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Nowadays it's rare to find a movie that pays attention to human weakness as well as strength, and that sees a whole person as having both. When a sports magazine gets bought by a media conglomerate, an ad sales executive named Dave Foreman (Dennis Quaid, The Rookie) finds himself playing second-in-command to Carter Duryea, a hotshot barely half his age (Topher Grace, Win a Date with Tad Hamilton!) whose marriage has just fallen apart. One evening Carter invites himself over to Dave's house to escape his loneliness, where he meets Dave's daughter Alex (Scarlett Johansson, Lost in Translation). The two strike immediate sparks and when they run into each other later in the city, a relationship begins--which they discreetly keep from Dave. But the heart of the movie is not in its plot, but in the way that Dave responds to the news that his wife is pregnant, or how Carter tries to fortify his self-image with a new car. These aren't jokes; the actors inhabit these moments fully and turn them into psychological events. Quaid plays Dave as a simple man, but his straightforwardness feels genuine (rather than a failure of the writer's imagination). Grace and Johansson have terrific chemistry as lovers, but so do Grace and Quaid, both as rivals and as a substitute father and son. In Good Company isn't likely to win any awards, but it's honest and honorable; there's a core of truth to its characters and their problems aren't resolved too neatly. Sometimes, that's worth watching. --Bret Fetzer ... Read more

Reviews (59)

Moral Fable Never Gets Sappy
Dennis Quaid plays a 51-year-old father of two daughters and head of a sales division for a sporting magazine. After a buyout, he is demoted and has a new boss, a 26-year-old coffee-drinking yuppie full of corporate speak and blind ambition who falls in love with Quaid's gorgeous daughter. The father's self-worth is tested savagely in this comic film which, exploring the absurdity and brutality of the corporate world, actually has a moral message about integrity and being true to yourself. It's rare that a comedy is both funny and packed with moral meaning as it attempts to find redemption for the father and his new boss. For a darker look at corporate life with no redemption for the characters, check out the bleak and nihilistic In the Company of Men by Neil LeBute.

Not exactly what I expected.
Dennis Quaid gives a magnificent performance as a long-time salesman who's proud of his work, and who suddenly loses his status when he gets demoted. Topher Grace plays the new boss, and he's terrific as an obnoxious but charming kid on a power trip. Quaid and Grace's awkward, amusing, and (eventually) fond friendship is the crux of the film, and the best reason to see it. The movie's flaws: First, it's slow at times, I expected more inter-office interaction. Second, for a film about cold corporations and job insecurity, the comedy is less sharp than it could be. It's almost as if the movie is too light for its subject. Characters get laid off but you never see how it would hurt their families. The only really bad thing that happens to anyone is that they have to take out a second mortgage! Another reason the comedy is so lightweight is that there no major bad guys to make fun of. Quaid and Grace (who lays off Quaid's colleagues) represent different business philosophies, but they're both essentially good-hearted. Only one or two characters are slightly villainous, and they're on screen for just a couple minutes.

An Excellent satire
"In Good Company" is a lovely movie - part romance, part drama, part satire. It strays occasionally into the obvious, but, overall, it's enormously entertaining. While the satire and drama elements are marred by pat endings, the romance part is given a blissfully hopeful, rather than a happy, ending.

Dan [Dennis Quaid] is a high powered advertising executive at a big sports magazine. At age 52, he's at the top of his game. Out of nowhere, his company is bought by a media conglomerate headed by a billionaire megalomaniac. To Dan's horror, his new boss is a 26-year old kid named Carter [Topher Grace]. In typical early 21st Century fashion, Carter has arrived through sheer ambition and charm. He has zero experience in advertising. Carter does, however, have some experience in romance. He meets and falls deeply in love with Alex [Scarlett Johansson]. As fate would have it. Alex is Dan's daughter.

The acting here is superior. Quaid was nominated for a Best Actor Oscar. Johansson is one of the best young actresses working today. The revelation is Grace, prior to this best known for his role in a hit sitcom. Here he creates one of the more memorable movie characters in recent movies.

Funny and original
Genre: Indie Comedy

Genre Grade: B+

Final Grade: B

This movie was disguised as somewhat more of a romantic comedy, but it indeed was not. It did have some of that in it, but mostly the movie was about the connection of a younger, naive boss taking on the older, experienced salesman. There was some hilarious moments and some really cheesy, odd ones too, but overall it had a good feel to it and was a good movie. The best part about this movie was the music - from The Shins, Damien Rice, and Iron & Wine. Unfortunately, Iron & Wine is the only bad that appears on the soundtrack to the movie. Bad mistake!

On a side note, this movie does not have a cliche Hollywood ending, but rather a more realistic approach to a very possible situation. Some people may not like the ending because of that, but I applaud the creators of this film for doing what they did. Wandering outside the box is something more movies should do these days. I would compare this movie to Garden State, and while Garden State may have seemingly followed the Hollywood guidelines more than this film did, I just think it was more appropriate in that film, because of the depth of the connection between Zach Braff and Natalie Portman. I don't think Scarlett Johannson and Topher Grace shared as much of a connection. Or maybe they did, but that was not the entire focus of this movie.

Not the greatest movie!
Kind of cute. I really thought I would have liked this movie, it was really great until the end of it.They could have done better on the end, kind of cheap.It definetly deserves three stars. ... Read more

Reviews (18)

Interesting enjoyable film with great actors
Not your ordinary kidnapping caper. There are enough quirky characters, plots twists, well-timed flashbacks, and recognizable actors cast against-type to keep viewers interested, entertained, and intrigued.

Alan Rickman simply cannot make a bad movie or turn in a less than perfect performance. The variety of his role choices continues to provide his fans insight into every possible facet of his magnificent talent. His role as good-cop in 'Judas Kiss' is no exception. Coupled with Emma Thompson as a tough federal agent, the two English talents provide this film with 'class'. Simon Baker (TV's The Guardian) appears as a character devoid of 'class' in a role completely opposite the classy, brooding attorney we have come to associate with this very talented young Australian actor. Hal Holbrook and Roscoe Lee Brown give their usual great performances in roles a little closer-to-home for them.

The steamy sex, mayhem and murder, and New Orleans atmosphere make this film as hot as the 'Big Easy' in August, but the setting compliments rather than overwhelms the film. The story could have been set in any big city.

I recommend this film for those who enjoy a quirky, interesting mystery with style. While for fans of Rickman - it is a must-see!

A campy but enjoyable film noir for a dull Saturday night
If you're sitting around on a Saturday night looking for something entertaining to watch, you just might want to check out "Judas Kiss". Sure it's campy...you bet it's quirky, don't expect Oscar contending material BUT do expect an unusual yet entertaining little film. This is not mainstream stuff. It's a little like "Fargo" meets the "Maltese Falcon". An oddball cast of criminals come together and concoct a scheme to kidnap and extort enough cash from a wealthy businessman to set them up for the good life. Unfortunately, something goes terribly wrong and their crime also includes an unintended murder.

Enter the local police detective and the F.B.I. These are played delightfully by Alan Rickman and Emma Thompson. An odd choice to cast two Brits as New Orleans natives...but that's where the fun begins. If you truly want to enjoy this film for what it is, you are going to have to overlook the bad accents. But that's easy to do because it's obvious that these two actors are having a blast playing these roles. Alan is just great as the near-burnt-out, cynical, yet still honest detective and Emma is a hoot as the tough-as-nails F.B.I. agent. No proper Miss Dashwood this time. She is a fast-talking, hard-hitting, no-nonsene dame who exchanges witty repartee and sexy double-entendres with Alan while a cigarette dangles from the corner of her mouth. I was half expecting her to call him "doll-face" or refer to him as a "to-may-tah". She even stalks her suspect on rollerblades. You go, girl!

Alan Rickman is excellent as the detective who slowly realizes that he is being used in an elaborate, backroom scam by corrupt officials. When he finally figures it all out...he's pissed as hell but determined to expose the whole lot of them. Watch out for that golf swing!

The criminals are an unusual bunch with a stand-out performance by Carla Gugino. She is the soul of this disturbing group of misfits and despite the terrible crime she commited, she plays her role with such honesty that you can't help but end up pulling for her.

All in all this is an unusual yet enjoyable film. The New Orleans backdrop and salsa/jazz soundtrack add to the spiciness as this tale twists and turns to it's conclusion. Not a bad way to spend a Saturday night.

