian (played by Mario Polit) who she thought was Puerto Rican. She tells her husband, but tells everyone else she was in an accident. If you are in the mood for a hilarious episode. Episode #37 (11) is the one. Tony's numbskulls shoot a Commie in the snow-ladden woods. They follow the trail of blood, but no body. They must find the Commie's body. Tony is having a fit. Joe Pantoliano joins the series. Burt Young is in episode #31. The Fourth season of "The Sopranos" is now available on VHS and DVD. ... Read more

Reviews (232)

How the Sopranos saved Christmas.
On December 22, 2000, I recived the Sopranos First Season on DVD. It was a Birthday/Holiday gift form my girlfriend of 5 years. Over the course of the next week and a half, if there was any doubt of my whereabouts, it was a safe bet I was watching the next episonde. I am a 23 year old actor. My VHS collection numbers 350. My DVD collection a mere 20, however the Sopranos box set delivered more hours of riveting enjoyment than anything has in a long time. The show is, in my opinion a perfect blend of satire, drama, social comentary and fantastic story telling. Every person I introduce to the Sopranos is throughly impressed with all aspects of the series. On a personal note, I think James Gandolfini has finally given us something that Robert DeNiro and Al Pacino have long strived to achive. Gandolfini brings a familiarity to this roll that is one of the key elements to the show's success. He has created a character that is not out of reach for the veiwing audience. Edie Falco and Nancie Marchand are also invaluable components to the creation of the overall feeling of accesability. While we may not all know what it is to have an AK-47 within arms reach, we do know what it is to have a nagging mother and a confused and judgmental spouse. The icing on the cake of this series is its supporting cast, the boys at the club and kids at home create an atmosphere that is simply tantilizing to the veiwing audience. I recomend this set to mafia fans and house wives alike. Get it for the gangster in you, after all...a hit is a hit.

Woke up this morning and got myself the Sopranos...
Anyone who knows me could tell you I'm a huge fan of mob/crime films, so it's rather weird that I never had a huge interest in this show until now. I don't have HBO in my house and simply never cared enough to go out and rent/buy all four seasons. Then my parents watched it and were suddenly in love with it. Knowing that my mother wouldn't go within ten yards of a film like "Goodfellas," I figured this had to be an excellent show.

And I was right.

I still don't get HBO, but when I think of the past five years where I could have been watching this show on DVD instead of "Paradise Hotel" on FOX, I kick myself. I've only watched the first season and am looking forward to what comes next. "The Sopranos" is a meticulously crafted drama that's unlike anything else I've ever seen on television. Frankly, I was always just into comedy sitcoms because I didn't have the interest or patience for this type of TV. But, in "the Sopranos'" case, I'll make an exception. I'd only be cheating myself if I didn't.

I might be five years late, but at least now I understand what the hype is all about. Highly recommended for other late bloomers.

HBO's way of telling us to thank God our dad isn't a mobster
"The Sopranos" has done more than just revolutionize television...being one of the best shows on TV with compelling story lines, quarky characters, and snappy mafia lingo...the show has redefinied the definition of family. But while we've grown up with our family, we've grown up with Tony's family and it's HBO's way of telling us to thank God our father isn't a mobster. The first season is great when we see Tony desperately trying hard to hide the salomi with his psychiatrist, Dr. Melfi. There's his dutiful wife that suspects that he's been cheating. TRUST ME THE LAST THING THAT I NEED TO SEE AT NINE O'CLOCK AT NIGHT ON HBO IS JAMES GANDOLFINI'S SLUGGISH, BEARISH BODY ON TOP OF A HOT CHICK. But it only fuels to the show. The violence. The sex. The language. It all accomplishes the real grit of being a mobster. I've heard fans say that they think Tony is the tragic hero-type, but HE'S A COLD-BLOODED KILLER! There's nothing heroic about that. Then there's the fact that a few years ago, somebody made a real adult film based on "The Sopranos". That's when you know you've become part of pop culture. Five stars all the way, for the cinematic effect that the collage of episodes brings to the small screen. Now you've got the skinny on "The Sopranos"...kapish?!

