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Remember the outfit Cher wore to the Oscars when she won an Academy Award for her performance in this 1987 film? Ay-yi-yi. The actress' more retiring character in this infectious comedy leaps several psychological hurdles just giving her hair a permanent. But then the original screenplay by John Patrick Shanley (Joe Versus the Volcano) is a wonderful, gently satirical tale of an Italian-American family dealing with repression and dissatisfaction against a backdrop of cultural expectations. Cher is focused and funny as a widow who feels she should marry an older fellow (Danny Aiello), but then falls for his black-sheep brother (Nicolas Cage). Olympia Dukakis and Vincent Gardenia are perfect as her parents, and John Mahoney (of TV's Frasier) has a memorable, small role as a middle-aged man on the make who gets a lecture from Dukakis's character. Shanley's dialogue is comically stylized in a way that makes one appreciate how much words can inform an actor's performance. Taking its cues from him and director Norman Jewison (And Justice for All), the cast immerse themselves in a pool of hilariously operatic emotion. The special-edition DVD release has a full-screen presentation, Dolby sound, commentary by Cher, Jewison, and Shanley, theatrical trailer, closed captioning, booklet, optional French soundtrack, and optional subtitles in English, French, or Spanish. --Tom Keogh ... Read more

Reviews (126)

One of the most endearing and enduring films from the 80s
It's impossible to feel anything but affection for this wonderful movie. Officially, I guess, it's a romantic comedy, but it also contains some serious drama; often it's very funny, but just as often it's genuinely touching. It features a great soundtrack, with music ranging from Italian folk tunes to selections from Puccini's La Boheme to pop songs like Dean Martin's "It's Amore" and Vikki Carr's "It Must Be Him" plus a lovely rendition of the '30s standard "Moonglow." In each case the music is perfectly and aptly used. Moonstruck, unlike most Hollywood films, shows us that there can be sexual energy, flirtatiousness, and above all romance between people who are well on the other side of 50: one of my favorite scenes is when Aunt Rita (Julie Bovasso) looks at her husband's face in the moonlight and tells him, "in that light, and with that expression on your face, you look like you're 25." Then there's the scene in which Rose (Olympia Dukakis), after insisting that her husband Cosmo (Vincent Gardenia) stop seeing his mistress, tells Cosmo that his life is "not built on nothing." "Te amo," she tells him. It's as moving as anything I've seen in any drama. Then there's the cast! I, for one, wish that Cher would abandon her career as a second-rate (albeit successful) pop music star and concentrate on her work as a first-rate actress. In every frame of this film, she's extraordinary and completely in character. Nicolas Cage has never been better. And every role is filled to capacity by esteemed, if not famous, New York and Chicago stage actors. Special mention must be made of Fiodor Chaliapin, who is given a great moment (howling at the moon with his dogs), and who fills it admirably. Moonstruck is certainly a "New York" movie, but it's set, spiritually as well as physically, mostly in Brooklyn, rather than Manhattan. Moonstruck is a wonderful film! I remember seeing many European "art" films during the 1980s, but if I were to compile a list of Top Ten Films from that decade, they'd take second place to this Norman Jewison masterpiece. This one's a keeper!

Romantic but not mushy, just perfect
I usually avoid romantic comedies, but I happen to like Cher; even then, when my mom rented this movie I thought: "Pooh, a romantic comedy! Do I have to go through this to see Cher?" Well, I was never more glad to have to eat my own words; this was quality. The acting was excellent, the plot was great, and my mom and I fell in love with Johnny, the dreamy, no-good baker portrayed by Nicholas Cage. Cher was also great in her role as Loretta, the repressed widow resigned to marry some mamma's boy without loving him. That part of Johnny and Loretta's night out, when they accidentally meet her father and his mistress at the opera was so good, I rewinded the tape and watched it again. And Loretta's mother dining with the stranger... well, those are the highlights, but on the whole it was a wonderful movie. If you're like me and don't like most romantic comedies, just give this one a try, you'll probably be pleasantly surprised.

Moonstruck (1987)
Ever since her incredible debut with Sonny Bono in 1965, Cher has been known to be one of the mos successful female musical acts known to the world. Cher has had a hugely successful career in music; she was well-known with Sonny, but it was her solo career that seemed more successful. But Cher wasn't about to be successful in just the music business; Cher wanted to be successful as an actress as well. Cher has starred in a wide load of movies, such as 'Chastity', where she played the title role, 'Silkwood', where she played Dolly Pelliker, 'Mask', where she played Florence 'Rusty' Dennis, 'Suspect', where she played Kathleen Riley, 'The Witches Of Eastwick', where she played Alexandra Medford, etc. But it was her role as Loretta Castorini in the romantic comedy, 'Moonstruck' that made her another one of today's best actresses.

Taking place in New York City in 1987, Cher playes Loretta Castorini, a lonely Italian widow, who is longing for her Prince Charming to sweep her up off her legs and get her out of her misery. Loretta goes to dinner with her best friend, Johnny Cammareri (played by Danny Aiello). Johnny surprisingly proposes to Loretta, and she happily accepts. Although Loretta likes Johnny a lot because he is her best friend, she knows for a fact that she does not love him. After dinner, Loretta drives Johnny to the airport, for he is flying to Sicilly to be by the side of his dying mother. Before he boards the plane, Johnny gives Loretta the number to his brother's place, and tells her to invite his brother to the wedding. The two lived their lives without seeing or speaking to each other for five years, due to an accident. Loretta assures Johnny that she'll do so and goes home to tell her mother and father, Rose and Cosmo Castorini (played by Olympia Dukakis and Vincent Gardenia). Loretta wakes up the next morning, with a phone call from Johnny, asking if Loretta had called his brother yet. Loretta informs Johnny that she'll do so when she hangs up with Johnny. She calles Johnny's brother, but his brother sounds very bitter about Johnny getting married first. Loretta walks down to where Johnny's brother works. Ronny Cammareri is Johnny's brother and he works in a little bread factory, who is still miserable after losing his hand in a bread chopper. He feels Johnny was responsible since, Ronny was using the chopper to chop up some bread for Johnny. Loretta takes Ronny back to his place and begins to explain the truth to Johnny's misery. But the two wind up sleeping together.

The next morning, Loretta wakes up the next morning only to find Ronny by her side and flips out. She realizes that what she did was wrong, for she is still engaged to Johnny. But Ronny finds himself having fallen madly in love with Loretta... literally. Ronny invites Loretta to the opera, telling her that he loves her dearly and loves the opera dearly. He then says that if he could be with the woman he loves for one more night and to spend the night with the woman he loves by attending a show he loves dearly, he would promise not to bother Loretta again. Loretta goes to the Met, where she meets up with Ronny. The two sit through the opera, very much enjoying the show. Loretta seemed to have enjoyed very much, until she finds her father with a woman and that woman is not her mother. Ronny and Loretta go back to Ronny's place. Loretta does not want to be unfaithful, since she has been unfaithful to Johnny already once. But she knows that she does not love Johnny, for she is madly in love with Ronny and, for the first time, really sees that Ronny is love with her. Will Loretta leave Johnny for Ronny, or will she stay with Johnny? Watch this classic romantic comedy and you'll find out.

Authentically Italian!
This movie is on my list of all-time favorites so I was delighted when my son recently bought it for me on DVD. It is the humorous and delightful love story of Loretta Castorini, a young Italian widow who lives with her parents in Brooklyn, and Ronnie Camarerie, owner of Camarerie Brothers Bakery and by chance the brother of Loretta's fiancee. How these two individuals come together and the interplay between them and all the members of Loretta's large and often interfering Italian family makes for many hilarious moments.

This movie is especially heartwarming as it depicts an Italian-American family better than any movie I have ever seen. I am a member of a large Italian family and I can vouch for its authenticity! The Castorini home even reminded me of many of those of my Italian relatives, filled with much good food and good conversation as well as memories of love and family. This is truly a wonderful movie experience!

This DVD version features an option to watch the movie while listening to a voice over by director Norman Jewison, writer John Patrick Shanley and lead actress Cher. I thoroughly enjoyed this feature, as each added amusing anecdotes about the filming of the movie, as well as their own input about various scenes and information about the other actors.