What on earth were they thinking???
I understand Emma Thompson was pressed to read this screenplay at an event and was instantly interested. She then persuaded her friend Alan Rickman to become involved. What on earth were they thinking??? It's hard to believe that the woman who wrote the brilliant screenplay for "Sense and Sensibility" could have been impressed with this dud. Thompson is my favorite actress and Rickman is my favorite actor, but, oh my God, the accents are terrible! I used to say I would pay to hear Rickman read the phonebook but I would want that money back if he used THIS accent. Rickman can now sympathize with his co-star Kevin Costner's laughable attempt at a British accent in Robin Hood! There is nothing new in this plot, and the sex scenes give new meaning to gratuitous. Save your money...but if you adore the velvet voice of Alan Rickman speaking the King's English as no one else can, listen to his audiobook recording of "The Return of the Native"...over 15 hours of ecstacy!!

Contrary to other reviews...
I found this movie to be utterly hilarious! It's a bit wierd but that's what makes it stand out from the others. I think each character was unique making the movie that much better! I give it 'two thumbs up'

Stock characters, stock plot, not much Emma T
Well, I watched this movie. I watched the bad accents, the gratuitous sex. the insipid characters (or caricatures). There is the tired cop and the cynical FBI agent, the Police Captain who seems to want the case solved but then does everything he can to block progress, and the US Senator who blusters about justice on TV but about ‘pulling every string I can get you fired’ in private.

The plot involves a kidnapping that goes awry and the centers mostly on the grifters as they try to make things right get the loot and not get caught. It was a forgettable group with the typical wackoo muscle guy and the Harvard intellectual and staring a pair of low-life lovers hoping for the big score.

Don’t waste your time getting this movie for 10 minutes of Emma Thompson. ... Read more

Reviews (5)

Re: Very very good
Its always fascinating when a movie comes out that shows the inner workings of Government and/or the White House....to get a sense of how our elected officials tick. To be honest I was not all that familiar with the Vietnam War so this movie provided me with some fascinating insight. All the performances are terrific,
very highly recommended.

Great Movie
We could not stop watching, a great movie.

The Forgotten Society
I highly recommend this movie for two very good reasons.

First, the acting and the dialogue involved with this project are great. I can still hear Lady Bird Johnson telling a frightened and fatigued LBJ "When eloquence of words are no longer effective, then perhaps it is time for eloquence of action..." And with these words, LBJ decides to retire the presidency and public life.

Second, I recommend "Path to War" because of the subject of this impressive movie is Lyndon Baines Johnson. Arguably one of the most controversial figures of American history, it is easy to forget all the good he has done for our country in the hell of Vietnam. This movie finally reminds the viewer that although President Kennedy had such wonderful dreams and ideas for our society, it was President Johnson who made those dreams a reality by maneuvering the congress to enact the "Great Society" laws. The audience can feel his joy and elation as he sees his vision of an America that has beaten poverty, racial discrimination, and the host of other social ills present in America during the 1960s. Then, we see his dreams transformed into nightmares as the American public become increasingly angry and hostile with his policy towards Vietnam. The audience is shown the private torture inflicted by decisions president Johnson makes in regards to Vietnam and the anger he knew they would generate...In conclusion, "Path to War" reminds me of a Greek tragety; riveting and enjoyable to watch and experience in the comfort of ones own home.

The last great film of John Frankenheimer
Being a huge John Frankenheimer fan, this movie was on my list to see for some time since I don't have HBO. Overall, I wasn't expecting too much from this movie, somehow I have that perception with all made-for-tv movies. The movie certainly has that feel in the first few minutes, with acting that seems a bit forced and wooden. But as the story progressed, I slowly got pulled into the situation and characters of all involved. By the time the movie was over, I was impressed with the portrait provided of LBJ as a troubled man who wanted to do so much for the country, but was held back with a stalemate war. It's expertly directed by Frankenheimer, with his classic visual style that exudes tension with facial close-ups. Gambon does a pretty good job too, although most of his acting in this movie falls into the 'concerned man' and the 'screaming and yelling man' episodes; it still shows the bi-polar sources pulling at him.

It resonates a bit with the current tensions and war in Iraq (some of this is mentioned in the bonus features), but it still carves out its own identity; when was the last time a President talked about a Great Society? It makes me wonder how significant of a President Johnson could have been (many books defer to this position as well, almost worthy of a place on Mt. Rushmore). But as a youngster, most of the Presidents I've been alive to experience are focused more on cautious outlooks than on civil progression and visionary goals. Of course its all easier said than done, but it seems to me the era visionaries has ceased with Johnson's statement not run for a second term in office.

I know very little of the historic values of past Presidents, but it's a genre I enjoy experiencing in the movies and television. If you watch the West Wing on a regular basis, or just enjoy movies with historical facts and situations (13 days, JFK, All the Presidents Men), then you'll enjoy this movie. I expected little, and I got a home run in return. I think it's a great movie that concludes Frankenheimer's career. I like his work a lot, and he will be missed.

It should be noted that the movie is not 4x3 full frame format. Instead it's in 16x9, anamorphic format; and the transfer I would rate as 'good' but not exceptional.

Path to War
Path to War is a great movie for several reasons. For one, it is a movie about LBJ, which is rare. In most movies he is a background figure, perhaps because it is hard for an actor to capture his personality. Secondly, it is a Vietnam movie that shows a different side of the war: the political side. Movies like Platoon, Born on the Fourth of July, and The Deer Hunter have done a superb job of showing the side of the common soldier in Vietnam, but what went on in the corridors of power in Washington is rarely shown. And, finally, the filmmakers have assembled a great team of actors and historians to bring this film to life. Michael Gambon, who portrays LBJ, does a commendable job, as does Alec Baldwin as Robert McNamara, but the best is Donald Sutherland as Washington insider Clark Clifford. As an added bonus, the DVD version of the film is loaded with extras including cast interviews and commentary by historian Michael Beschloss. Despite its length, it goes by fairly fast, and it is easy to get caught up in the tension and paranoia that plagued LBJ during his presidency. ... Read more

Amazon.com

The plotline may sound familiar: Two mismatched cops are assigned as reluctant partners to solve a crime. Culturally they are complete opposites, and they quickly realize they can't stand each other. One (Jackie Chan) believes in doing things by the book. He is a man with integrity and nerves of steel. The other (Chris Tucker) is an amiable rebel who can't stand authority figures. He's a man who has to do everything on his own, much to the displeasure of his superior officer, who in turn thinks this cop is a loose cannon but tolerates him because he gets the job done. Directed by Brett Ratner, Rush Hour doesn't break any new ground in terms of story, stunts, or direction. It rehashes just about every "buddy" movie ever made--in fact, it makes films such as Tango and Cash seem utterly original and clever by comparison. So, why did this uninspired movie make over $120 million at the box office? Was the whole world suffering from temporary insanity? Hardly. The explanation for the success of Rush Hour is quite simple: chemistry. The casting of veteran action maestro Jackie Chan with the charming and often hilarious Chris Tucker was a serendipitous stroke of genius. Fans of Jackie Chan may be slightly disappointed by the lack of action set pieces that emphasize his kung-fu craft. On the other hand, those who know the history of this seasoned Hong Kong actor will be able to appreciate that Rush Hour was the mainstream breakthrough that Chan had deserved for years. Coupled with the charismatic scene-stealer Tucker, Chan gets to flex his comic muscles to great effect. From their first scenes together to the trademark Chan outtakes during the end credits, their ability to play off of one another is a joy to behold, and this mischievous interaction is what saves the film from slipping into the depths of pitiful mediocrity. --Jeremy Storey ... Read more

Reviews (265)

An excellent DVD.
The Movie:

Chris Tucker is the funniest man in the world, in my opinion. It's too bad that the movies he acts in are always running to try and hopelessly catch up with him. One of the funniest things in cinema and some of the most enjoyable comic moments in the past few years have come from watching Tucker's performances. You can almost see his mind working in overtime trying to think up what to say next; and you never know what he'll say next. He takes the best of what Eddie Murphy used to be and just speeds it up a few hundred....thousand notches. It's just his looks of mock anger that always make me laugh. Never has anger been so funny.

He's joined by action star Jackie Chan in this film, which, although it's very funny at times, never really moves above the level of average, forgetable entertainment. Chan has done better "stunt-orientated" films like "Supercop" and "Rumble In The Bronx". In those films, he really shined with his mix of good humor and quick action. Here he's made to be more in the shape of the plot's need for humor and dialogue over stunts...not to say that there aren't any stunts; there are. It's just that they are a little few and far between.

The story revolves around a Chinese Console member who's daughter is kidnapped. Chan is brought in by the console member. The only problem is that the FBI wants to solve this case itself, and Chan's detective is not welcome. Some of the funniest scenes in the movie are watching Tucker's detective come to the realization that all he's called on to do is babysit Chan's detective. So, we start into the age old buddy cop flick.