HBO's way of telling us to thank God our dad isn't a mobster
With compelling story arcs, quarky characters, and catchy mafia lingo, "The Sopranos" has taken the definition of family and redefined it. But ever since the beginning, "The Sopranos" has sparked a sensation with American pop culture and has revolutionized television with the use of sex, drugs, violence, and profanity to fuel complex story lines. For example, "The Sopranos" has had so much of an impact that there's an adult film called "The Sopornos" based on it. That's when you know you've got a hit. NOW THE CRITICISM: As always I've got to slam every movie/show I see, so first of all, what is the deal with Tony Soprano (Gandolfini) trying HIDE THE SALOMI with Dr. Melfi. And why doesn't his wife Carmella (Falco) give a s*#%. Second, Dr. Melfi (Bracco) doesn't have a right to complain since all she has to do is transfer her mob boss patient out of there, but SHE DOESN'T. I THINK SHE NEEDS A PSYCHOLOGICAL EVALUATION OF HER OWN. There's Uncle Junior (Chianese) with his grandpa nit-picking. I liked the start of the show when Tony and Uncle Junior were warring over turf. Why can't Sirico win the Emmy for Paulie Walnuts. (...) Another thing, I bet if I had a ring stuck on my finger, I'd just run it through Silvio's greasy hair and it'd fall off, shelled in hardened vasoline. Finally, what is with the audience, thinking Tony is a tragic hero. He really isn't, HE'S A COLD-BLOODED criminal. Just because he provides for his family doesn't justify his actions. While Chase (writer/producer) humanizes him, he's still a vicious guy that treats women like garbage. Note: The last thing I need to see at 9:00 on HBO is Gandolfini's sluggish, bearish body on an intensely hot chick. BUT this is certainly one of the best shows on TV, if not THE BEST! "The Sopranos" is great in its writing, directing, and acting. I JUST WISH THOSE PROTESTORS WOULD SHUT UP , STOP RANTING, AND STOP RUINING IT FOR THE REST OF US. I IMPLORE YOU TO WATCH THE FIRST SEASON AND I GUARANTEE YOU'LL GET HOOKED, at least for the first three seasons. NOW I'VE TOLD YOU THE SKINNY, SO CHECK IT OUT...KAPISH?!

It's a hit!
EXCELLENT DIRECTING/PRODUCING/WRITING/ACTING. Great performances and the originality is unbelievable. ... Read more

Reviews (70)

The Rise and Fall of Tony Soprano continues its way
Tony Soprano is almost a Shakespearean tragic hero. His meteoric rise through the first season has been matched by a slow descent. Through the fourth season, we continue to see this, as those who Tony relied upon (in business, or emotionally, or otherwise) fall away through death, or abandonment (by Tony or the other person).

This DVD set contains the 13 episodes of the fourth season, together with commentary from writers, actors, and David Chase. Unfortunately, only a few of the episodes have such commentary, and the choice of episodes is open to question (episode 4-11, with Tony's dreams, needs interpretation from an authoritative source). The "trailers" at the beginning and end of each episode are also included (i.e., "Previously on the Sopranos", etc.)

All of the regular actors shine, and the bit players are, as always, very well cast.

The quality of most of the episodes is high, perhaps higher than any but the first season. But as the number of planned seasons has gone from four, to five, and now to six, I wonder if the purity of David Chase's vision has not been invaded by fluff. Well, we won't know until the series ends, I suppose.

Highly recommended.

Season 4 is great. You will realize it soon enough!
A lot of these so called Sopranos fans have an IQ of 4 when it comes to realizing what happend over the 13 episodes of season 4. For the first time in the series history we were left with a cliffhanger. If you notice in seasons 1,2,and 3 the story line for the season ended in the season finale. For season 4, Its going to carry over to next year. Dont you people get it? Season 4 was a setup. If you think about it all that happend in the season finale has to be resolved next season. For example, Paulie has been ratting out to new york and will probably get whacked, Adriana has ratted out to the feds and will probably get whacked, and if Tony finds out who really set the fire at the stables thier going down too!! And do you honestly belive that Tony and Carmela will get divorced? PLEASE! The way Tony is, hes going to do everything humanly possible to make up with her, that should be cool to see. And with the news reports of Steve Buscemi and Robert Loggia joining the cast, I think alot of Sopranos fans will quit whining when they see how season 4 was a setup to what looks to be a bad-... season 5

Another Brilliant Season
Above all other seasons, the forth in this groundbreaking series focuses on the complex enigma that is Tony Soprano. Creator David Chase allows Gandolfini's character to go places rarely reached in television or film. Traveling through these thirteen episodes with Tony, a viewer will get to experience utter joy, limitless rage, and the unequaled pain that accompanies an acknowledgment of personal culpability in creating one's troubles.