A Must See Romantic Comedy!
Academy Award Winner Cher, plays Loretta, a middle-aged widow who while her fiance is in Italy at the deathbed of his mother, finds herself unwilling drawn to his misfit younger brother (Nicholas Cage) who is falling apart after his own "loses."
And while the family struggles with their individual problems, Loretta's father finds his youth in the arms of another woman.
Olympia Dukakis plays an Award Winning role as Loretta's mother.
Nicholas Cage although he won no awards for this film, does an outstanding job as an over-the-top, heartbroken man who is jealous of everything that his brother has, including Loretta.
Definately a must-see romantic/comedy. I very much enjoyed this movie and hope you will too. ... Read more

Reviews (11)

Unsung masterpiece of film comedy
It's a shame more people don't remember this film. Made in 1971, it hasn't aged one bit. It remains a devastating (and gut-bustingly funny) commentary on addiction, greed, and industry. How can you go wrong with a script by Larry Gelbart (writer of several classic "M*A*S*H" episodes), direction by Norman Lear (who brought us "All in the Family," "Maude," "The Jeffersons," etc.), and a cast of comic geniuses like Dick Van Dyke, Bob Newhart, Edwrad Everett Horton, Jean Stapelton (Edith Bunker on "All in the Family"), Vincent Gardenia, Tom Poston ("Newhart"), and Bob & Ray? You can't. Throw in a score which features some of Randy Newman's best songs from his album "Sail Away," and you have one of the great film comedies.

Cold Turkey
this movie shows that not all older movies, especially comedies, are corny. This movie is still one of the funniest movies I've ever seen. Tom Postin and Barnard Hughes are hiliarious. Getting to see it commercial free and hearing all of Randy Newmans songs without the station talking over it was a big plus. You rarely get to see this movie on cable and I was so glad to find it on amazon. Wonderful to have in my collection. It's in my list of top 10 comedies.

A classic for your collection
Saw this movie when it first came out and my wife and I have been looking for a copy of it for years - this film deserves to be distributed in DVD format. Vintage humor. Will be the first on our block to purchase it when its offered.

Memories
I was an extra in this movie (age 10). My grandfathers farm is in the background in the opening scene (dog watering the sign). The barbershop belonged to my uncle. Lots of memories!!!

A forgotten satire on the tobacco industry from Norman Lear
lucky seven for those of us who fondly recall this underappreciated satire. Keep in mind that it was only in 1966 that Congress first required ciagarette manufactureres to place specific warning labels on cigarette packs and that the last cigarette commercial (for Virginia Slims) was broadcast on "The Tonight Show" at one minute to midnight on January 1, 1971. While there were those who were worried that the lost of ad revenue would destroy network television (which seemed like a good idea at the time), the larger question was how cigarette companies would seek to market their product.

In "Cold Turkey" the idea is advanced by Merwin Wren (Bob Newhart), an advertising executive who convinces the Valiant Tobacco Company to offer $25 million to any town that can stop smoking for thirty days. The idea is that the offer will generate free publicity but that no town in American would ever be able to successfully go cold turkey. But the 4,006 heavy smokers of Eagle Rock, Iowa take up the challenge, led by the thought of all that money and the persuasive efforts of The Reverend Clayton Brooks (Dick Van Dyke), of the Eagle Rock Community Church. The town had been trying to woo back the military, hoping the return of the military industrial complex would help the local cash flow, but that has not panned out.

This film, co-written and directed by Norman Lear, on the cusp of remaking television with "All in the Family," falls into three acts. In the first Reverend Brooks convinces the townspeople to take the pledge, while in the second the members of the community deal with not being able to smoke any more (substituting sex seemed like such a good idea at the time). The climax of the film comes as it looks like Eagle Rock might actually be able to do it and Merwin Wren has to pull out all the stops to make sure that does not happen. There are plenty of laughs and while you have to feel "Cold Turkey" falls short of its true satirical potential, it is still worthy tracking down and checking out.

In many ways "Cold Turkey" is the impoverished cousin of "It's a Mad, Mad, Mad, Mad World," with a host of familiar faces such as Tom Poston, Vincent Gardenia, Jean Stapleton, Barnard Hughes, Graham Jarvis, and Edward Everett Horton. The comedy team of Bob (Elliott) and Ray (Goulding) appear in multiple roles of "familiar" Names. Bob is Hugh Upson, David Chetley, and Sandy Van Andy, while Ray plays Walter Chronic, Paul Hardly, and Arthur Lordly (think about it for a while and if you are my age you should get most of those). Add to the mix Randy Newman's first film score, which opens with his song "He Gives Us all His Love."

What brought this movie back to mind was the decision of Hollywood to change the case at the heart of John Grisham's novel "Runaway Jury" from a tobacco case to a gun case. The reasoning was that Hollywood had already done a "cigarette" more with "The Insider," and, as we all know, Hollywood never repeats an idea and companies only pay to have products placed in movies not to have them not placed in movies. However, even a faithful adaptation of Grisham's novel would not be as brutal an indictment of the tobacco industry as "Cold Turkey." For that matter it has a pretty cynical take on small town Americana as well. Of course, in the end the joke is on the people of Eagle Rock, and, by extension, the rest of us. ... Read more

Reviews (29)

perfect revenge movie
Death Wish was an excellent movie that told the story of mild mannered common man Paul Kersey driven to become a vigilante after the murder of his wife and rape of his daughter. Death Wish is very artistic and was a hit that spawned 4 sequels. Death Wish 2 set the pattern for the other movies in the series and is a different type of film from the first. The second Death Wish falls into the category of revenge films and has a gritty look to it that captures the rawness of it's subject. Some have complained about the look of the film, but it serves to make it much more visceral from the first film and one of the grittiest films ever made. There's a disturbing snuff film/documentary feel about Death Wish 2 which both repulses and transfixes, and at the same time the film also works on a much more unreal level as a revenge fantasy.
In the first film Kersey never catches the thugs who destroyed his family, but in Death Wish 2 his revenge isn't just aimed at random criminals, but at specific thugs responsible for his daughter's death. The first Death Wish was about Kersey's transformation into a vigilante, but Death Wish 2 is about hunting down specific guilty criminals and seeing that they pay for their crimes. There have been many revenge films, but there's just something much more satisfying about the way justice is served in the Death Wish series than in other films. William Lustig's Vigilante is another good film of this type as is The Exterminator, but Death Wish 2, like the rest of the series, really provides the audience with a satisfying feeling of justice. The combination of the hyper real and the fantastic make Death Wish 2 compelling viewing. As a cinematic revenge fantasy it's the best of it's kind.

A sequel far from equal to the first.
For some reason it took 8 to 9 years for there to be a sequel made to the movie that most people associate with Charles Bronson. It wasn't worth the wait. Even revisiting the movie on DVD (sadly full frame, at least they could have restored it to its proper aspect ratio) did not improve my original thoughts on this follow up. Death Wish 2 is to Death Wish what Jaws 2 was to Jaws, a sequel that attempts to pass itself off as a continuation of the first film but largely recycles its plot and most memorable moments. Paul Kersey (Charles Bronson) is now living in Los Angeles and he has had his still mentally withdrawn (and actually younger looking) daughter Carol moved to a nearby facility. Evidently her husband left her, as that character is not mentioned this time out, even in passing. When Kersey and his new girlfriend (played by Bronson's real life wife Jill Ireland) take Carol out for some quality family time, Paul is attacked by muggers who steal his wallet. Of course Kersey gives chase and manages to pound one mugger against a wall, but they still have his wallet - which contains his address and, of course, the muggers are gunning for revenge. This is obviously meant to recreate (or homage) the set-up for the attack by a trio of thugs who get the Kersey home address at the supermarket in the first Death Wish. The muggers attack the Kersey household, sexually assaulting both the housekeeper as well as Kersey's daughter (again), both of whom die. The major difference from the first movie is that Kersey is there and thus knows just who to hunt down after a little alone time. In the first Death Wish it was a business trip to Tuscon, in Death Wish 2 it's a weekend at a friend's rustic cabin. The rest of the movie is basically Bronson wandering around the seedier areas of Hollywood until he finds his prey - that and avoiding his girlfriend while trying to keep her clueless about what he is doing at night. Death Wish 2 delivers on the violence and sleazy exploitation, but it misses the mark in even attempting to create a compelling story. Despite there being ample oppurtunity to do so. Some Bronson fans will no doubt want this, put it remains a poor follow up to a truly great movie.