Thankfully, this one isn't too bad. A nice script, some very good moments also from Chris Tucker when he's allowed to just improv his performance. Thank god Tucker and Chan liven up the proceedings; Chan has his usual array of incredible stunts, running up and down the sides of everything, kicking, doing it all; Tucker's mouth and Chan's quick feet make a nice balance of opposites. It's unfortunate that the direction is average, the plot is something you've seen all before, but it's through the performances of Tucker and Chan who make "Rush Hour" worth watching. It's nothing new, but when it works, "Rush Hour" is a whole lot of fun.

The DVD: Picture Quality: New Line has done a phenomenal job with the transfer of "Rush Hour". The colors of Los Angeles are incredibly vivid and just pop on this disc. Look at the reds in the Chinatown scenes or the colors of the neon at night. The color saturation is wonderful and there is no bleeding in the colors; the light from a neon sign looks perfectly sharp and clear. Speaking of sharpness, the images themselves are perfectly clear and sharp throughout the disc. There are a few instances where there is a small shimmering problem, but compared to a lot of the other discs I've seen lately, the shimmering in this disc isn't worth mentioning. Again, images are razor sharp throughout, there aren't any other problems at all with this disc. There are a lot more pros to talk about, though. Skin tones are 100% perfect. There is definitely no pixelization in the disc whatsoever, even in the low-light scenes or in the backgrounds. Black level in the picture is fantastic and contrast is wonderful. Shadow level is excellent and overall, this is a nice continuation of the New Line tradition of replicating the theatrical experience at home. There's occasionally a problem with otherwise great discs such as shimmering or what not and it takes you out of the experience. There's nothing on this disc that's problematic enough to take the viewer out of the experience of the movie and that's a sign of the very best DVDs. The 2.35:1 image is excellent. Excellent job, New Line.

Audio Quality: Impressive sound quality on this disc, emphasizing the sounds that added to the tone of fun on this disc and that's Lalo Schifrin's fun, urban and light score melding old R&B hits and current rap along with other wonderful bits and pieces of fun music to make an enjoyable score. The score fills the room and sounds full and clear. Dialogue also has that "same room" impression, recorded with clarity. There's a lot of impressive sound on this disc like the gunfire(director Ratner talks on the commentary about how he wanted to make the gunfire loud and emphasize it to make it "exciting"), which sounds great. The explosions also fill the room with great impact and force.

Extras:Now here's where this disc really shines: Commentary: There's an outstanding commentary with director Brett Ratner(who sounds at times sort of like Quentin Tarantino), who talks in depth wonderfully about the details of the production and working with Chris Tucker and Jackie Chan. It goes into the detail of working with the screenplay and building the stunt scenes. This is a commentary that really is exactly what I want to hear in a commentary: it tells the story of exactly what it took to get the story to screen, not just what's happening on the screen. This is a fascinating commentary and I recommend it as one of the best commentaries out there. There is also an isolated score(and it's a fantastic score) with commentary by the great composer Lalo Schifrin.

Documentary: Again, it's what I want to see in a documentary. The box calls it a "featurette", but "A Piece Of The Action: Behind The Scenes Of Rush Hour" is something I would consider a full documentary. There's a lot of fun going on in the interviews with the cast and crew, and it doesn't seem like a usual studio promotional documentary. A lot of the camera work is hand-held and it just seems like it was all done in fun and the fun that the cast and crew has carries over to the viewer. The documentary runs about 40 minutes and the last chapter is more in the way of the hilarious outtakes that ended the film.

Deleted Scenes: A short reel of deleted scenes that at the most, are about 1 minute. Nothing earth-shaking, but interesting to see. The reel is a few minutes in length.

Short film: Director Brett Ratner's very strange short film from when he was a student at NYU, "What Ever Happened To Mason Reese?". The film starts off with an intro from the director and commentary from the director is also available. The film itself....well, it's just strange, but it's nice to have on the disc.

Trailer: Of course, the trailer.(letterboxed at 2.35:1)

Cast/Crew: Very nice biographies of the cast/crew.

Music Videos: 2 music videos.

DVD-ROM: The screenplay, an interactive game and web links(available only to Windows DVD-ROM computer users)

MENUS: Sharp animated menus that start with a very funny piece of dialogue from Chris Tucker.

Grades: The Movie:A- Picture Quality:A- Sound Quality:A- Extras:A Menus:A Overall:A
This review was originally posted at the website "A Guide To Current Film/DVD".

Lots of laughs in oddball 'buddy' movie
Jackie Chan, the great Chinese action star, plays a Hong Kong detective at the time of China's taking control of the city. A friend of his is dispatched to Los Angeles in a consulate position, and Chan is summoned soon thereafter when his buddy's daughter is kidnapped by gangsters. The FBI, not wanting any interference in the case, arranges to pair him with one of the wildest cops in LA history. As played by Chris Tucker, he is also the loudest. This ploy to get Chan away from the investigation doesn't work, of course. As always, the FBI agents are made to look like they are sharing a brain. You've already guess that the two policemen get along at first like cats and dogs, but by the end of the picture, they are best buddies. Along the way, they solve the case.

As a comedy team, Chan and Tucker work well together. The quiet, low-keyed Chan plays straight man to the brash, outrageous Tucker. There are the usual ongoing jokes about cultural differences, but at least in this case, pairing a Chinese character with an Afro-American does create a lot of opportunity for humor. Opposing tastes in food is a good topic, as is the language barrier. There is also a running joke about our obsession with hand guns. Jackie Chan is hard not to like, while Chris Tucker has much in common with W. C. Fields, Jerry Lewis and Jim Carrey. People either love him or hate him.

As is the rule in action comedy, the plot makes no sense. What carries the movie is the teaming of two actors whose personalities work well together. The special effects don't hurt either. There's an explosion every three minutes.

Lalo Schifin delivers a fine musical score. The set design is appropriately garish. A special thanks goes to Rush Hour's editors, who made sure it was short and to the point.

While Rush Hour is often entertaining, it does not measure up to a couple of similarly themed comedies - 48 Hours and Beverly Hills Cop - that were big hits when I was younger. Or is my memory playing tricks on me?

Jackie Chan needs to retire
This is not bad considering that most of Jackie Chan's movies are pretty much the same. That aside, story wasn't bad and there was some decent action scenes. Chris Tucker, however, does nothing but gets on your nerves with his irritating voice, bad acting and an IQ of a chimpanzee. In the outtakes, they show a scene that requires Chris Tucker to say two words in Chinese and he would blow it every single time. Talk about a dimwit

Rush Hour has great combos!
The idea of combining Jackie Chan and Chris Tucker in one movie was a great idea! Jackie Chan does the main action while Chris Tuckers does the main comedy. Together they did a good job! The plot was good and the movie was so funny. I give it 5 stars for awesome action and nonstop laughs!

Great Entertainment - Funny & Exciting.
Rush Hour revitalized the buddy action flicks of the 80's and has become a modern classic. It is a movie in the tradition of 48 Hrs and Lethal Weapon, and like those two movies, it has perfect casting. Chris Tucker is hysterical in his best performance since Friday, Jackie Chan is in top form, complete with incredible stunts, cool martial arts and hilarious broken English.

The story is well-written and full of funny situations for both Tucker and Chan. Look for the scenes where Chan is in a predominantly black pool hall and Tucker buys some Chinese food from a cart. The chemistry between the two leads is probably what makes this movie so great. Great individually, but even better together. All this makes Rush Hour a guaranteed good time. ... Read more

Reviews (311)

fun -- perfect vehicle for Carrey
Bruce (Jim Carrey) is the beloved human interest reporter at a local television station in Buffalo and he lives with Grace (Jennifer Aniston), but he is not content. He wants to be news anchor and command respect. After repeatedly blaming God for his problems, the Almighty (Morgan Freeman) gives Bruce his powers for a couple of weeks. This is a great premise and Carrey is a hoot as the self-absorbed Bruce. The film deals with Bruce's use of these magnificent powers and his coming to realize that he is indeed already a lucky man.

The entire cast, particularly The Daily Show's Steve Carrell, is very good, and the script is quite funny.

DVD extras are quite good: a commentary track with director Tom Shadyac; a 6-minute featurette on Carrey's comedy style; 6-1/2 minutes of outtakes; 30 minutes of deleted scenes with optional commentary; cast & crew info; a trailer; and a Chase MasterCard commercial (yikes!). The film can be heard or subtitled in English or French.

Lots of fun, and generally suitable for the whole family -- your kids will love the scenes of the dog's conversion from chronic house-pee-er to toilet-using mutt!