Tony comes to realize how others truly see him in the early episodes of Season Four. He laughs at his friend Artie and his cronious cohort Councilman Zellman when they nervously try to discuss different requests. He does not understand why they should be so afraid. But soon, he validates their concerns and sees the monster inside that drives away the closest people in his life.

His marriage is also falling apart, a plotline most associated with this season. Gandolfini and Falco provide career performances, particularly in the finale's blow-up scene. But Tony's most powerful moments concern two important losses in his life. Sudden news of the passing of an old acquaintance sends an unstable (and violent) Tony back to therapy and another tender relationship with an animal (remember the ducks) ends with Tony out looking for blood.

Chase loves to allow small incidental moments to provide the genesis for much of the show's conflict, a comment on the fragile nature of life. In the first season, the jokes about Junior's acquired "taste" of his girlfriend drive the wedge between he and Tony that causes many to get whacked. In this season, a throw-away line made about the weight of a tangential character builds and festers animosity all season. Plot built in such a masterful way is just another example of why The Sopranos is television's finest hour.

Click the order button!
Frankly I think they need to make the sopranos a couple more seasons. This season is just as good as all the other ones except for the fact they they jump to conclusions. If you're looking buying this season then that probably means you've already seen the first 3. Anyone who needs to read weather the Sopranos are good from this point has something seriously wrong with them. Go ahead and finish it up already! Why would you stop now!

WARNING ! If you buy this you won't be able to switch off
I've always loved the Sopranos, mainly for its subtle humour and incredible writing and story plots. I always thought The Sopranos would make a good book, because it would sure to be a page turner. Season four is no different. We start the series revitalised and ready for any new troubles that may face Tony Soprano (James Gandolfini better than ever).

The economy is down and the mob business is slow. That can only mean one thing. All the guys are going to have to work twice as hard to make more money. As this happens on Tony's mob side of life, it becomes clear he's also facing troubles at home - amazing acting takes place between Edie Falco and James Gandolfini in the incredible final episode.

This is one of the best things ever to come off of TV, and each episode is almost like a mini movie, action - drama - twists and turns. The only problem is, you buy this DVD, you're guaranteed to call in sick for work the next morning to carry on watching. You may even find yourself dropping the words 'BADA BING, BADA BOOM' into a conversation unknowingly... ... Read more

Amazon.com essential video

In the typical Don Simpson-Jerry Bruckheimer mold (the partnership yielded Top Gun and Days of Thunder, among many other films), this 1995 drama is a combination of one-dimensional but enjoyable performances, lots of high-tech nonsense taking place onscreen, and mechanistic movie-making at its loudest and most seizure-inducing. Gene Hackman and Denzel Washington play nuclear submarine officers squaring off over the former's apparent intention to do some unauthorized damage to an enemy. Tony Scott (Top Gun) directed, bringing his luster and pop commercial sense to go with all that Simpson-Bruckheimer eye candy. --Tom Keogh ... Read more

Reviews (104)

Crimson Tide rocks the boat!
After experienceing Crimson Tide for the 15th time, I believe this is my favorite movie of all time. From the very beginning of the movie you are swept into a very plausible scenario: Russian rebels have captured nuclear missle silo's and are threatening to launch at the U.S.. The USS Alabama has been deployed to launch a preemptive strike against Russia. This movie has what DVD owners are looking for: Excellent visuals, bass thumping sound, and great acting. Denzel Washington gives the best performance of his career as Lt. Commander Hunter. His character's by-the-book style is at direct odds with Captain Ramsey's (Gene Hackman) old-school ways. The result is an incredible clash of wills that results in mutiny and the near destruction of the world in a nuclear holocaust. The tension is thick in this drama, and the movie has emotional moments and moments of extreme joy. You will be on the edge of your seat rooting for either Capt. Ramsey or Commander Hunter throughout the movie. This is a must-see movie!