A real Winner
Not sure where to begin with Death Wish 2. Significantly, it was directed by Michael Winner, who directed the first and would go on to direct the amazing third entry in this series about 'bleeding heart liberal' architect Paul Kersey and his vigilante side job.

Paul Kersey now lives in sunny Los Angeles, which like New York is depicted as a pit of human filth and depravity. The incredible cynicism of the filmmakers begins right away as Kersey's housemaid and daughter--who, remember, was violently raped in the original--are brutaly raped, with the maid murdered. Then Kersey's daughter is taken away, raped again, and decides to jump out a window rather than endure the rest of the film. Kersey then puts down his slide ruler and blueprints and takes up his old hobby of blowing away criminal scum.

The main difference between Part 2 and the original, besides an even deeper cynicism, a lower budget, and overall abysmal effort by all involved, is that Bronson actually hunts down the individuals responsible for these acts of malfeasance. His behavior now flat-out pathological, he rents a cheap office in a bad part of LA, using it as a home base for his vigilante operations. Donning ski cap and dark clothes and packing heat, he roams the streets of LA, looking for revenge.

Even the tagline is noteworthy:

Bronson's on the loose again! Seems to suggest that, in effect, it didn't matter who Bronson was playing, because 'he' was on the loose again!

Overall, it's bad. Very, very bad. Part 3 is bad, but it has other things going for it, namely that it cannot be taken seriously for a moment and it knows it, the tongue so firmly in cheek that it becomes an incredible guilty pleasure and one of the best bad movies of the 80s, perhaps ever. But Part 2, for the most part, is an exploitation movie. The film looks cheap, grimy, and rushed. It can't even succeed as a bad movie, which is pretty depressing. It feels seedy, right down to the very grainy film stock and washed out look to the picture. And to top it off, Jimmy Page contributes one of the most appalling scores I've heard in a movie of any genre. Not even his score for Part 3 was this embarassing. And yes, it is THE Jimmy Page.

As for Bronson, he's particularly wooden in this one. Which may be appropriate as at this point, Kersey is less than sane.

But alas! The Death Wish flicks finally reappeared on DVD, right around the time of Bronson's death in 2003. Obviously recommended if you like, well, Death Wish movies, the DVDs are capable, if pretty bare bones. I would love to hear Michael Winner do a commentary track to discuss his state of mind when he directed this one.

Character Development
REASONS TO BUY:
Unlike the first part, Bronson has a strong unyielding character. He's not the least bit afraid to get the job done this time and doesn't stop untill he gets every single on of those creeps that killed his daughter. It really gives you a sense of staisfaction even if it's just a movie.

REASONS NOT TO BUY:
This is the cut version. Evidently, some people believe that we are not intelligent enough to view certain scenes. I think it's worth the time to search the internet for the full uncut version.

Brutal reality
Plot
This film is the second appearance of the character of Paul Kersey, the liberal architect who became a vigilante after his daughter was assaulted (with spray paint) and his wife was killed while trying to stop the assault perpetrators. Kerseys daughter is visiting her father but is still in the state in which she was left in the first film, only she seems to be happier. Kersey takes his daughter and his girlfriend to a fair, then goes to get ice cream. But it seems that he is the only man in the world who can get mugged during such an activity; a gang with a kingpin played by Lawrence Fishburn steals his wallet. He chases after them and stops, but this is definitely not the last he hears of them as they use his ID to find his home then rape his maid; then he returns with his daughter and they knock him out, kidnap his daughter and rape her. She dies by throwing herself out a window. And so the plot is set for Charles Bronson's character to avenge his daughter and reenter the vigilante lifestyle.

Analysis
I very much enjoyed this movie, from seeing a movie shows reality in a form that's so blunt it offends many people, to the delivery of such lines as "Do you believe in Jesus...well now your going to meet him."

In this movie, unlike its predecessor, Kersey actually knows who he is hunting, and he does not to bother those who he did not see in the apartment, while in the first movie he simply capped those who tried to mug him, or in one case a gang who was harassing a middle aged man. Rather than simply being a vigilante, Bronson is now also playing an avenger.

There is another change in Kersey in this movie; he no longer is reluctant to kill. Granted that went away in the second half of the first movie but in the sequel that reluctance is even less. Kersey now delivers lines to his enemies before doing away with them, and does it as though it's the most natural thing in the world. Having Bronson play the protagonist really aids this effect; with is calm voice he can make statements in a straightforward and threatening manner but at the same time not show any signs that he has lost his cool. As though dispatching criminals and antagonizing them were just a normal part of life for him, oh wait, it is lol.

Notes
The film that was actually released in theatres is different from the original version in terms of graphic rape scenes. The MPAA was going to give it an X rating but gave it an R after the movie was toned down.

See Lawrence Fishburn playing a rapist known as Cutter; he doesn't have quite the same effect as the paint fetish guys from DW but he's still pretty sadistic. ... Read more

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The off-Broadway comedy-horror-musical hit that ran for years makes a successful transfer to film with a bevy of big-name cameos and two perfectly cast leads. Rick Moranis is the nebbish Seymour, who pines for flower-girl Audrey (Ellen Greene) while living in the basement of florist Mr. Mushnik (Vincent Gardenia). Things start turning around for Seymour, though, after he buys a little plant during a solar eclipse, christens it Audrey II, and discovers that it likes to drink blood. Soon enough, though, Seymour finds out that Audrey II, now grown to epic proportions, is in actuality a "mean green mother from outer space" that is hell-bent on world domination. Based on the 1960 Roger Corman cheapie that featured a young Jack Nicholson, Little Shop boasts a hilarious, amazing score by Howard Ashman and Alan Menken, who would go on to revitalize Disney's animation arm with The Little Mermaid and Beauty and the Beast. Greene, the lone holdover from the original cast, is a ravishing, goofy Audrey, whose awkward demeanor belies a voice that could knock Ethel Merman off her feet. She's ably matched by Moranis, whose lack of a singing voice is perfectly in sync with Seymour's nerdiness. And Levi Stubbs Jr. of the Four Tops provides the lowdown, nasty-minded voice of Audrey II; his rendition of the Oscar-nominated "Mean Green Mother from Outer Space" is a showstopper. As for those celebrity cameos, Steve Martin's sadistic dentist is a masterful creation, as is Bill Murray's masochistic patient; John Candy, James Belushi, and Christopher Guest also pop up. And there was never a lovelier and funkier Greek chorus than the three Motown-fueled girls (Tichina Arnold, Michelle Weeks, and Tisha Campbell) who appear throughout the film. --Mark Englehart ... Read more

Reviews (102)

One of the funniest and darkest comedy/musicals of all time!
There's never been a movie like "The Little Shop of Horrors" before, and there probably never will be. The film it resembles the most is undoubtedly "The Rocky Horror Picture Show," but I find it cleverer, funnier, and more enjoyable than that movie, if still as sick in its own twisted little way.

The movie stars Rick Moranis in the role he was born to play: that of a geeky and timid New York City kid named Seymour, who works at a crummy florist shop way downtown along with Audrey (Ellen Greene), a blonde gal who sounds as if she's sucked in too much helium. Seymour is too shy to confess his love for Audrey, and his only way of dropping a hint is when he finds a mysterious plant at another flower shop and names it Audrey II. "I hope you don't mind," he tells her, and then he drops it by the front window of the store in hopes of drawing customers.

It does. The first customer (Christopher Guest) enters with a cheerfully stupid grin and buys $50 worth of roses. "Do you have change for a hundred?" he asks. They don't. "Oh, well, then I guess I'll just have to buy one hundred dollars' worth!"

Business starts to boom, and the plant starts to bloom, turning into a ferocious man-eater that demands a sacrifice of human blood from Seymour to crave its hunger. After a few weeks, Seymour is bone dry, unable to slice any more fingers open and feed his gargantuan plant. "Feed me, Seymour!" the talking plant bellows.

Audrey has a new boyfriend who has been beating her up. He's a dentist, played by Steve Martin, and as he puts it, "I have a natural talent for causing people pain!" He likes to cause people intense pain, walking through his dentist's office and purposely knocking orderlies in the face with door handles and pulling teeth without applying sedatives. "Wait! I'm not numb!" a customer shouts during an introductory song. "Eh, shut up, open wide, here I come!" his dentist yells, starting to drill away.