What Would YOU Do If You Were THE ALMIGHTY ?
Your reaction to this movie will depend on your expectations, it is neither ACE VENTURA nor THE MAJESTIC. The movie OH GOD had John Denver as the earnest nonbeliever and straightman for the comic George Burns as a playful God. BRUCE ALMIGHTY reverses the typecasting; it has the wild and wacky Jim Carrey as the playful and irreverent reporter Bruce Nolan who is suddenly given the powers of The Almighty, played with wonderfully understated grace and perserverance by Morgan Freeman. The story is simplicity itself, Jim Carrey is a TV reporter with a real talent for doing human interest stories with a humorous twist, but who feels underappreciated and yearns for a spot on his Buffalo NY station's anchor desk. His longtime girlfriend Grace Connelly (played by Jennifer Aniston) also feels somewhat taken for granted, since Bruce seems to be more concerned about his career than their relationship. The stresses in Bruce's life suddenly converge when he is fired from his job after a disastrous (and hilarious) live interview conducted on THE MAID OF THE MIST while under Niagara Falls. Never particularly religious despite his girlfriend's entreaties to seek comfort from prayer, in a defiant gesture Bruce totally rejects all belief in the possibility of any help from God. Supposedly summoned by pager to a job interview, in a wonderful encounter with incredible symbolism (an all white environment with a black God) Morgan Freeman endows Bruce with the powers of THE ALMIGHTY and challenges him to do a better job while obeying only two seemingly simple rules. Then the fun, adventure and suddenly changed trajectory of Bruce's life begins.

If you want to see Jim Carrey at his comic best, you will love this movie. Imagine what he can do and the havoc that he can create as THE ALL POWERFUL with almost no limitations on his abilities. (The trailers accurately relect this aspect of the film.) Where the movie disappoints in my opinion was its use of comedy to explore the issues which it raises about religion and its role in our lives, personal relationships, pursuit of happiness, and feelings of accomplishment. As you can imagine, Bruce at first refuses to believe that he has been endowed with extraordinary powers, then initially uses them for mundane personal purposes in several really funny incidents. After a few additional visits and consultations with Morgan Freeman, Bruce gradually comes to accept the fact that being almighty is more complicated and involves more responsibility than simply creating personal gratification. The next lesson also involves the fact that there are often unintended consequences which stem from good (as well as bad) intentions; one person's good fortune may cause problems for someone else. Despite the serious undertone, the comedic aspects of the incidents inevitably dominate the storyline.

While comedy can be a wonderful way to enlighten as well as entertain, in many instances this film instead opts for complete farce. This aspect combines with the fact that many of the miracles are more like cheap magic tricks rather than almighty acts to lessen the potential of the film to be truly thoughtprovoking. (It also means that regardless of which faith you espouse, if you have strongly fundamentalist religious beliefs you may be offended by some aspects of this movie.) There were some great issues raised, but always implicitly with the exception of the role of free will; it appears that the filmmakers kept their story very bland to reamin as inoffensive as possible; but that seems at odds with a story about a man and his encounter with THE ALMIGHTY.

This was an interesting movie that I want to see again to test my first reaction. I enjoyed the humor immensely; I watched it in a crowded theater and the entire audience laughed hysterically at times. Morgan Freeman was superb in a limited although central role, and Jennifer Aniston was perfect as the frustrated girlfriend. The dog was a lovable character as well. TWO IMPORTANT NOTES: first, don't leave when the credits start rolling, there are some subsequent great outtakes; second, pay particular attention to the signs held up periodically by Jack Jozefson (the homeless man) - they are not only wonderfully apropos but one of the methods by which the message of the story is subtly, if only silently, conveyed. So while I highly recommend this film, my four star rating relects the fact that the attempts to play for comedy and blandness kept it far from what could have been its six star potential.

Not funny
Bruce Almighty is supposed to be funny, but Carrey doesnt delivers. Carrey's juvenile humor has gotten old, and this movie is no exception. The movie is better for its humanity, than for its comedy.

Garbage
I was dragged to this movie and was ready to leave before it was over. I could have cried when I couldn't get my money back. Jim Carey is one of my favorite comedic actors, but this was definitely not his best.

The Story Takes on a Novel Approach to God
ACTING: As usual, Jim Carrey does an outstanding performance. Of course, his acting is quite similar in everything that he does. Jennifer Aniston, however, does terribly. It's hard to take her role seriously at all. Since I never watched "Friends," I did not realize that she lacked any talent whatsoever.

In any case, the story was very clever. The notion that one wants to fire God because He is not living up to our expectations is a long standing concern. Mere mortals think that we could do a better job. In this story, though, God hands over his power to Bruce for him to use as he sees fit. There are two rules: (a) respect free-will; (b) and don't let anyone know you're God. The movie is quite clever in placing many highly religious symbols near Bruce. During a party a Golden-cafe is quite noticeable; a man Bruce helps says "God bless you" to Bruce, even though, according to the story, Bruce is God.

Bruce learns that when he is granted God's powers he has a hard time dealing with the enormous number of things that God must do. Despite hearing many prayers, and hoping to respond to them, he has a hard time with this task. It is a task-intensive job.

With unlimited powers, many people would probably feel as though they would be happy and could accomplish anything they wanted to. But with the burdens of responding to prayers and feeling invicible, Bruce still was not happy. His relationship with his girlfriend was falling apart, and he could not use his powers to make her love him. He had to do the right thing in order for that to happen. To do so, ironically, he had to become a mere mortal once again, subject to the dangerous of everyday life. And when one unfortunate incident does happen -- to be left unsaid for those who have not seen the movie -- his girlfriend falls in love with him again, perhaps, at first, out of sympathy.

Michael ... Read more

Reviews (335)

No sense of pace whatsoever
THE TALENTED MR. RIPLEY is really a shame. Here are all the elements of an engaging, literate thriller--decent performances, a remarkably disturbing and insightful story (thanks largely to Patricia Highsmith's novel), a chillingly atmospheric score, and a well-realized sense of time and place. The trouble is, I didn't give a damn. This movie is so poorly paced, so slow and uninvolving, that watching it is like trying to slog through a pond of molasses.

It doesn't help that Matt Damon is the wrong choice for the elusive psychopath, Tom Ripley. Damon isn't a bad actor, just a miscast one, and while he nails the various impersonations Ripley must perform and seamlessly switches between identities, he never really fascinates or enthralls on-screen. It also doesn't help that Jude Law, as Dickie Greenleaf, completely upstages Damon in an Oscar-nominated performance that's equal parts fire and ice. The only character less interesting than Ripley is Dickie's long-suffering fiancee, Marge, played by a terribly dull Gwyneth Paltrow, who looks almost as bored by the story as I was.

There are a few great, nail-biting scenes that expertly raise the tension, including the murder sequences and a climactic confrontation between Ripley and Marge. If only the rest of this movie were as rivetingly suspenseful. The denouement takes about half an hour to unravel--I soon lost count of the number of times I thought, "Oh, good, this is finally wrapping up" before the script dashed my expectations by plunging ahead with some new plot contrivance that would require an extra ten minutes to play out. Even at under two and a half hours, this movie feels eons longer than an equally self-indulgent project like...oh, say, TITANIC. The truth is, RIPLEY is smarter, craftier, and more psychologically plausible than TITANIC ever was. It's not a better film, though. How sad is that?

CLASSY & INTELLIGENT THRILLER
Mistaken for a Princeton graduate whilst wearing a borrowed blazer, the low born New York charmer, Tom Ripley (Matt Damon), is dispatched by rich businessman Herbert Greenleaf (James Rebhorn), to travel first class on an all-expenses-paid mission, to bring his errant young playboy son, Dickie (Jude Law), back to New York from his champagne and party filled life on the Mediterranean. However, on meeting the handsome and charismatic Dickie (and his equally attractive girlfriend), the awestruck Tom falls for his charms and an ambiguous relationship begins. Tom, the social chameleon who has talents for forgery and impersonation, feeling that he cannot enter this world as himself begins to transform his identity, by learning new skills, studying jazz, art, geography and foreign languages. He not only changes his clothes he also changes his character. Meanwhile the innocent and trusting Meredith (Cate Blanchett) who met Tom on his arrival in Europe accepts Tom as an equal because she thinks he is Dickie Greenleaf. But all is not well in the playground of the rich, for Dickie is in turns as unpleasant and rude as he is debonair and charming, and soon he and his rich friends begin to tire of the financially inferior and all too clingy Tom, who has no intention of being cast adrift, for it is his belief that "its better to be a fake somebody than a real nobody"...

