Description

Marlow is an ambitious and adventurous sailor who is employed by an English trading company and sent to an African colony. There he travels up the river, visiting the trading stations who barters for ivory with the natives. On his journey he is told about a man named Kurtz whose station is the one furthest up the river, deep in the African jungle. Some talk of him in awe, others in admiration, but they all seem to fear him. As Marlow gets closer and closer to Kurtz he understands that the man has gone insane and is now doing the most horrible and blasphemous deeds. Based on Joseph Conrad's classic novel about greed and insanity. ... Read more

Reviews (14)

A Close Interpretation of a Classic
Conrad's look at imperialism and the destruction of Africa was an allegory shown by the inner destruction of Kurtz. This film plays out the slow trip of the short novel -- as slow and monotonous as the trip up the river was for Conrad -- an ocean sailor. But the Kurtz character gets lost in the mystery -- and his dark machine-like ablilty to kill is shown only in the contrived yet riveting scene with a pet monkey. Even the skulls are downplayed. Here too Kurtz is allowed to die and be buried in his village by those who "love" him rather than having him die on the way back -- for affect? It is an uneven and, at times, a slow piece. We don't find out much about Marlowe as well. But we get a true sense of Marlowe wishing to spare Kurtz's lover with a lie -- just as those selling ivory chose to lie about the circumstances.

Even good acting can't save this dud. Don't bother.
Starring John Malkovich and Tim Roth, this video was made for an HBO television special. I was interested in it because I have always wanted to read the original Joseph Conrad novella, which was used as the basis of the very successful "Apocalypse Now". I thought this might be a substitute for reading the book. Well, it wasn't. And it might turn just me off to the book forever.

The story takes place in the late 19th century and Marlowe, played by Tim Roth, is an English merchant who is sent to Africa to look for Kurtz, played by John Malkovich, a merchant who has disappeared deep into the jungle and has also stopped the very profitable ivory trade. The tone of the video is morose and sad as Marlow travels further and further into the depths of the jungle and finds evil again and again, especially when he finally meets Kurtz.

I don't know why I continued to watch because I was totally bored throughout. It also was difficult to understand some of the dialog. I guess I was waiting for the inevitable meeting between Kurtz and Marlow. When it finally happened I just didn't care. The acting was good but the performances were wasted. My recommendation: Don't bother.

A rebound for Roeg
I was curious about this film when I heard about it years ago. I love Nicolas Roegs early work but saw that his later movies were weaker and it seemed Roeg had lost his magic. "Heart of Darkness" is a Nicolas Roeg film and it's quite nice to see the old boy has still got it in him. The subject matter suits his odd style of film making. A good film. DVD please!!!