Steve Martin has played a dentist since, in the undoubtedly lesser but unjustly bashed "Novocaine" (2001). His outing as a pain-driven dentist in "The Little Shop of Horrors" is ten times better, and Martin is truly the highlight of the entire film, from the point when he is introduced riding his motorcycle to the job with a leather jacket (only to strip it off and reveal a white dentist's coat as he enters his office), to the part where Seymour enters his office with a gun in hopes of killing him and feeding him to his plant. Martin doesn't get what's going on, because he's wearing a comedically oversized laughing gas mask he invented that's making him chuckle like a moron. "What are you gonna do? Shoot me? Ha!" The laughing gas kills him before Seymour musters up the emotional strength to.

Seymour drags the dentist's dead body home, chops him up and feeds him to Audrey II, but this is only the start of his worries, because soon the media frenzy centered around the wonderfully odd plant starts to drive him to insanity, as he desperately tries to juggle between keeping a clean conscience and keeping away the media.

Then Audrey II reveals its true intentions - to take over the world with its offspring - and Seymour decides that it's time to stop Audrey II before it gets too far.

"The Little Shop of Horrors" is such a wonderfully offbeat comedy it's almost impossible to dislike. It's one of my favorite comedies, the type of odd little film that doesn't promise to be very much at all but provides a lot.

Frank Oz directed the film (based on Roger Corman's classic), and it was filmed on a visibly low budget, but that's okay, because it's supposed to be that way. It's part of the fun. All the stages are obviously just that, with poorly painted backgrounds of New York City and the skyline. You can literally see the cracks in the wall where the different stages meet with each other. And it's great! It makes the movie, and the movie knows it isn't anything special. At one point, Audrey has a dream sequence of living in a nice little Brady Bunch home, and we see Seymour cutting the lawn with a lawnmower. It's so cheesy and fake that it barely meets the quality standards of a children's television show - but, once again, it helps makes the movie.

The movie has tons of cameos, too, including James Belushi, John Candy, Christopher Guest, Bill Murray, et al. And if the guest stars, dark humor, and delightful direction don't interest you, perhaps the songs will - because many of them are quite good. The highlight is "Suddenly Seymour," in which Seymour and Audrey have a duet, and Audrey's voice suddenly turns from meek to booming, overpowering Seymour's lyrics and pounding the stage.

This is the definition of a cult film. Everything about it just strikes you as a cult film. But whereas "The Rocky Horror Picture Show" is a cult film for - in my opinion - sick people, "The Little Shop of Horrors" is a cult film for people who love comedy. It's all in good nature, with cheery little musical numbers every once and a while that are as funny as the songs in "The Blues Brothers," if not more so. But what makes the film particularly different from the rest is its deliciously dark humor - especially for a mainstream comedy like this. From the plant's adamant bloodlust to the shadowy image of Steve Martin slapping Audrey around behind a backlit stage prop, this is one of the funniest, darkest, and yet also cheerfully lightweight comedies ever.

What a Great Film it Could Have Been
Little Shop of Horrors is the definitive modern musical comedy. The music, as written by Alan Menkin, is melodic and beautiful, with some of the best lyrics in recent memory. The pacing is quick, with sharp directing by Frank Oz and great comedic performances by Steve Martin, Ellen Greene, and Rick Moranis (and the very over-rated Bill Murray, in a painfully extended cameo as a masochistic dental patient). The film knows that it isn't art, or thought-provoking, which is what keeps it from being truly campy. But what prevents it from being great is the extremely controversial, oft-discussed original ending.
In the play, Audrey and Seymour are eaten by Audrey II, and the Greek Chorus sings a cautionary song to the audience. In the movie, Audrey survives, Seymour electrocutes Audrey II, and they all live happily ever after. It wasn't always so, however. Oz had filmed the play's ending, but in test screenings, the audience was angry and appalled, so Oz opted to reshoot the film for the ending as it is.
In 1998. a Special Edition DVD was released with a VERY rough cut of the original ending, but it was pulled from the shelves by the producer after only two days. A second release DVD came out in 2000, sans original ending. The first issue DVD has become a collector's item of the highest degree, often selling at online auction sites for upwards of $100.
Well, I own that first issue DVD, and having seen what the film could have been, I can't rate it higher than 3 stars. In that ending, Audrey's death is handled with dramatic emotion now absent from the film, never playing for laughs. There is a breathtaking Death March (Now available on the New Broadway Cast Album) as Seymour carries her body to Audrey II. Seymour undergoes a psychological spiral within minutes, before being devoured by the plant. And during the finale, "Don't Feed the Plants," many enormous Audrey II's are shown wrecking havoc on a devastated New York City, blowing up cinemas, eating trains, and crushing the very symbol of our country, the Statue of Liberty (sort of). Had this ending been used, the film would have been a memorable masterpiece, but as is, it is merely a forgetable (if enjoyable) musical flop.
It's a shame Frank Oz surrendered his vision to please the people. I can only imagine what the ending would have been like in full technicolor on the big screen.
Let's hope for a 20th Anniversary Deluxe Edition DVD in 2006 with a re-edited film containing the original ending, as promised by the producer when he had the disks puled from the shelves.
Little Shop of Horrors is a fun film, if not for younger audiences. If you have 90 minutes to spare and are a fan of musical theatre, check out this modern classic-that-should-have-been, about a singing plant, a daring hero, a sweet girl, and a demented dentist.

Mean, Green and Mad!
Can you imagine Barbra Streisand in this film as Audrey? Although everyone familiar with this movie (and stage musical) immediatly sees Ellen Green in the part, we find out from the documentary on this disc that Babs was offered the role first. Thankfully she wasn't interested.
The film itself is the best stage-to-screen musical adapt. since Grease and none (even Chicago) have since come along to beat it. The music by Alan Menken and the lyrics by the late, great Howard Ashman are fantastically intertwined to evoke laughs as much as the required early-1960's atmosphere. This talented duo went on to score Disney's The Little Mermaid, Beauty and the Beast and (in part, due to Ashman's death) Aladdin. When listening to Little Shop's Somewhere That's Green it's easy to see where Mermaid's Part of Your World came from.
The cast are uniformly excellent and succeeded in making their parts their own (meaning that any production now seen on stage features clones of Moranis, Green, Martin etc.). Rick Moranis as Seymour seems to have been born to play the part and his singing voice comes as something of a revelation! Green, as I have already said, IS Audrey but Steve Martin just about manages to steal the entire film from all of them in an extended cameo as Orin the sadistic dentist. Other cameos include James Belushi, John Candy and (brilliantly) Bill Murray.
Audrey II (the plant) is a wonder of engineering and puppetry and watching the film now, I couldn't help but think that if this movie was made today Audrey II would be CGI - impact lost! Thank goodness then, that Frank Oz, director and some-time Muppet-man, gathered a group of talented people together to create a truly startling character. Although the character would be nothing without Levi Stubbs so wonderfully providing his voice.
Wisely it was decided to change the ending from the stage shows bleak (and, frankly, poor) conclusion to a more up-beat and 'Hollywood-style' finale. The original ending is glimpsed in the all-too-short deleted scenes section of this disc, as a couple of Audrey IIs attack a building, but it would have been nice to see the scene in tact perhaps with an option to swap it for the actual ending when watching the film. Also the inclusion of 'Mean, Green Mother' really helps the second half of the film which sadly sags in the show due to the absence of such a show-stopping number.
The 'making of' was made of the time and so is light and fluffy. I would have prefered a little more depth on the realisation of Audrey II. The trailers are worth watching - mini masterpieces of campy kitch but Oz's commentary is a little on the ponderous side.
So, in conclusion, the extras are acceptable if a little dull, but who needs extras when the film is as thoroughly enjoyable and toe-tapping as this! Just remember: - whatever they offer you - don't feed the plants.

Fun, Fun and way out fun!
This off beat musical comedy is too fun, too sick and just plan rolicking for words!

The cast is perfectly matched to each character, the do wop Motown ala Crystals combined with Levi's rock out bass as "da plant" draws you onto the screen!