The Talented Mr Ripley subtly portrays the hedonistic lifestyle of rich, young Americans in the 1950's. In the movie, Tom is less the casebook amoral psychopath of the novel and more a victim of class in his desire to be like the rich but cruel Dickie and Freddie. The film is, however, anything but simple and only about an hour in does the film become anything approaching an orthodox thriller. You are kept hooked throughout as we guess at Tom's motives..., which is at best ambiguous. We observe the mercurial Dickie toy with his affections, whilst Dickie's girlfriend Marge (Gwyneth Paltrow), aware of Dickie's weaknesses, looks on.

Although fans of the novel may be unhappy with the liberties taken with both the plot and the characters from Patricia Highsmiths novel, most people will agree that Anthony Minghella has done an excellent job in imaginatively and successfully bringing The Talented Mr Ripley to the big screen. Not only does he direct this excellent and very intelligent thriller with a sure and subtle touch but he perfectly captures the beauty of the mediteranean, as the movie moves from one spectacular venue to another; from San Remo to Naples, Rome, and Venice. It also stars a top notch and perfectly cast array of the worlds finest young actors, including Matt Damon (Good Will Hunting), Gwyneth Paltrow (Shakespeare In Love), Jude Law (A.I.), as well as Philip Seymour Hoffman (Happiness) and Cate Blanchette (Elizabeth), all on top form. Damon's Ripley is an odd figure, his cumbersome awkwardness contrasting perfectly with Jude Law's cool and casual arrogance as Dickie Greenleaf, lolling around on his Riviera deck-chair as if the world owes him a living. And, although Matt Damon is truly outstanding, it is Jude Law's Oscar-nominated turn and Hoffman's brilliantly obnoxious performance as an ugly-rich American that come close to stealing the movie.

There are many unforgettable moments, in this beautifully crafted movie that Hitchcock would be proud of, as Tom struggles to maintain his dual identity. More dramatically satisfying than The English Patient, The Talented Mr Ripley is an intelligent film, carefully cast and immaculately performed. Highly recommended this for people who love suspense and prefer to watch movies that come with an IQ!!!

Horrible
I must say that this is one of the worst films that I've ever watched. It was very long, and very boring. I didn't care about what happened to any of the characters, as a matter of fact I didn't like any of the them. The story didn't unfold effortlessly but instead seemed to move slowly and with difficulty.

Beautiful Film With Dark Anti-Hero
"The Talented Mr. Ripley" is one of the most unsettling, vivid thrillers made since Hitchcock. Matt Damon leads an All-Hollywood Under-40 cast, including Jude Law, Ms. Paltrow, Cate Blanchett, and Phillip Seymore Hoffman (reprising his obnoxious spoiled brat from "Scent of a Woman," with his arrogance on steroids) in one of his most convincing performances to date.

Set in the 1950's, "Ripley" perfectly captures the look and feel of the period through rich costumes and fabulous sets -- director Anthony Minghella uses the same voluptuous direction that he used to such great effect in "The English Patient." But there are elements of subversion in the movie that match Ripley's subversive, evil soul -- the rise of jazz ("noise," as one character derisively calls it), characters who do nothing but spend their parents' fortunes, and homosexuality and adultery tearing at the rigid social fabric of the times all mirror Thomas Ripley's unnerving ability to manipulate the truth to his own ends.

Ripley is not content to be the best person he can be -- Ripley wants to be the best person that someone else could be. In this case, it's Dickie Greenleaf (Law -- fiendishly handsome), heir to a shipping fortune and ladies' man extraordinaire. Ripley is sent to Italy by the elder Greenleaf to retrieve his son, idling away on the beach with his girlfriend Marge (Paltrow). Teaching himself jazz and inventing stories of schooldays at Princeton, Ripley soon charms his way into Dickie's house.

Ripley knows that the key to being a great liar is to tell the truth as much as possible and allow others to draw their own conclusions. This takes great wit and timing, and Ripley pulls it off fabulously. For a while, things could not be better, but soon the impulsive Dickie tires of the ever-present Ripley, whose attachment to Dickie goes beyond mere friendship into unsettling territories. This leads to a horrifying boat trip where the two Ripley-proclaimed "brothers" speak truths that probably should have gone unsaid.

Ripley finds himself caught up in the world of his own making, and the lies he has spun threaten to ensnare him even as he uses them to break free from his former anonymous life. Delicately balancing new lies and capitalizing on what is, to our modern eyes, a quaintly obsolete communications system (my God, they actually write letters!), Ripley eventually finds himself living the good life in a wonderfully decorated Roman penthouse.

As good a liar as Ripley is, he can't prevent some from figuring out his various lies and secrets. And this is where the movie really gets dark -- Ripley is a man filled with rage, and that rage can lead to gruesome results.

Ripley is a man of considerable talents and appetites. His hunger for acceptance and for love -- there is virtually nobody in the film whom Ripley does not seduce -- is exceeded only by his instinct for self-preservation. Even Ripley is horrified by what he is capable of, and the climactic scene leaves no doubt that for all his talents, Ripley is not someone you ever want to meet.

"Ripley" achieves a lot of its effect through implication, and the films most charged scenes, whether violent or sexual, are actually quite restrained in what is actually shown on-screen. But like "Pulp Fiction," the scenes are perhaps even more powerful for not showing exactly what happens, but by their implications. In that sense, the entire movie is an implication, a set-up for future stories (there are other "Ripley" stories) involving our favorite murderous impersonator. I hope that Hollywood can pull it together to make another installment with Damon as the lead -- he nails it.

VERY GOOD STUFF
The Ripley charector is great to watch he is like a child trying to fit in, he knows something about himself is diffrent but he cannot describe it. Because you have to have a conscience to know the answer. I remember seeing the talented mr. ripley in the theatre and how pleased I was with the ripley charector. His charector was created some time ago and most people do not know it but he inspired most of hollywood's classic villians particuarly the hitchcock ones. Also see RIPLEY'S GAME. I think John Malkovich is even better in the sequel. ... Read more

Amazon.com essential video

Director Martin Brest rocketed to the top of Hollywood's A list with the blockbuster success of Beverly Hills Cop, and this 1988 follow-up is even better. Midnight Run is a genuine rarity--an action comedy that's dramatically satisfying--thanks to a sharp script by George Gallo, the superb teaming of Robert De Niro and Charles Grodin, and Brest's consummate skill in combining suspense and humor with well-developed characters. De Niro plays a maverick bounty hunter whose latest assignment is Grodin, an accountant accused of embezzling from the Mob. De Niro thinks he's in for an easy job, transporting Grodin (who's afraid to fly) from New York to Los Angeles, but soon discovers that both the FBI and the Mafia are hot on Grodin's trail. Equal parts road trip, action thriller, and a quirky character study, Midnight Run moves at a breakneck pace but still gives De Niro and Grodin time to create rich, memorable performances as two men who seem to be opposites, but gradually develop mutual respect and admiration. Mainstream entertainment at its best. --Jeff Shannon ... Read more

Reviews (71)

The Odd Couple
Midnight Run is solid action comedy that has a fine cast, a clever and witty script, and confident director calling the shots. The film also was the first time that I remember tough guy Robert De Niro making me laugh.

Bounty Hunter Jack Walsh (De Niro) is hired by the mob to bring in one of their accountants, Jonathan Mardukas (Charles Grodin), for stealing some of their cash. The cross country trip seems like easy money for Walsh, after all, how much trouble could an accountant be? Walsh soon discovers that he'd much rather have a bullet wound than put up with Jonathan, a germ-a-phobic neat freak, who's also affraid to fly. Soon the two men discover that the mob and the Feds are getting restless. FBI Agent Alonzo Mosely (Yaphet Kotto) and his team are traking them, as are the mafia's Jimmy Serrano (Dennis Farina) and Eddie (Joe Pantoliano).

The team of De Niro and Grodin is just great, and harkens back to the chemistry between Lemmon and Mathau, in all of their work together. Grodin is the perfect foil for De Niro and vice versa. Extra Kudos to De Niro, as he underplays it all, until just the right moment. After which, you are sure he is really going to kill Grodin for real. The script by George Gallo is filled with enough laughs, action and close calls for two films. Directed by Martin Breast, Midnight Run is a fine follow up to Beverly Hills Cop, in the action comedy genre.