Hoovers the greasy tool!
This movie sucks. It's a disservice to the men of the US Submarine Service. Let's look at what's wrong with this movie. Firstly we have Gene Hackman playing the gunger-than-ho submarine captain in a way that makes you think he prepared for this role by trying to channel George C. Scott from _Patton_. Cigar chomping, scenery-chewing aside the US Navy doesn't let guys who act like Gene Hackman did in this movie anywhere near nuclear weapons. I worked with three men who were former commanders of missile submarines and they were the polar opposites of Gene Hackman's character. Then we have the pseudo-dramatic tension of the conflict between Denzel Washington and Hackman over whether or not to launch the missiles, of course the problem with this bit of dramatic tension is that it's BS, one of the standing orders for nuclear launch is "when in doubt, don't." If you can't get a good authorization you don't just pull a wild hair out of your ass and decide to launch some missiles. Anyone who has a problem understanding this doesn't get near the nuclear missiles. People in the Navy have watched _Dr. Strangelove_ and know not to let people who don't understand this sort of thing near the nuclear missiles.

A JOKE
I am an American Submariner. The Boat I was on at the time this "movie" premiered in Canada was invited to partake in the first showing. There were about 50 of us including officers and chiefs. From the word "go", we tore this movie apart. No wonder the Navy didn't participate in its making. IT IS A JOKE! The beginning scenes where they were diving the boat included pictures of all sorts of other submarines diving. I remember at least 6 classes of boats being shown. Maybe if we were not "bubbleheads" we would have thought it was an interesting movie. Highly doubtful tho. The differences in classes is telling. As far as the plot goes there are fail safes incorporated to prevent this from happening. This movie was made to promote hysterics just like some news media only show one side of a story. I have seen this movie once and would reccommend you seeing " The Hunt For Red October". It's closer to what we did than this one.

isn't fit to scrape barnacles off "Das Boot"
I didn't think it was possible for there to exist a badly-made submarine movie, but I watched this and realized I was wrong. If you know anything about submarines, you'll not like this film very much. Examples? Ok, how about this: The boat (sub's are referred to as "boats" not "ships") is crippled by a torpedo explosion, and the Chief of the Boat announces to the XO (Denzel Washington),"forward ballast tanks damaged. we've lost forward air". The next moment, the boat's main propulsion plant is lost, and the sub is shown heading downward into the depths. Do they move the bow planes / fairwater planes or stern planes to use forward momentum to help the boat rise? NO. Do they blow after ballast (the after ballast tanks are presumably still operational)? NO. What do they do? They just ALL STAND THERE staring at the depth gauge, awaiting their arrival at "crush depth", the depth at which the surrounding pressure of the sea will be more than the pressure hull can withstand and the sub will implode and kill them all. But what saves them? Ah, someone in the Engine Room apparently flicks a switch to start the turbines again! "well, whaddya know, I've started the plant again!" Look, if you suffer an engineering casualty that causes the plant to be lost, chances are you're not going to be able to repair the cause in 5 minutes. Add to this the flimsy character development, the "musical chairs" Caine Mutiny - meets - Keystone Kops command changes, the contrived 'drama' - it's just not believable, folks.
So what to do? I recommend you rent, buy, or borrow "Das Boot" (or its very-well-dubbed version "The Boat"), come home and watch it. Immerse yourself in a real submarine drama. And deep-six this artificial-reef of a movie.

Hackman & Washington Chew Up the Screen
Superior performances by Denzel and Gene. Good supporting performances by Tony Soprano and Gandalf. Great tension. Perfect Tarantino dialogue. Lots of nice realistic touches. Aren't that many good sub movies out there. Only a handful come to mind. Definately worth repeated viewing. ... Read more

Reviews (173)

A great movie.
A young man by the name of Clerence (Christian Slater) gets to meet a bright wide-eyed Prostitute named Alabama (Patricia Arquette) falls in love at first sight and then they get married. But the Couple takes a wrong turn, when Clerence told the wrong suitcase from a Pimp (Gary Oldman), which Clerence did kill him. Then Clerence & Alabama finds out that the suitcase is full of cocaine and than they decide go to L.A. to sell it and cash it in, while the Mafioso (Lead by Oscar-Winner:Christopher Walken) are searching for the Drugs and the Couple.