One for today's generation, sophisticates and those who want to really enjoy a musical - when it's over, all you want to say is "Wasn't that a lot of fun!"

Rent it, buy it, but ENJOY it.........

Oz & Corman-Fabulous Musical With TONS OF SURPRISE CAMEOS!
Frank Oz's masterpiece of Roger Corman's B- Schlock Horror movie of the same name. Originally produced off broadway, it had a very successful run. So... What is Hollywood to do but make it into a blockbuster with big name stars and cameos.

Ellen Greene as the plucky Audrey, who also played the part on stage, Steve Martin as the sado-masochistic Dr. Orin Scrivello, DDS, Rick Moranis as the milquetoast Seymour, Vincent Gardenia as the crusty Mr. Mushnik & the voice of Levi Stubbs as the people-eating, mean green mother from outer-space, Audrey II.

Bill Murray has a hilarious cameo as Arthur Denton, the pain loving dental patient. He screams CANDY BAAAAR whilst the dentist inflicts pain upon him! John Candy cameo as the radio announcer, Wink Wilkinson, Jim Belushi as Patrick Martin, Christopher Guest as the first flower shop customer.

Great musical numbers from all, especially Ellen Greene who has one of the best set of pipes EVER!

Great family movie with only mildly irreverent language.

Happy Watching! ... Read more

Reviews (59)

Absorbing! Realistic! Riveting! Fantastic!
1961's "The Hustler" is a picture that will truly "suck you in". It totally absorbed my attention throughout. Making this in black-and-white was a wise choice by the movie-makers too. It sets the mood of the drab surroundings we experience during the film.

A perfect cast has been assembled here, with Paul Newman a knockout in the lead role of pool shark "Fast Eddie" Felson. Piper Laurie, George C. Scott, Murray Hamilton, and Myron McCormick give strong support to Newman. And there's a very controlled and somewhat subdued Jackie Gleason as "Minnesota Fats". Jackie doesn't have a huge part here, but he pulls off his role as "Fats" with style.

There are a lot of quiet moments in this picture ... when just visuals propel the story. I like that in movies! Sometimes there's too much dialogue in a film, in places where nothing needs to be said at all. It just seemed to me that the producer/director (Robert Rossen) knew when to keep the actors quiet here.

The Hustler will forever remain a Classic to me!!

Some Hustler stats:
-------------------------------------
Running Time: 135 minutes.
Debut in theatres: September 25, 1961.
Nominated for Best Picture of 1961. (Beaten out by "West Side Story".)
Paul Newman nominated for Best Actor of 1961. (Beaten out by Maximilian Schell--Judgment at Nuremburg.)
Both George C. Scott and Jackie Gleason were nominated for Best Supporting Actor in 1961 for this film. (Both beaten out by George Chakiris--West Side Story.)
Piper Laurie nominated for Best Actress in '61. (Beaten out by Sophia Loren--Two Women.)
Film won two 1961 Oscars --- Best Cinematography and Best Art Direction/Set Decoration (B&W).
Billiard champ Willie Mosconi, 14-time world champion from 1941-1957, was a key technical adviser on the set of The Hustler, literally teaching Mr. Newman how to play the game of pocket billiards, right down to his grip on the cue stick. Newman became quite proficient by the end of the shooting of the picture.
Newman reprised his role as Fast Eddie in 1986's sequel, "The Color of Money", co-starring Tom Cruise. Newman DID win the Oscar for Best Actor that year.

Newman's Own...
It is a real shame that not one of the actors, nominated for their work in THE HUSTLER, took home the Oscar. Now, a true classic in every sense of the word, the film is still one of the coolest motion pictures ever made. Originally released in 1961, the film is flawless. "Fast" Eddie Felson (Paul Newman) is an arrogant pool hustler, who seems unbeatable, that is until he meets his match. When his desire and ambition for perfection lead him to challenge legendary pool king, "Minnesota Fats" (Jackie Gleason), things heat as Felson may have bitten off more than he can chew. He risks everything good in his life for a shot at glory. Piper Laurie as Sarah Packard, has great chemistry with Newman, and George C. Scott as Bert Gordon is tops too.

Based on the book by Walter S. Tevis, the movie was directed by Robert Rossen, and shows off his real talent as a filmmaker. Desperate to put his "Ralph Kramden" character behind him, Gleason delivers a fine dramatic performance, that is sure to surprise you, if you only know him from "The Honeymooners". The pool room action is put together very well. The fact that the film was shot in black and white, only enhanced the action on screen, and makes it give off an almost cooler aura.

It's great to finally see the movie on DVD. The special features are great. The most interesting of which, is the "picture-in picture" commentary, that explains how all of the trick shots were done in the film. This innovative feature is "way cool" The commentary track is pretty good too. However, I enjoyed the retrospective documentary, "the inside story", a bit more. It was also neat to see the vintage theatrical trailer.

The DVD is Highly Recommended and is a must have in anyone's movie collection

One of the greatest American films ever made. MUST SEE!!!
With or without the Oscar, this is one of the greatest American films ever made in any genre. George C. Scott refused to take part in the Oscar ceremonies when "The Hustler" was nominated, calling them "a self-serving orgy" if my memory serves me right. Perhaps that stand contributed to the movie not being recognized in its own time. Whatever the reason, this film shows you that recognition is unnecessary for true art. The cream always rises to the top.

People may not realize that Paul Newman was an unknown when this movie was made. His youthful brashness and emotion laden performance show him as an actor beyond his years.

One can never say too much about George C. Scott. He's old reliable, in this movie as in his others. He does an excellent job. He's just so good that we are numb to his mastery.

Piper Laurie also turns in an amazing performance. Her acting is subtle but her method is steady.

The real standout in this film is Jackie Gleason. He shows why he was called "The Great One." I personally feel that this movie shows him as the greatest method actor of his generation, and perhaps one of the greatest ever.

But unbelievable acting is only one part of this gem. The cinematography is clear and artistic. The script is expertly written and the scenery couldn't be more authentic.

This is the only pool movie I know of that you can enjoy as a pool player. The pool scenes are unbelievable. They used the greatest pool players of the day in shooting and it shows. The Color of Money is a nicely shot movie but there is not really a lot of pool in it. This is a pool movie that transcends pool.

Please do yourself a favor and add this to your collection.

The Hustler is simply amazing.
The Hustler is a 1961 20th Century Fox release about the game of billiards. It features an amazing cast; Paul Newman as Fast Eddie, Jackie Gleason as Minnesota Fats, Piper Laurie as Sarah Packard, and George C. Scott as Bert Gordon. Robert Rossen directs the 134-minute film, with outstanding cinematography, for which it won an academy award, but it was hard not to just watch the amazing acting displayed.

The most interesting things I found in the movie are the lighting and the camera angles. The pool halls are just as most people picture them, dark, dingy and full of smoke. This is visible at the beginning of the movie when Fast Eddie and Minnesota Fats play their first game of pool. The players are lit when playing at the table, but when the rest of the hall is shown, it is dark with almost no lighting whatsoever. I find it interesting that the actors are kept in the shadows, even when delivering dialogue, until they lean to the table to shoot. I feel this is to emphasize the game played, and the players, but only when they are doing what is important to them. This also pushes the spectators almost out of view, to become the same as the viewers in the theatre and at home. This leads to a somewhat humorous scene. Fast Eddie and Minnesota Fats are playing a marathon set of games for high stakes. The favorite is Fats, but he is down about $10,000. While Fats is making a shot, an employee of the pool hall starts to raise the blinds, and he complains telling the employee to "cut that sunshine out", to accentuate the mood I feel the director was trying to set. After 25 hours of playing, Minnesota Fats wins back $13,000 dollars, leaving Eddie with only $200 in his pocket.

The lighting changes when Eddie is not in the pool hall, and is almost blinding to the viewer. There are many scenes with Eddie and Sarah in her apartment, and it is usually very bright, but when the mood is depressing or dreary, it gets darker, helping to convey the mood displayed. When they travel out of the apartment, the mood is usually light, and the scenery also brightens showing the actors more dramatically.