As good as the film is, the DVD extras, left me disappointed. Aside from, a brief making of feturette and the theatrical trailer, there's not much else. Special edition anyone?. Still, if you want something to watch that will make you chuckle, then Midnight Run should fit the bill

TOP NOTCH ACTION COMEDY!!!
This is the story of a bounty hunter (De Niro) trying to get to LA with white collar criminal (Grodin) to collect a million dollar bounty. Unfortunately for him though, not only his bounty ann incessant pain in the ass but he's also got the mob, the Feds and another bounty hunter all trying to stop him collecting his pay check. Midnight Run is a rare gem, a top class action comedy with one of the most unusual screen "buddy" partnerships in cinematic history, which has sadly been somewhat overlooked by the majority of people and that's a great shame because it boasts great characters, great comedy, great action scenes, a wonderful plot and a brilliant script with stand-out performances from Dennis Farina, Charles Grodin and in particular Robert De Niro who proves what a great comedic (as well as character) actor he is. Expertly directed by Martin Brest, who directed Beverly Hills Cop (and Scent Of A Woman), this is in my opinion a much better movie than the much lauded Eddie Murphy movie and a must see, particularly if you are a fan of Robert De Niro. In fact it is so good I'd give the movie five stars if it weren't for the lack of extras on the DVD but (especially at a budget price) this is definitely one well worth adding to your collection.

FAST-PACED, WHACKY, A DAZZLING TALE OF FRIENDSHIP AND MORALS
One of the funniest films ever made that still manages to hold up an engaging plot. A total winner.

It features some of the most genuinely stupid and amusing tough guys in the history of cinema, and a tantalizing slow burn by Deniro, a shortchanged ex-cop, who just wants a peaceful little coffee shop as payment for his decency and integrity. The comic chemistry between Robert De Niro and Charles Grodin is top-drawer. Surrounded on all side by ethical infants, these two characters at least know the difference between virtue and vice, and are ironically the moral backbone of the film.

Comedies that don't wallow in their humor are twice as much fun, and Midnight Run maintains a swift pace throughout. Situation-wise, it's a dynamo of action. I found the denouement to be quite moving as well, at the very least it provokes thought.

If you're looking for a comedy with depth, bite, wit and excitement, then catch Midnight Run. The DVD's spiffy special features quite simply reinforce my recommendation of purchasing this one, not just renting.

Perhaps the best "buddy" film ever made
The story focuses on a man that has jumped bail named Johnathan "The Duke" Mardukas ( Charles Grodin). Mardukas is the ex-account of a Las Vegas mob boss named Jimmy Serrano ( Dennis Farina). The Duke embezzled millions of dollars from Serrano and gave it away to charity before being arrested. Eddie Marcone (Joe Pantoliano)is the bail bondsman that bailed The Duke out of jail. Marcone only has 5 days left, before the bond is forfieted and he is out $100,000. So he sends bounty hunter Jack Walsh (Robert DeNiro)to retrieve The Duke and bring him back. Unfortunately, Jimmy Serrano wants The Duke dead, and sends two hitmen to kill him. Not to mention the fact that the F.B.I. want to be the ones who bring The Duke to justice. If things couldn't get any worse, there is also a rival bounty hunter named Marvin ( John Ashton)who is trying to bring The Duke in himself. Now it is up to Jack to keep The Duke alive and in one piece, while avoiding Marvin, the FBI, and the two mafia hitmen that are hot on their tails. However, with The Duke constantly trying to escape Jack's custody, Jack begins to realize that he is in for much more than he bargained for.

Midnight Run is without a doubt the best "buddy" film ever made. The reason is because Jack and The Duke's friendship takes the whole movie to develop. Nothing about their relationship is cut and dry. The Duke will do something to make Jack like him one minute, and then upset him the next with repeated escape attempts. The film also features the perfect mix of action and comedy as well. There are certain points in the film that are extremely funny and entertaining. The dialogue in this film is first rate. Then you are also drawn into the film because there are so many obstacles Jack and The Duke must overcome on their way to L.A.. There are tons of close calls in this film. The two mafia hitmen, the FBI, and Marvin the bounty hunter are all equally close to catching up with them. Robert DeNiro has had a lot of great performances. However, I still feel after all these years that his performance in "Midnight Run" is one of the best he ever gave. Charles Grodin manages to be just as good, and even better than DeNiro at times. DeNiro and Grodin's personalities are so different, that they end up making the perfect pair.

After all these years, "Midnight Run" is still a favorite of mine. I have seen the film many times, and it seems to get better after each viewing. Overall, the film features first rate laughs, an action packed story, and great performances from DeNiro, Grodin, Dennis Farina, and Joe Pantoliano. This is definately a must own film.

A solid 5 stars...

Easily, best movie I've ever seen...nothing can come close..
Best line ever in a movie: "That's right and i got two words for you: Shut the f.;k up!" Watch the ad-libs on the bus as Grodin bugs him to put the cigarette out, DeNiro has to hold from laughing, holding a sick smile, going, "I can't believe this f'n guy"...DeNiro, Pantiliano, Grodin, Ashton, Farina, Kotto,...with a great script by Gallo, Brest directing, Danny Elfman's bluesy music...are you kidding me...this movie is funny, touching, adventorous...just watch it...it's one that never grows old cause' it says so much about all of us... ... Read more

Reviews (653)

Brilliant!
Magnolia is a hard film for many people to watch. The reason for this is that Magnolia is a film about what we watch movies to escape from... real life. That's what its about; forget the sprawling plot, Magnolia is about the trials and tribulations of modern life. It's about coping with regrets and fixing our mistakes. This makes for a very depressing film. It also makes for a very real film.

Filled with many different characters, its easy to find someone to identify with. Whether it be Frank TJ Mackey, a womanizing motivational speaker who refuses to come to terms with his father, or Jim Curring, a cop who's trying to find love while doing the right thing, you're sure to find someone who you love.

Stellar performances are turned in across the board, but that's no surprise looking at the cast. You stop seeing William H. Macy, you start seeing Quiz Kid Donnie Smith. The only weak link is Julianne Moore as Linda Partridge. She's way over the top, but its forgiveable if not dismissable.

Magnolia is one very smart film. It is filled with themes of redemption, courage, freak accidents, and God. Director Paul Thomas Anderson does not dumb these down for us; he does not insult his audience. He knows we are smart, capable people and leaves it all up for our own interpretation. It may be a little overwhelming, but that's why this is a great DVD to purchase. You can watch it repeatedly and pick up on all the little things you may have missed that make a big difference. On the suplemental disk is an interesting documentary about the making of Magnolia that offers much insight into PT Anderson and the way he works. The only thing that's missing is a commentary track by Anderson; he thinks the film speaks for itself. He may be a little off base there, but Magnolia is nonetheless a very satisfying purchase.

Best of the Year
I know "Magnolia" technically came out in 1999, but it's wide release was in 2000, and with this year not even half-over, I can honestly say that this movie is one of the best I've ever seen. With few and relatively minor flaws (such as trying to tackle 10 different storylines; some of them not resolved well enough by the 3-hour period)P.T.Anderson beautifully uses the camera to convey moods parallel to the characters that he writes. There are some surreal moments that are just flat-out cool, ie. the whole singing thing (that's being labeled as stupid, but aren't you supposed to leave reality at the door?) A great soundtrack that makes this movie as amazing as it is and a brilliant ensemble performance with stand-outs by Julianne Moore and John Reily (who plays the most damn convincing cop I ever seen). But I agree with the last review: Anderson should have focused on 3 or 4 storylines and explored them more. Even so, one has to admire it's gutsiness to take on themes like desperation and lonliness and do so with such conviction-

(There are also symbols in this film, which at times can be confusing-but after you see this, read Exodus:8 from the bible and some of your questions will be answered.)

Just for the record. . .
It really does rain frogs, though it is a rare occurance. I always get a bit peeved when people complain about that aspect of this wonderful film.

Do a little research. It shouldn't take you long to find a dozen or so newspaper articles documenting frog storms.

". . .but it did happen."

Original Artistic Masterpiece
This movie is a must see for anyone who appreciates artistic well thought out movies. If you are dumb then I don't recommend it as you will be unable to comprehend it's brilliance, most of the time these people will dimiss it with negative reviews just because they don't get it.
.... And I quote Bob Dylan ' Don't criticize what you can't understand'
A unique film run with fantastic acting and an undercurrent of genius. The music, Starring Aimee Man's Beautiful voice captures the atmosphere of the movie with insane accuracy as does the superb camera work. Well Done!