Directed by Tony Scott (The Hunger, Top Gun, Enemy of the Gates) made an excellent, clever thriller with romance. Excellent Performances from the Cast, including:Dennis Hopper, Val Kilmer, Micheal Rapaport, Bronson Pinchot, Brad Pitt, Saul Rubinek, Chris Penn, Tom Sizemore, Samuel L. Jackson, James Gandolfini & Conchata Ferrell. This wasn't a huge success at the Box Office but it did recieve great reviews by Critics and it become a Cult Classic. DVD's has an terrific anamorphic Widescreen (2.35:1) transfer and an digitally remastered-Dolby Digital 5.1 Surround Sound (Also on DTS). DVD's has three separate feature-length Audio Commentaries by Stars:Slater & Arquette, Director:Scott & Writer:Quentin Tarantino. DVD has nearly 30 mintues of Deleted Scenes (also an Alternate Ending) with/without commentary by the director & writer. This DVD has great extras. Tarantino wrote a terrific written script, which he's best known for Reservoir Dogs, Pulp Fiction & Jackie Brown. This DVD is a great 2-Disc Set. Do not miss this great film. Panavision. Grade:A.

Stay True To Yourself
Directed with a slick style by Tony Scott (Top Gun, Spy Game), True Romance, boasts an all star cast, a cool soudtrack, and a great script from Quentin Tarantino. He would of course, go on to write and direct Resevior Dogs, and Pulp Fiction. I happen to think though, however, that the script for this film is Tarantino's best work in anything he's ever done. Period I know I'm probably in the minority with that opinion, but most of the the other films he's written/directed himself, have a samenees to them.

Clarence Worley (Christian Slater) likes comic books, Kung Fu Films, and Elvis. He leads a fairly normal life, that is, until he meets call girl Alabama (Patricia Arquette). After a spending a passionate night together, they declare their love for each other, and they decide to get hitched. Clarence is visited by the ghost of Elvis (Val Kilmer) who tells him that he should kill Alabama's pimp Drexel (Gary Oldman)... Dennis Hopper Michael Rappaport Christopher Walken and Brad Pitt also star in this quirky, sometimes dark, love story.

The 2 disc DVD director's cut is a must for fans of the film, over the movie only disc version, that still available.

Disc One has the unrated director's cut of the film. There are 3 audio commentary tracks. Each one offers a unique perspective on the same film and it's kind of fun to have these different takes on the same film. All of the tracks are decent and never lag (especialy Tarantino's who barely misses a beat) The director's storyboard track allows for a side by side comparison between the final film and how Scott laid everything out beforehand. DVD-ROM stuff includes the original script, production notes, and a web site archive with a few links

Disc Two has interviews with both cast and crew, some interesting on the set footage. Cast members offer audio reactions to specific scenes that they appear in as they watch them--this is really cool. Comments are from Hopper Kilmer Pitt and others There are a number of deleted scenes that can be viewed optional commentary from Scott. The best extra is the alternate ending. Rounding out the extras are the ususal trailers and photo galleries and such.

This 2 disc set comes highly recommended

excellent
I loved this movie. Christopher Walken and Dennis Hopper we're absolutely fantastic. I was really dissapointed that we didn't see more of Walken throughout the film. The thing that impressed me the most about it though was how each role no matter how small was executed to perfection. Bradd Pitt, Chris Penn, James Gandolfini, Vincent Donofrio? There are two many roles to mention. Scott did an excellent job with the script although it may have a sunnier disposition than Tarantino's other films.

Tarentino's Frist - Possibly His Best...
I recently read Tarantino's original screenplay to "True Romance". Apart from the change in narrative structure (non-chronological), it hints to a bleaker, grittier urban drama, with a tragic ending. It would have been very interesting to see the final film in Tarantino's vision.