The camera angles used in the movie are very interesting to the viewer. There are many shots inside of doorways, usually featuring Fast Eddie. Those scenes are usually more personal parts of the movie, away from the pool halls. The actors are almost never featured in the center of the screen, but offset to the side. I feel this is to allow the lighting to enter more into the viewing experience. When scenes are shown featuring two actors, the camera takes a side view, making the space between them seems greater. The camera also often shifts in between characters, even when separated by just a table. This allows the spectator to concentrate more on the speaker, or to view emotion conveyed by the other actors. When the actors are playing pool, the camera often pans up to the character leaning down to the table. I feel this angle allows us to focus more on the action of shooting, and on facial expressions, instead of the actual shot. When at the pool hall, there are also many angled shots from above and over, allowing the background and lighting to display more prominently.

I would rate this movie five stars. While I have not concentrated on the acting, it is tremendous. Paul Newman displays amazing emotion, and mix of desperation and cockiness of Fast Eddie conveys through almost every small thing he does. The story line is unique and builds the characters into people that the viewer can become very interested. However, I find that what the audience usually does not notice is what truly makes this movie great.

A Breath-taking Cinematic Experience...
A small-time pool hustler, Eddie Felson (Paul Newman) also called Fast-Eddie, is feeling that he is on his way up as he wants to take on the reputable Minnesota Fats (Jackie Gleason). However, Eddie is young and boastful with poor self-control and after several drinks he loses a very large amount of money to Minnesota Fats in a lengthy pool game. Penniless and embarrassed Eddie runs off like a dog with his tail between his legs from his manager and friend. As Eddie leaves he meets Sarah (Piper Laurie) with whom he begins to form a relationship with. As Eddie then attempts to rebound from his financial set back he meets Bert Gordon, a ruthless and wealthy gambler. Gordon offers Eddie a tough deal, but it might be a new beginning for Eddie depending on what price he might have to pay in order to get back on his feet. Hustler is a remarkable film about self-discovery, greed, love, and billiards that captivates the audience through an intriguing story. The story's genuine feeling of how people struggle through difficulties is brought out by a terrific cast as well as cinematography that lends support to the emotions that the characters feel. In the end, Rossen creates a breath-taking cinematic experience. ... Read more

Amazon.com

Sold as a comedy, this film was really a biopic about Wendell Scott, the first African American to break through on the auto-racing circuit. Richard Pryor (working from a script cowritten by Melvin Van Peebles) conveys the determination and long-suffering humor of a man who battles racial prejudice to pursue the sport he loves. But the material is plodding and Pryor can't elevate it. Nor can director Michael Schultz turn all of those behind-the-wheels scenes into actual cinematic excitement. Still, in rare moments, Pryor (working opposite Pam Grier) manages to sneak out some of the subversive wit that made him a star. --Marshall Fine ... Read more

Reviews (6)

A REALLY SOLID 4 +++
It's not often I get to see a movie that isn't
1) unbelievably complicated in psychological meaning OR
2) unbelievably complicated in futuristic technology SO

I found it GREAT ENTERTAINMENT, REFRESHING, POSITIVE, AND
most of all CLEAN, HEALTHY FUN!

This is the best I've seen Richard Pryor star in, and
the real life Horatio Alger story is a real force for
success motivation, even though I am a WASP.

Only the jaded and/or mean spirited would turn this one down.

Dare think this is drag racing
This is to the person who said this movie is based on a drag racing strip. This is a circle track movie which is not at all based upon a drag race strip. The person who even mentioned this fact should be stripped and whipped of the fact of how far these two racing professionals differ. This movie is based upon NASCAR and moonshine running, which have neither to do with true drag race technology.

Recommended for the "History" Lesson
While not a great film, "Greased Lightning" is an entertaining one and provides some insight into an unsung African-American "barrier-breaker." Pryor, who never got the film roles deserving of his talent, does a credible job as the main character with support given from Beau Bridges and the always-striking Pam Grier.

Also, the film has a special significance for me because I am in the "crowd" scenes during one of the pivotal races. Some of the flick's exteriors were filmed at a drag strip not far from my college. So some of my classmates and I jumped at the chance to "star" in a movie. You'll have to look fast, but I'm the one with the stupid grin in the crowd.

So much for 15 minutes of fame!

Motorsports History "Forgotten African- American Driver"
This man is a definite inspiration to young men that aspire to participate in the sport of automobile racing...He is a part of African- American history ie the Buffalo Soldiers, Tuskege Airmen, Old Negro League and more that is ,often, lost, forgotten or simply not mentioned.

Because of Mr. Scott #34, and recently meeting Bobby Northfleet, the only driver in the Craftsman Truck Series of NASCAR, we have started a junior college course entitled "Pit Crew Technology" to train inner- city African- American and Hispanic youth about the opportunities in the Motorsports industry, besides driving> The next time you see an auto race, how many African- American Crew Members did you see?

a great film
i feel that Richard Pryor does a great job of telling Wendell Scott's story.this is a film that shows another side of the genius that is Richard Pryor.dealing with the Racism on the Race Car circuit.also Pam Grier gives a good performance as well. ... Read more

Reviews (1)

Overlooked thrilled--and Sophia Loren
Firepower is a surprisingly good late 70's thriller with James Coburn and Sophia Loren. All of the key elements are here--"faceless" billionaire a la Howard Hughes, the saavy renegade in James Coburn, and Sophia Loren looking as striking and stylish as always--while making you wonder what side she's on. The plot--bringing the billionaire to justice--is a so so one...but the aforementioned elements as well as several exotic Caribbean locales make this a worthwhile thriller with a good ending. ... Read more

Reviews (9)

Some of the best moments of a landmark series
"All in the Family" has been reviewed, re-reviewed, analyzed and re-analyzed till little anything original is left. Who cares? This series was a true revolutionary for its time and had the gonads enough to tackle real-life social issues and problems in real-life fashion, something that comedies then didn't do. This video, a compilation of highlights from the series, comes no where near capturing ALL the highlights of the program: you'd have to get cassettes of literally every episode to savor all those other highlights for which not enough time exists in this compilation. We do get the treat of some classics, like the historic kiss Sammy Davis Jr. plants on Archie while a camera captures it, "Meathhead" Michael's frustrating rantings to Archie about "Tricky Dick" and a then-bold episode where "Dingbat" Edith finds a lump in her breast. But some of the other highlights you won't see here are those showing Edith's evolution from passive to formidable wife, and her standing up with a strength the comes from unflappable conviction of her beliefs. We miss the powerfully devastating show where Edith escapes a sexual assault by decking her victimizer with her own birthday cake, nor do we see (or are we likely to as long as Norman Lear has his way) Archie's heartbreaking acceptance of his wife's death. Still, this compilation is a dandy and gives us just enough of an appetite to ask for more. In that respect, the late Carroll O'Connor, who pumped an amazing life into the character of Archie Bunker, and a cast of stellar other performers, has left us with an indelible and priceless legacy.

Innovative, creative, topical and a one of a kind milestone!
In a television world sadly beset with mediocre programs aplenty, violence, endless, insipid talk shows and total insipidness, "All In The Family" dared to tackle sensitive issues with outstanding results. In a time when "its just talked about in polite company," it dared to be nonPC (Politically Correct). Not only did it stimulate endless debates and converations, but provided vehicles for spinoffs. Today in an climate of "eggshell"non-controversial world of television/movies, other media, in an effort not to offend, PC has watered down controversy to pablum. Save the insipid, sensationalized, endless parade of talk shows and expose shows, nothing is ventured. What a shame that this program cannot be resurected and hold again a mirror to American society.

Great synopsis of the series as a whole
This video has loads of scenes from many different episodes of All in the Family; with emphasis on everything from Archie's prejudice to Edith's ever-present kindheartedness and innocence to Meathead's liberalism and Gloria's squeaky voice, with Norman Lear, the castmembers, and some fans/naysayers of the show interspersed in between. This trip down Memory Lane is well worth the money! The only thing that is not in the video is any appearance or mention of the little girl named "Stephanie" played by Danielle Brisbois. "Joey" does make a few appearances; when Archie "baptizes" him and when Gloria and Mike decide to "move out West" with Joey in tow and say their tearful goodbyes.