Powerful, impacting movie
This is not a perfect movie but I think it comes across powerfully. The acting is superb. Tom Cruise's character suits him well and Julianne Moore plays her part so daringly that I ended up hating her and then pitying her. The other actors/actresses all do a great job. The film is fast-paced, a good thing considering it lasts about 3 hours. There is a coming together of several seemingly unrelated stories. A common thread that I picked up is the severe pains caused by personal, self-serving decisions that hurt loved ones. The message of the movie is powerful and compensates for some of what I consider the movie's shortcomings--such as the seemingly constant yelling and cursing--much usage of the f-word (just like in real life) and several scenes drowned out by loud music and an odd even of the sky raining bullfrogs, an event that plays an integral part in the climactic ends to the several stories. ... Read more

Reviews (39)

Anti-human allegory
Not everybody will be able to understand and enjoy Lars Von Trier's first film in his "Land of oportunities" trilogy, "Dogville". It is long, unusual, intelligent, sarcastic, strong, tense and even violent, among other things. I'll try to explain these adjectives in the following paragraphs.

"Dogville" is long. Very long. Almost three hours in length, divided in more than ten chapters, showing a young lady, Grace (Nicole Kidman, good as ever) reaching a small and self-centered mountain town, named Dogville. Grace, at first, stirs the sameness in Dogville's citizens' lives, trading shelter and food for a job as a housemaid in the many houses of the village; then, as time goes on, Grace will be the cause of great troubles and disagreement. The viewer must have patience, because the movie is long; it is not, however, boring. Von Trier takes his time and explores all the features he wanted to portrait in his film.

"Dogville" is unusual and intelligent. I'ts unusual because of the setting. The little town of Dogville is nothing but a stage. The many buildings (the houses, the church, the mine, and such) are marked by white paint in the floor of the stage, like a blueprint that we may open atop a table. And that's why the movie is also intelligent; as the buildings have no walls, the viewer is able to see everything that goes "on stage", even if the scene is focused only in one or two characters (but the characters act as if Dogville was a common town, with walls on their houses). This way, the viewer feels almost like in a theater. The viewers are part of the play: they have, somehow, in a distant manner, to interact with the characters on screen. The viewers themselves become citizens of Dogville.

"Dogville" is sarcastic, strong, tense and violent. For sarcasm, the title Von Trier self-imposed to his trilogy: America, land of oportunities. In fact, what happens on Dogville could happen anywhere in the world, for the story deals with selfishness, intollerance, distrust and prejudice, emotions prone to every human being. Von Trier shows that, if the United States want to be the new "center of the world", they will have to deal with their own "ghosts in the closet", before attempting to judge other societies. That's why this is a strong movie: it deals with things that most people are not ready to consider being part of their own self behaviour. It's easy to judge others, but it's hard to accept others judging us, or for us to judge ourselves. "Dogville" is tense and violent (and even ugly) because of how the characters act, and because, while watching the movie, we consider that we may not be so different from the characters at all.

"Dogville" is a very well constructed movie, with an excellent script, great (stereothyped) characters played by effective not-mainstream actors (Paul Bettany, Patricia Clarkson, Stellan Skarsgard, among others) and a provocative direction. One of the great movies of 2003.

Grade 9.4/10

A lot of bite to this movie
I'm glad to see this movie has finally made it on DVD and VHS in the States. It took a long time to do so. Lars von Trier follows up Dancer in the Dark, with an even darker view of small town life in America. In this case, we find a town quite literally at the end of the road, buried in a hollow somewhere in West Virginia, where the denizens are reduced to having to pick up the scraps left behind by others and live out a marginal existence. But, in its midst there is a dreamer, Tom, who at first appears to be the moral bellwether of the community. He tries to convince the community to take in a fugitive, evocatively played by Nicole Kidman, and finds that he has to make certain concessions in order to do so.

This film unfolds on stage in a highly theatrical telling, lending to the story the strong sense of a parable. Von Trier has assembled an impressive cast including old favorites Lauren Bacall and Ben Gazzara. The story builds slowly, with some fascinating twists and turns before reaching its shattering climax. It reminded me a lot of Shirley Jackson's classic story, The Lottery, but seems to owe more to the small town vision of Sinclair Lewis and Thornton Wilder.

I suppose some will be turned off by von Trier's disturbing view of small town life, but this film is masterfully handled, and shows what an accomplished director he is, drawing the most from his actors, in particular Nicole Kidman.

"Are you for us or against us?"
Every so often, a director appears who seems determined to antagonize and challenge his or her audiences. One such filmmaker would be Lars von Trier, the creator of such uncomfortable viewing experiences as "Breaking the Waves" (in which Emily Watson's character had conversations with God and played both roles) and "Dancer in the Dark" (featuring Bjork as a guileless, nearly blind factory worker who winds up on death row, thanks to bad luck and poor communication).

His "Dogville," a parable about how community spirit can either elevate or destroy people, is lengthy chronicle of Depression-era America that's played out entirely on a large, sparsely furnished soundstage. Nicole Kidman, Paul Bettany, Lauren Bacall and others play their scenes not on actual sets, but inside chalk-drawn rectangles meant to symbolize various locations. While Kidman's character Grace Margaret Mulligan talks about finding herself in "a beautiful little town in the midst of magnificent mountains," all the viewer can see is a bunch of scattered chairs, a few wooden arches and a blank white scrim that serves as the backdrop. Locations with such picturesque names as Raccoon Road and Elm Street have no raccoons and no elms to offer.

This is, obviously, at heart a theatrical piece that's heavily dependent on lighting, sound effects and, more than anything else, the passion of the performers to put it over. For many viewers, "Dogville" will be nothing more than a curiosity piece that quickly exhausts the patience; for others, it may be a mind-bending experiment in determining exactly where stagecraft and the art of film can intersect.

It could all have been insufferably pretentious -- and at times, it comes perilously close to being exactly that -- yet the movie does have its own bitter humor, a few vividly etched characters and a kind of offbeat flavor that's admittedly an acquired taste.

Unfolding in nine chapters (plus a prologue), "Dogville" is the story of Grace, a pale young woman who hides behind her dishwater-blonde hair and tries exceedingly hard to please everyone around her, often to her own disadvantage. She stumbles into Dogville (population: approximately 15) after escaping some gangsters and she hopes to find shelter in the backwoodsy hamlet, even though the inhabitants don't seem to have much of anything to spare.

Local philosopher and would-be intellectual Tom Edison (Bettany) takes an immediate interest in the soft-spoken stranger, but most of his fellow Dogvillians (including Patricia Clarkson as a prissy sort, Phillip Baker Hall as a sickly physician, Jeremy Davies as Tom's dopey buddy and Chloe Sevigny as a curly-haired cutie) cast a wary eye in Grace's direction, at least until she volunteers to help out around the place. Suddenly, everyone is quite fond of her -- and why not, when she's willing to work for free? -- and Grace finds herself laboring day and night for mostly thankless bosses. "There's an awful lot to do here in Dogville, considering no one needs help," Grace muses, as she scurries from task to task.

In von Trier's eyes, the residents of Dogville represent not just the stereotypical "ugly Americans," but the very ugliest America has to offer: On the average day, they're merely suspicious, hostile and greedy, but when something really gets them worked up, they're capable of every kind of abhorrent behavior, including the enslavement of the weak and sexual humiliation.

Despite the vaguely 1930s setting, "Dogville" is very clearly designed as a skewering of the jingoistic, anti-foreigner sentiments that swept certain corners of the U.S. in the months following the 9/11 attacks. In the story, the community's happiest times come, not coincidentally, around July 4; not long afterward, circumstances cause most of Grace's new "friends" to turn on her. Even the children Grace has taken care of resort to blackmail to get what they want, as the adults begin barking slogans like, "Are you for us, or against us?"

Kidman, in a performance as emotionally stark as any she's ever given, makes Grace's journey achingly real, even though everything around her is deliberately artificial. Initially, Kidman and von Trier had planned to collaborate on a trilogy of stories following Grace's misadventures, but Kidman has since pulled out of that project. Considering what the director puts her through in "Dogville," it's not hard to guess why she didn't sign up for more.

Priceless lesson.
All angles of Von Trier's genius bursting in this movie have been more or less thoroughly explained in the previous posts. I'd just like to add one thing that wasn't much talked about, yet I thing it was the crown jewel of this movie.

Yes, the movie is a brilliant study of characters and (dark) human nature, but more importantly it gives viewer a priceless lifetime lesson. It displays a battle between moral purity, youthful idealism and unaware-of intellectual arrogance on one hand and pure-and-simple concept of responsibility on the other. It is in fact this battle that squeezes and twists our stomach throughout the whole movie; it is this opposition which, in all its clarity, finally unveils itself in the final dialogue. Intellectual exchange of argument defines the "winner". And leaves the viewer contemplating, speechless in awe.

A masterpiece that raised the bar of cinematographic creativity on a brand new level.