Tony Scott's sugar-coated adaptation works wonders though. It was made very clear in the script that the relationship between the two leads was very strong. Scott took this unison and gave the film a fairy-tale tone. The villains in the film are very colourful, contributing to the feel that Scott has established. Hans Zimmer's score does nothing better, than to enforce this vision.

The cast is one of the most impressive line-ups I've ever seen. Much of the film rests on the shoulders of Christian Slater and Patricia Arquette, both characters come off very likable with clear, clean, simple motives. These are career performances. Dennis Hopper gives good in his limited screen-time as Christian's ex-cop, ex-alcoholic father. It is in his time shared with Christopher Walken (being a one-scene wonder, like in "Pulp Fiction"), that he comes off at his best. The Sicilian scene is Walken's most intense since "Deer Hunter". Gary Oldman also gives another deliciously evil and memorable performance, the man is a chameleon, he is yet to unimpress me.

But one of my favourite things about the cast is seeing then-relative-unknowns Samuel L. Jackson, Brad Pitt and James Gandolfini in small, but memorable roles. A real shame that Jackson's performance was cut down heavily from the script, some of the dialogue in his one scene was very amusing, if maybe a little offensive to some.

"True Romance" is a brilliant crime drama, and a perfect (if phased) introduction to Tarantino's work, it is probably the most accessible film he's penned. People will always ponder over whether or not Tarantino's directorial version would have been better, but they can always rest-assure that Scott has given a wonderful adaptation, supported by a very strong cast. It could have been much, much worse.

great scott
what the hell is tony scott doing??? quentin tarantino really knows how to ruin something potentially good. ... Read more

Book Description

Mystery?! Well, it shouldn't be, but Connie and Dylan have gotten caught up in a mystery movie and suddenly every visitor to Whit's End looks suspicious to them.There are laughs and chills galore as Eugene tries to temper things with reason, while Connie and Dylan are positive that a stranger stranded by a storm is actually an escapee from a nearby prison!It's all downhill from there as the misguided trio learns a valuable lesson about the power of things we put into our minds.

Reviews (18)

Ignore the plot, watch for the details
Ok, so I feel a little silly giving this movie four stars. Melanie Griffith portraying a hardened New York detective? Uh, no. The romance? Silly. The killer's identity? Not exactly a shocker. And yet I really enjoyed this movie because someone did their research. This is really a sensitive, non-prejudiced introduction to the world of Hasidim, a small, ultra-Orthodox segment of the Jewish population.

The story revolves around a murder in the Hasidic community of jewelers in New York. Emily Eden (Griffith) is dispatched to investigate and ends up going undercover within the community. The film has wonderful details about Hasidic life and customs, the role of the Rebbe, the antagonism from the mainstream Jewish community, and addresses the unfortunate sheet rumor which I won't go into here. As I said, Griffith's miscasting makes Angie Dickinson's work on Police Woman appear the height of feminist role models. Mia Sara fares better as the daughter of the Rebbe (the leader and epicenter of Hasidic communities.) Also, fine work from Eric Thal as the Rebbe's son who is destined to become the next leader of the Hasidim. This film is both a guilty pleasure and a surprisingly informative introduction to a fascinating community. Come for the dreck, stay for the halachah.

Melanie at her most hilarious
I have a love/laugh relationship with Melanie Griffith. Sometimes I love her films as they are intended, even if the critics don't, and other times, the films are so stupid they're hysterical. This falls into the latter category. She's this brash, foul-mouthed, trampy, tough-as-nails NYC detective who investigates a murder in the Hasidic jewish diamond district. Naturally, as we see later, she also has a heart of gold. Melanie, as the hard boiled and tough as nails cop, ends up dying her dried-out bleach blonde locks brown and goes "undercover" as a returing Hasidic jewish woman in the community to get to the bottom of the murder, as she thinks it's an "inside job." Right! To believe this premise, she'd have to have the acting ability of Meryl Streep, or there would have to be a sly reference in the film that these were brain damaged, under 80 I.Q. Hasidic jews. Nothing like this is mentioned in the film, and Griffith is no Streep. Then there's this totally silly romance subplot as the girl on the prowl, take no prisoners, use 'em and lose 'em Melanie falls for a quiet, intellectual, sensitive, much younger (they downplay that in the movie), gorgeous Hasidic jewish guy whose house she is sharing while "undercover." Luckily for him, and the audience, the romance goes nowhere, and crass, hard as nails Melanie, ends up respecting his decision that he ought to marry within his faith, and remain pure up until that point. And that other reviewer is right, Melanie, after all the hardwork to go "undercover," does virtually no investigating once a part of their world. The murder solves itself. If NYC detectives were anything like this character, anarchy would rule in NYC.