All in the Family 20th Anniversary Special
Whatever I try to write about this show will not credit everyone involved enough to do the show justice but I will do my best. Everytime I see the repeated episodes on Nick at Nite I can remember watching those same repeated shows with my parents in the 80's when I was just a kid. The nostalgic feeling I get is unlike anything I have experienced watching television. The show strikes a nerve in all of us that can't occur watching any other TV program or movie in my opinion. Archie was brilliantly created by Norman Lear and directed as perfectly by Hal Cooper. Jean Stapleton may be one of the best actresses in entertainment history. Her ability to play a character like Edith had to take all her strength and talents because it was done perfectly. Rob Reiner's and Sally Struthers' characters will never be duplicated by any TV couple now and forever. The show's stories were the most powerful messages any sitcom has achieved and will never be achieved again. The rape episode when Edith overcame the situation could have won an emmy on its own for best actress. Another example of this with regard to Edith is when she stood up to Archie about her working at the senior citizen's center. Archie could have won emmies on single episodes many times over. The two we can never forget and must never ever forget is the Christmas episode with Mike's friend who was a draft dodger sharing the dinner table with not only Archie in Archie's house but Archie's friend who lost his son in the war. The performance put forth by Archie in this episode will never be duplicated by any actor in a sitcom again. The other stand out performance has to be the emotional roller-coaster we are put through when we find out Edith has passed on and see Archie express his sadness like no other actor will do more perfectly again on any tv show for the rest of eternity. Their are countless episodes that will never be recreated again. It is not because they are dated like I've seen some comments reflect it is because no one can perform at such a high level like the entire cast and crew did on this show for years. They made us laugh, cry, think, hope, question, philosophize, regret, love, hate, sympathize, and much much more. Most of all they left a mark on our lives like very few people in their position will ever do again throughout the course of our life while we and the entire population of the world are alive on this planet. In closing all I can say is: "THOSE WERE THE DAYS."

Bunkers' Best Begets Buyer's Bravos!
How could this not be a great video? It depicts the greatest moments of the greatest comedy of all times. The range of emotions it elicits is incredible. All in the Family was the most innovative and contriversial television program in history, and the reasons for this are shown clearly in this video. Even today, in this supposedly enlightened age, the language and subject matter walk the tightrope of social acceptability. And, best of all, this all took place in Queens- the home of the Amazin' Mets! ... Read more

Description

Should an aging father move in with his daughter, or stay loyal to his retirement home friend? ' 'Devilishly Funny' ' - The L.A. Times. ' 'Something for the entire family to enjoy.' ' (New York Newsday) ... Read more

Reviews (45)

Good movie. Could have been great.
This movie could have been a lot better if it had a more competant director. Today it looks dated in places, and some of the dialogue delivery approaches camp at times (again, blame Mr Winner). Plot: after his wife and daughter are attacked by muggers (one being Jeff Goldblum)and Bronsons wife is stomped to death and his daughter raped and obscenely "tagged" with a can of spray paint, architect & Korean war conscientious objector Bronson acquires a gun on a business trip to Arizona and returns home to New York to embark on a one man vigilante rampage blasting street scum into oblivion. Bronson and Vincent Gardenia both give good perfomances, and the rape scene still has the power to jolt you out of your seat, but every time I see DEATH WISH I keep thinking of how it could be updated and remade... better. Still the fun of the series is to cheer Bronson on whenever he wastes some scumbag. This was the precursor to such revenge flicks as I SPIT ON YOUR GRAVE and MS .45.

The Dark Knight.
It's hard to remember now, but there was a time when Michael Winner was just another director, one who produced some decent b-movies before having a freak hit that caught the mood of America at the time. 'Death Wish' was the hit - it elevated Charles Bronson to iconhood, and even today Winner's increasingly-laughable films have 'From the Director of 'Death Wish'' on the posters. This is the closet he ever got to creating a classic piece of cinema. This is based on a book, although the emphasis has been changed. Whereas the 'hero' of the novel was presented as a dangerous man who had eventually lost all reason, here, Bronson is basically Batman - Dirty Harry without restraint. As such, it's ambivalent. On the one hand, there's a primal kick in watching Bronson blow away thugs, but on the other hand it's hard to believe that real-life would be so clear-cut, and subsequent witch-hunts of paedophiles, satanists and rock fans show that it's hard to put rage back into the bottle from whence it came. The sequels became increasingly-harder to take seriously, and the bazooka-toting 'Death Wish 3' is a modern classic of silliness. As with all Winner's films, it looks like a television movie, and as with all Bronson's films, Bronson is Bronson - an older, grizzled tamplate for Schwarzenegger et al, he acts not as Paul Kersy but as Charles Bronson, movie star. It is, at the very least, interesting.

Your Typical Evening On A Saturday!
GREAT ACTING BY CHARLES BROSNAN! ENJOYABLE TO WATCH. REALLY GREAT CINEMATIC PIECE!

carbolic acid
This is the original in the Death Wish series,and its still the best.Paul Kersey(Bronson)is devastated after his wife and daughter are raped and killed,he goes on a killing rampage of revenge.As he dispatches each thug with his own brand of justice,we cheer their deaths from Kersey`s trusty 32 caliber revolver.This film is a favorite of vigilante justice supporters.

CONTROVERSY IS GOOD.
I don't remember too many films from the 1970's the earned an entire OP/ED page in the N.Y. Times, but this urban classic did. Controversy proved to be good box office and Bronson became a superstar as Paul Kersey. DEATH WISH is a taunt thriller that sparked more than one water cooler discussion in 1974. Michael Winner worked this one into a poster child for street justice and inspired more than a few real life imitators (the ad campaign boasted: "Paul Kersey is going to kill 3 muggers tonight: One for his murdered wife, one for his raped daughter and one for you!"). What was more unfortunate is that DEATH WISH became a parody of itself with 4 awful sequels. Forgot the rest, cheer for Bronson here everytime he caps a bad guy. ... Read more

Amazon.com essential video

A gung-ho and merciful angel (Buck Henry) pulls Joe Pendleton (Beatty), a football star, out of his body before his time, forcing the higher powers to come up with a substitute host. Joe settles on a vicious multimillionaire whose wife and partner are trying to kill him. Light, breezy, with not a mean bone in its body, Heaven is based on the 1941 film Here Comes Mr. Jordan. Beatty is wonderfully daft and innocent as Joe, Jack Warden is on top of his form as Joe's trainer Corky, and Julie Christie appears to be playing a diaphanous summer dress. Great comic relief is provided by Dyan Cannon, Charles Grodin, and the notion that the 1978 Los Angeles Rams could go to the Superbowl. --Keith Simanton ... Read more

Reviews (22)

Theologically Suspect...
Just kidding! I actually suspected I might find a killjoy review that might be along the very lines of my little "headline" above. There are always tut-tutters who'll utter, "God doesn't MAKE mistakes!" (I'm thinking of taking up hip-hop by the way).

But almost everyone seems to be in agreement that this is a charming fantasy with a lot of heart. And they're right. This is a sweet-natured movie, perhaps the lightest fare that Warren Beatty ever produced. And of course, GOD doesn't make mistakes, but bumbling newly promoted angels do, at least in fantasy land. In that, this movie pays homage to earlier classics like "It's A Wonderful Life" as well as its source film, "Here Comes Mr. Jordan."

Speaking of "Mr. Jordan," while many of the reviewers here duly praise Beatty, Julie Christie and comic villains, Dyan Cannon and Charles Grodin (perfect pairing), it also bears mentioning that James Mason is perfectly cast in what would have been the title role if they hadn't gone and changed the title. It's hardly a stretch for him, but like the rest of the cast he seems to be having a great time. In fact, that's one of the secondary pleasures of HEAVEN CAN WAIT. Sometimes, you slog through a particularly painful film, because it's a masterpiece(genuine or reputed), but you figure it had to be agony to make. HEAVEN CAN WAIT is not like that at all. They probably served angel food at the wrap party!

A heck of a lot of fun.
I really like this motion picture. The combo of Warren Beatty and Julie Christie has always pleased me (my absolute favorite of theirs--and one of my favorite films, period, is "McCabe & Mrs. Miller"). What I think is special about "Heaven Can Wait" is the great supporting cast. All are wonderful and wonderfully funny. Some of the dialogue between Diane Cannon and Charles Grodin is side-splitting. James Mason plays the sophisticated guide, Mr. Jordan, to a tee, while Buck Henry's dry wit hits with pin-point accuracy. Jack Warden is always solid and this film was certainly no exception.