Flawed Masterpiece from Von Trier
I don't want to repeat what a lot of the reviews have said. Yes, Von Trier has done an excellent job, the set was a brilliant choice to film on, and the acting is all excellent. I just wanted to point out a few flaws I felt the film had.

First, it did not have to be 180 minutes long. I understand the long time Von Trier took to introduce us to the town of Dogville, because it made everything that followed in the story more powerful because of the understanding we had for the village and it's characters. However, Von Trier proved his point again, and again, and again. I felt between the two and a half hour point and three hour point that a lot could have been cut. The story lost its fury and steam through that half hour. It felt like rambling, and it could have been condensed in the screenplay to still showcase everything the filmaker wanted to.

Next, one of the reviewers said that critics "pounced" on this film for being anti American and gave it bad reviews. They didn't. Most reivews of Dogville are positive, and those that aren't clearly state problems with the film, and not the anti Americanism in it.

Finally, I felt like Von Trier took all this time, three hours to be exact, to construct this pretty darn good cry out against humanity, and not America, and then after the powerful ending the credits just let me down. I felt like Von Trier took all that time creating this masterpiece, only to side swipe it with a cheap jab at America. Those who say it's not anti American need to review it again. The end credits play over homeless people to the tune of David Bowie's I'm Afraid of AMERICANS. HELLO, thats a big clue people! The film itself is not anit American I believe, but the end credits really let you know what Von Trier thinks. The end creidts also felt like they had no relation to the film. After watching the bare bones scenery, set to classical music, the glam rock Bowie tune did not fit at all. It was cheap, sloppy, and unfortunate that it degraded such a fine piece of cinema. Bad choice Von Trier. It quickly numbed the sting I felt after the actual film ended, instead of letting it stay.

Overall, see this film if you are curious about it. It is a mini masterpiece from Von Trier, but a flawed one at that. ... Read more

Reviews (37)

Oh those zany 80's
I remember seeing this in 1987 at the theater. It was kind of embarrassing because there were like only ten people in there.

If you're looking for the zaniness of Ferris Bueller, this is right up your alley. Jerry Mitchell has to fight a school bully at three o'clock. He tries to pay off a huge jock to protect him, which ends up being film history's largest domino demonstration. He tries to get detention, but just ends up turning on his English teacher. Throw in a bratty little sister, a new age girlfriend, the 'perfect girl' and a nerd sidekick, and you got yourself an hour and a half of decent entertainment.

Hey we all had those butterflies in our stomach when we knew we had a fight set for after school, it's all apart of growing up. It just sucked when it happened first thing in the morning, so you had to dwell on it all day. So there's a little Jerry in all of us. Of course those were the 80's. For those too young to remember, teenagers would settle their differences with their fists, not guns. Hard to believe but it's true.

Notice how at the end of the movie, the whole school looks like the Roman Collusium or a scene out of Mad Max. Outrageous.

Great Teen Film
Ask any "child of the 80's" and they'll give you the usual list of classic "teen films" - Fast Times at Ridgemont High, Pretty in Pink, Ferris Bueller's Day Off, etc... But there's a good chance they'll fail to mention one that really stands out: Three O'Clock High. It takes place over the course of a single school day. Jerry Mitchell (Casey Siemaszko) is a nerdy, wimpy kid assigned to tackle a frightening assignemnt: write a school newspaper story on an incorrigible badass bully names Buddy Revell (Richard Tyson). Not knowing Buddy's temperamental nature, and inability to forgive a grudge, he gets Buddy upset enough to make him set up a fight after school. At three o'clock, natch. Jerry spends the day trying to avoid the confrontation with Buddy, and everything he tries simply gets him in trouble with school authorities, and with Buddy himself. And the moment of truth draws closer... Three O'Clock High is basically High Noon in high school, but it's done in such a fresh and interesting way. The cinematography is spare and clean, with some deft camera moves. The dialogue is pretty crisp, and occasionally hits the mark dead-on. It's surreal, but any recent ex-high schooler will easily recognize the "types" depicted here. END

Great comedy-drama, even better than da BREAKFAST CLUB!
To make one thing clear in front; THE BREAKFAST CLUB is one of those films I'll even love and won't get enough of, when I've even seen a thousand times! Because of its typical 80s-flair, and the great intense actings, it is for me one of the greatest films ever made!
Wouldn't there be THREE O`CLOCK HIGH - a laconic highschool-comedy-drama with a hilariously extravagant story and a standout in acting-qualities!
Casey Sziemasko has to match Richard Tyson in a fight he can't win! So he does anything to prevent the fight - funny, but also dramatic situations follow and in the end anything has to come how it had to come!

GO WATCH IT AS SOON AS POSSIBLE!

If you like the 80's and movies like the Breakfast Club.....
...then Three O'Clock High is for you. I have an old VHS copy that I taped off of Starz or Encore many years ago and I haven't seen it on any of the movie channels for quite some time. Needless to say, my old VHS copy is worn out and I've gone in search for the DVD and I've found it!

I've watched this movie countless times as I've introduced it to my friends who hadn't saw it or even heard of it before I turned them on to it. Everyone I've shown the movie to has liked it. Many of the other reviews do a good job of describing who's in it and what the story is about. It's a movie I think a lot of people can relate to with their own experiences of high school.

It'll become one of those movies that you watch while you're not so sober too! Enjoy.

High Noon at Three P.M.
THREE O'CLOCK HIGH is a forgotten gem and one of the better high school teen movies from the 80's. Casey Siemaszko (BACK TO THE FUTURE, STAND BY ME) plays Jerry Mitchell who inadvertantly gets challenged to an after school fight with the new kid in school, Buddy Revell (Richard Tyson -KINDERGARTEN COP, BLACKHAWK DOWN). Buddy is mean, moody, huge, and probably has a questionable past. This happens practically at the beginning of the school day so the film focuses on Jerry's activites the rest of the day leading up to the time of the fight. He gets in all kinds of funny predicaments (at some of his classes, and at the student supply store which he runs and operates) trying to figure out how to get out of the fight. In the meantime the rest of the school finds out and want to be there (at the school parking lot). The audience is allowed to watch, along with Jerry, the school clock(s)and see his 'life' ticking away. There are many twists and turns involved including a scene where the two meet up again at a math class (actually sitting next to each other) and Jerry helps Buddy cheat on a math quiz. The film could have been predictable, but the fight does insue and it is handled with good direction, care and timing. The filmakers let Jerry hold his own against Buddy with a great and amusing payoff. Then, part of the ending is taken straight out of IT'S A WONDERFUL LIFE. Genuinely, a smart movie with some interesting camera work, good production values, a good performance by Casey Siemaszko and a good supporting cast which includes veterans Jeffrey Tambor (AND JUSTICE FOR ALL) and John P. Ryan (THE RIGHT STUFF). Note: Look for Mitch Pileggi (Agent Skinner from the X-FILES) as the school security guard. ... Read more

Reviews (287)

The Moose Hole - 'Fears' Realized
Ben Affleck is not the most likely actor you would expect to see playing CIA agent Jack Ryan from the famous Tom Clancy novels. But whether you like him or not, he is the third actor to take on the role after Alec Baldwin in The Hunt for Red October and Harrison Ford in Patriot Games and Clear & Present Danger and it will be interesting to see how the film fares out. Not for the sake of Affleck's ability to take on the role but to see if a film with a story so deeply involved on terrorism can succeed. Though the villains in the film had been changed from Muslim terrorists from the novel to Neo-Nazis, this decision was made before the September 11th attacks and kind of represents our innocence back then. If the film pays off in the end, perhaps studios will be less reluctant to release films in genre like they are now.

The story for the fourth film based on the Jack Ryan series finds the famous Tom Clancy character at a much younger age then in the previous theatrical efforts and showcases his early start in the CIA. Jack Ryan is recruited to the CIA program by Bill Cabot after the president of Russia dies and is replaced by a man the United States does not know about and therefore fears. The only thing they have on him is the report that Ryan wrote on him years ago. After a bomb goes off during the Super Bowl in Baltimore, Ryan must get the right information to the president before a conflict between Russia and the United States ignites World War III. The story for The Sum of All Fears holds together pretty well and the reason may be because it is based on a best selling novel with little changes made overall. Despite this being a lower budgeted effort then Attack of the Clones or The Scorpion King, the story for this film is ten times better then the more budgeted fare.

Though the cast really only carries two big names, those being Affleck and Freeman, the cast is put together well with plenty of lesser known, but exceedingly more talented, actors. Ben Affleck, who has had a series of unmemorable films including Reindeer Games and Bounce, takes over for Harrison Ford in the role of Jack Ryan and, quite frankly, doesn't do bad of job. Affleck certainly prov