On a most significant note, even though she's hard boiled and tough as nails, she says "okey dokey" in her high little Melanie voice about 15 times in this movie. I have known both devout Jews and hard boiled NYC police. Neither group uses the term "okey dokey" to my knowledge. Where did she come up with this one? I never see it in any of her other movies. Did someone play a cruel joke on her during filming and tell her "okey dokey" is an authentic Jewish term or something and her adding it to the script would help her "transformation"? I guess we'll never know, because when she was on Actor's Studio, this wasn't a movie they discussed (shocker).

Needless to say, I watch this movie whenever I can. It's pretty terrible if you're looking for some kind of action/thriller as the film is billed. If you can appreciate Melanie Griffith's body of work as I can, this is one of her top comedies.

Lame
Really, the only thing I enjoyed about Stanger Among Us was the slight study it did of Hasidism. So much of the plot was unreal and contrived that its pretty lame. Melanie Griffith turns in a poor job as the detective who falls for Ariel the main Hasid character. No Hasid would ever read to her out of the Kabala what the movie had him read to her in the back yard,it just would not happen, he would turned the page from that selection and chose something else. Can't really recommend this one.It has its good points, but the bad one's so detract from its worth.

The real value is in the multi-cultural dialogues
OK, so it's not the best film in terms of police procedurals -- if you are looking for a hard-core crime drama, this isn't it. This movie was a spin-off from "Witness," which took place in the Amish community, and, like "Witness," the real value of "Stranger" is in the multi-cultural details and dialogue. The murder mystery is just a formula plot for presenting an introduction to Hasidic culture. Viewed as such, the film can be a useful teaching tool, and that's why I've been recommending it on my website's Hasidism FAQ. I myself use it in social studies classes here in rural Minnesota, where most of the students have never met any Jews at all, let alone Hasidim.

Now granted, there are some things in the film that are pure Hollywood, such as the little book referred to as "The Kabbalah" that reads like a sex manual. In real life, "kabbalah" is a collective term referring to Jewish mysticism. There is no one book called "The Kabbalah" any more than there is any one book called "The Zen." Although some kabbalstic texts do contain certain sexual imagery, the stuff that Ariel reads to Emily in the film is more like erotic love poetry. This serves a purpose in the story, but it's not Jewishly accurate, and for that, I'm docking it a star. On the other hand, the film does address some of the negative stereotypes about Hasidim, such as that ridiculous urban legend about the hole in the sheet. (NOT!)

The real "kabbalah" of the film is in the message about finding one's soulmate. In the beginning of the film, Ariel reads a line from his kabbalah book: "God counts the tears of women." He has no idea what this means, it's just words. Later, at the end of the movie, Ariel's Hasidic bride-to-be quotes this same line back to him. She explains what it means, then says: "It's in the kabbalah." From this, we know that they are true soulmates, even though this is the first time they have met face-to-face. Emily (the detective) has also decided to wait for her true soulmate, which is what she tells Levine, who has been making passes at her throughout the film. But Emily has now grown in her understanding of relationships, and knows that fooling around with the Levines of the world is not love.

There are some fine Hasidic scenes in the film, such as the Sabbath celebration, which shows both men's and a women's dance circles. Especially nice is the inclusion of a black couple at the Rebbe's table, presumably representing the Ethiopian Jews. The wedding scene is also well done. (Trivia: the music used for the wedding march is a Bobover Hasidic tune for "Lecha Dodi," the song which welcomes the Sabbath Bride of Friday night.) It is for these scenes that I find the film most useful in mlti-cultural education.

MELANIE GRIFFITH AS A BA'AL TESHUVAH...
I initially debated whether to give this movie two or three stars, as at times it was moderately enjoyable. Some parts of it were so absurd, however, as to defy the viewer's imagination and intelligence. Moreover, Melanie Griffith was decidely miscast for the role she played. A hard boiled detective with a breathy, little girl voice like Marilyn Monroe just doesn't cut it. So, I gave the film its just desserts and awarded it the two stars it deserves.