The only thing negative I can comment on is Julie Christie's role. Many parts of the screenplay failed her miserably, especially the scene where she was confronting Beatty (when he became Farnsworth) for the first time. As the scene played out, it felt like someone was running a fingernail across a chalkboard. Actually, Christie's role turned out to be minor compared to the others, and this is a shame. She is one of the most beautiful and talented actresses ever to grace the screen, and I felt her talents were wasted for much of the film. I also agree with the reviewer who didn't like her hair. Oh, well....

However, everything else is so good, and the performances so rich, that I can't help giving this movie a very solid 8 out of 10. If you want to watch a film with some real belly-laughs, this one doesn't disappoint. I think the last time I laughed this hard was when I watched "What's Up Doc?" (my type of humor, I guess....)

BEATTY'S BEST.
Joe Pendleton is one of the most delightful and endearing characters of the past 3 decades. It's Warren Beatty's best performance pre-BUGSY and his best directing efforts, surpassing his work on both BUGSY and REDS. HEAVEN CAN WAIT is better than the original HERE COMES MR. JORDAN: It's better cast, better told and extremely heart warming...you ache when Pendleton is taken from earth twice (but not in the order you think would elicit the pain). I hope James Mason is waiting to greet me at the way station.

Totally Enjoyable!!!
This has to be one of the nicest films which Warren Beatty has ever been in, and such a likable character, too. He plays the role of a football star who dies suddenly, and is later re-incarnated into another life. Of course his essential character is still the same, and he tries to continue on in his quest to win the Superbowl (a game which he failed to win because of his sudden demise).

There are so many wonderful parts of this film. Jack Warden is superb as the coach who has to be persuaded that it is, indeed, Warren Beatty, and he goes a long way "in faith" to accept it as true, especially in light of the fact that Beatty has entered into the body of a very wealthy man, and the team doesn't want to have some "rich guy" owning the team.

Then there are the "angels," James Mason and Buck Henry, and they are equally good as well, although I can't say I'd buy into seeing real angels look like them. But they are inspiring, in a quirky kind of way.

Last of all, the "love interest" with Julie Christie, and I have to admit that this a film which majors on romance, without the sex, language, and other deleterious side effects of modern day film making.

"Heaven Can Wait" is a great classic film, and you would do well to add it to your collection. A Marvelous soundtrack as well. Highly recommended!!!

'You put me in a closet!!'
Rarely has a story been this whimsical and fun. I own an old, OLD, VHS tape of this and am on the brink of replacing it with a DVD. I saw the original film a long time ago, and (not meaning to cast any negative opinions) remember nothing about it except that it felt heavier and more disjointed. This version is peerless- from the comic, slightly neurotic turn of angel (and co-writer) Buck Henry, to the extremely neurotic, over-the-top performance of socialite wife Dyan Cannon. Her scenes with Charles Grodin ("yes, Mr. Farnsworth") feebly trying to hide their affair are hysterical. The best moments are with the genteel, easygoing James Mason and trainer Jack Warden (a nice guy who I always felt got short-changed at the end of the film). There's also a certain magical quality felt when hearing the line (used several times throughout) "there's nothing to be afraid of." In fact, there isn't. ... Read more

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In the Family Way collects three episodes from the groundbreaking All in the Family show. The first, "Gloria's Pregnancy," centers around the Bunkers' daughter's miscarriage. The way the show dealt with topics such as these is what put it way ahead of its competition in the 1970s. What's truly amazing, however, is the way an episode like this holds up decades later. Comforting his daughter, O'Connor lets the purest of hearts shine through the often prickly-as-a-porcupine Archie, the character himself becoming a symbol of what the show was trying to communicate: the bittersweet complexity of living.

In "The First and Last Supper," Archie tries to escape from dining with his neighborhood's newest residents, the Jeffersons, and stoops so low as to fabricate a story about Edith twisting her ankle. When his plan falls apart, he's forced to swallow not only dinner but some disturbing food for thought--he might not be the only one harboring some racist tendencies. The episode also treats one to a classic Bunker take on evolution: "We didn't crawl out from under no rocks, we didn't have no tails, and we didn't come from monkeys, you atheistic, pinko meathead."

Closing out the collection, "The Bunkers and the Swingers" features Rue McClanahan and Vincent Gardenia as a hot-to-trot couple whom Edith invites to the house after completely missing the point of the wife-swapping ad they've placed in the back of a magazine. It's a particularly affecting episode in the way it highlights Edith's innocence ("It sounded like they needed us") and Archie's hilariously cordoned-off worldview, in which anything the least bit alien is automatically "Communism." --Bob Michaels ... Read more

Reviews (2)

Archie's world gets turned upside down three times
I remember "Gloria's Pregnancy" (Episode #6 February 16, 1971) as the first episode of a situation comedy ever to make me cry (I wasn't old enough to get the emotions of "Lucy is Enciente" when I watched it as a kid). Even though it was only the sixth episode of "All in the Family," the character of Archie Bunker was already so fully formed that when he visits Gloria after she suffers a miscarriage, the first crack in his gruff facade was a tender moment. This episode was originally entitled, "Gloria Has a Belly Full." "The First and Last Supper" (#13 April 6, 1971) finds the Bunkers visiting the Jeffersons for dinner, where Archie discovers he might not be the most bigoted person in the neighborhood. Finally, "The Bunkers and the Swingers" (#44 October 28, 1972) features guest stars Rue McClanahan and Vincent Gardenia as a couple who come over to the house when Edith innocently answers an ad for "swingers," not knowing that their visitors have come for a night of wife-swapping. Now that you know what three episodes are included in this volume, you have to admit the title "In the Family Way" is meant somewhat ironically. The one common thread of these three episodes seems to be that Archie finds the tables turned on him in three decidedly different ways.

Archie Is The Best.
This Show Was Very Funny. Archie Made Us All Laugh When He Talk About President Nixon. Archie Goes With Edith To Her Cousin Maude's House For Carol's Wedding Shower. Maude Who Created Her Very Own TV Show By The Same Name, Slams The Door On Archie. Buy This Tape ... Read more

Reviews (16)

Strange and Dangerous
This is a strange movie that lies between strange and dangerous. Elliott Gould is fascinating as the world weary and world famous photographer who spends his afternoons taking pictures of Dog feces. He used to make a greater effort towards his work, but realized the art world couldn't tell the difference between what was good and what was crap. So he decides to literally take shots of...crap. Lo and Behold, he continues to win awards for his work. Deepening his sense of the meaningless of life. That's the strange part.

The dangerous part lies mainly in the film's underlying current of social unrest. Stemming largely from the idea that life is meaningless and essentially without value. Random beatings, random murders, all help our protagonist over the edge. Yes this a comedy, but it is a dark comedy.

If you happen to find a copy of this out of print film, you will be in for a treat (check eBay periodically). And that comes by way of a brilliant cameo by Donald Sutherland, who plays a priest lost in an existentialist haze. That alone is worth the price of admission!

Another Brilliant American Comedy No One Knows About
This is one of the most hilarious black comedies ever made. With a perfect cast and one odd and offbeat bit after another. Elliott Gould is the passive and disconnected photographer of dog doo whose life is invaded and turned upside-down by the relentlessly optimistic and determined Patsy (the little seen Broadway actress, Marcia Rodd). He is then brought into Patsy's insular family with their own brand of self-contained lunacy (as in all families)and absolutely hysterical sidetrips and surprises follow to a disturbing, yet hilarious, ending.

Not to be missed are the following: Lou Jacobi as the pompous judge railing about the good old days from the bench. Donald Sutherland as the hippy existential priest conducting the funniest wedding ever filmed. Gould's liberal parents, rearguard 30's leftists over-intellectualizing and full of theories while being totally inept at real life and unable to relate to their only child. Alan Arkin as Lt.Practice, the detective coming unglued before your eyes at his growing list of unsolved murders.

And of course, Vincent Gardenia, Elizabeth Wilson & John Korkes as Patsy's sweetly, obliviously, dysfunctionally daffy family.

Written by Jules Feiffer and directed by Alan Arkin (his only directorial effort I think). This is a BLACK comedy. Be forewarned, it has some nasty things to say about those times (late 60's early 70's) of Vietnam, Nixon & violence in the streets....but its observations of our culture's violence and pa