The film revolves around the murder of a Hasidic man in a jewelry store in the diamond district of New York. Emily Eden (Melanie Griffith), an angst ridden and tough, hard nosed NYPD detective with the sexual scruples of a cat in heat, is assigned to cover the murder. She goes to Brooklyn to debrief the Rebbe (Lee Richardson), as to his knowledge of the victim, and shows up inappropriately attired. Now, NYPD may be a lot of things, but totally stupid thay are not. NYPD would never have allowed a detective, who did not have some understanding and familiarity with the customs of the Hasidic community, enter that community to try and get information. Nor would the Detective, a woman, have gone alone, given the Hasidic community's beliefs about the roles of men and women.

Though Detective Eden sounds decidely stupid throughout the film, she is smart enough to figure out that it was probably someone from the community who did the murder, given the nature and condition of the crime scene. In order to properly investigate, however, she believes that she needs to infiltrate the Hasidic community and go undercover, as a ba'al teshuvah, a Jew who has chosen to embrace an orthodox life style. So, she dyes her bleached, blonde hair brown, dresses conservatively, and goes to live with the Rebbe, his hunky son, Ariel (Eric Thal), and Mara (Tracy Pollan), the Rebbe's adopted daughter. Detective Eden lusts after Ariel, who is attracted to her. She has heart warming talks with Mara. Totally ignorant of the ways of the Hasidim, she manages to break many of its rules, with Mara always hovering around to correct her. She doen't seem to do much investigating, however, defeating the whole purpose of the charade.

Somehow, the murder gets solved without doing too much investigation, so if the viewer is looking for a police procedural, prepare to be disappointed. If the viewer is looking for a cultural appreciation of the Hasidic community, prepare to be disappointed. This is a romanticized and absurd portrayal of this unique and insular community. If the viewer is looking for a cross-cultural romance, prepare to be disappointed, as the budding romance between Emily and Ariel finally fizzles and is never consummated. If the viewer is looking for a film about renewal of one's faith in one's self and personal redemption, the movie sort of heads in that direction but never explains the route it takes, so when it sort of arrives at its destination, no one can figure out how.

This is a film that had potential, but somewhere along the way veteran director, Sidney Lumet, dropped the ball. It is simply not ready for prime time. See it only if you are desperate to fill some time, and there is nothing else worthwhile to take its place. ... Read more

Reviews (76)

superior to seven
Fallen has the "Seven" type feeling. The film is mixed with drama, suspense, mystery, and horror. Not to mention this film has almost absolutely no gore. It has a reliable and clever plot. Fallen is about a detective named John Hobbes, who is played by Denzel Washington. He has caught a killer named Edgar Reese who is about to be executed. Reese tells Hobbes a riddle before he dies. When another murder occurs, Hobbes finds the same riddle scrawled on the wall. He unravels the clue and begins to discover that the true being responsible for the murders is a demon called Azazel, who can move from body to body by simple touch. This film features many chilling scenes that involve Hobbes trying to keep up with who Azazel has just possessed. The supernatural twist in this movie makes it more interesting than seven, and the unique characters, especially Azazel, make this film one of the best suspense movies of all time.

Don't mess with a demon.
If you are with the opinion that The Bone Collector, also starring Denzel Washington, sucked because the "clues" left by the killer on purpose to make fun of the cops was way too exaggerated and it had a very lame ending, this is what you need to watch because this one is dealing with that both cases near perfect. Everything is just fine in this movie; cast, plot, direction, music, ect. The story will keep you nailed to your seat from the very beginning to the ending credits. And Rolling Stones will keep you watching the ending credits. The atmosphere is dark and mysterious, although it would be better if the writer didn't feel it necessery to reveal in the very beginning that the killer is in fact a body shifthing evil soul. Music is excellent, you can't help but get drawn into the movie with that music playing in the background. And it was so nice to see Elias Koteas in his role, someone i really admire for his Han Solo part in Teenage Mutant Ninja Turtles. But that's not the only suprise in the m