Heart of Darkness
Lights! Camera! Action! These are the three words which cause the distinction between books and movies. When making a movie based on a book, there are additional factors to be taken into account, thus altering the movie from the book. However, usually these changes just serve as tools to enhance the story, making it more interesting to the audience it is targeting. The movie, "Heart of Darkness" is an excellent adaptation of the novel because everything matches up well with the descriptions used by the author, and it captures the true essence of the story on film.
Set in the wild depths of Africa, the tale slowly unravels as a determined seaman, Marlowe, sets out on a journey to Africa, and soon finds himself on a dangerous expedition in search of a missing ivory manufacturer, who has deceived many people waiting for their ivory. The fact that Africa is such an incredible place filled with fascinating cultures is clearly shown by the settings and casts chosen for the movie. The story is told from Marlowe's point of view, as he is telling the story to group of sailors on a boat. Although the time of day during which Marlowe told his tale was switched from evening to daytime, the same effect is produced because each scene in the movie is so vivid and engrossing, therefore each providing its own effects. The setting for each scene perfectly suits the events which take place. The setting has a very big impact on the plot of the story because one purpose of the story is to depict the true meaning of life in Africa, particularly the uncivilized nature of some of the people that live there, or that have been there too long.
The catchy music chosen to accompany each scene, and the simple, but realistic costumes chosen for each character, set the ideal mood that is necessary in conveying the tale. The music consists of rhythmic drumming mixed together with strange noises similar to those of a person gasping for air, or breathing loudly. The drumming fits in with the African theme and like a drum roll, it adds a hint of suspense and foreshadowing to each scene, which is also expressed by the book. An essential part of making of movie is choosing the ideal cast. Each character fits his/her description in the book, allowing for the vague images in one's mind while reading the book to actualize and come to life.
My favorite part of the movie was when Marlowe finally finds the place that Kurtz resides. When he arrives, a crazy guy, who has gone mad from being in the jungle, welcomes Marlowe to the area. I think that this scene is crucial to the plot of the story, because it is the point at which Marlowe finally finds Kurtz. Once he reaches Africa and found out about the unjust doings of the mysterious Kurtz, he makes it his mission to find him. Although the insane man standing at the entrance seems like a trivial character, I think that he actually represents one of the major themes conveyed in the book. This idea is that people can often go mad from living in the jungle too long, which is what happened to Kurtz. Kurtz finally reveals himself, much to Marlowe's relief. However, due to Kurtz's sickliness and insanity, it was difficult for Marlowe to communicate with him. During this scene, another important idea that is stressed is the uncivilized nature that is constantly shown throughout the book. An example of this is when Kurtz nonchalantly breaks the neck of an innocent pet monkey, while it was affectionately draped around Kurtz's shoulders. This part of the movie encompasses many ideas shown throughout the story, making it an important scene.
My favorite character from Heart of Darkness is Marlowe. I admire the determination he possessed when achieving his goals. He deals with many tribulations as he finds himself in the thick of the jungle. He becomes friends with an African man, Mutumbo, who soon suffers a painful death by a strange African tribe. Nevertheless, Marlowe maintains perseverance as he gains strength from every obstacle he is faced with. His bravery and fearlessness lead him to his ultimate goal of finding the mad ivory producer, Kurtz, and rectifying the ivory situation. However, it is interesting to see that Marlowe did change during his time spent in Africa. He completely went against his usual nature by lying to Kurtz's former fiancée about something that Kurtz never really said. I enjoyed seeing the story from Marlowe's point of view, and noting the good traits of Marlowe, that were somewhat tainted by his experience in Africa.
I highly recommend the movie Heart of Darkness to anybody who likes adventure, particularly someone who read the novel as well. The movie was adapted very well from the book, despite a few changes. Each change helped to make the story more realistic and suspenseful. The cast, the music, the costumes, and the setting, created an exceptional combination, perfectly fitting each description from the book. Many details in the story are difficult to visualize, therefore the movie is helpful and informative to watch. The themes are also more apparent and effective in the movie. Although they each tell the same story, the book and the movie work together to complement one another in conveying the underlying messages of the tale.

missing the plot...
There is an inherent difficulty in translating any novel into the film. Every reader's experience is unique and so, before the first film draft ever sees the light of the day, there already are thousands of movies in existence. To compete with them is often impossible. But, there are strategies some directors successfully use (see Milos Forman's version of One Flew Over The Cockoo's Nest). Unfortunately, Nicolas Roeq did not. While explaining/simplifying Conrad's masterpiece and repackaging it into a contemporary genre, he lost the plot. He neither remained close to the original text, nor moved away from it far enough to allow his own voice to be heard. As a result, we have ended up with a neither/nor situation that benefits no one. Rather than adding to our understanding of issues and concerns raised by Conrad over a hundred years ago ('the other', the parallels between the outer and inner worlds, the reciprocal impact of colonisation, actual or metaphorical...) Roeq's film, as other reviewer's efforts indicate, adds nothing, and thus falls short of its potential. ... Read more

Amazon.com

Garry Marshall, the man behind Pretty Woman, has made two movies here. One is based on Anne Rice's erotic novel of a fantasy island where dreams are fulfilled and sexuality is open to all, led by a congenial dominatrix (Dana Delany) and a glowing new recruit (Paul Mercurio of Strictly Ballroom). The other is a farcical comedy-action movie, which is what you saw in the ads. Savoy Pictures must have been unsure of to how to market the movie, and they pushed the secondary action of pop songs, needless narration, and even a few noticeable dubs. Amazingly, though, the film works by the end as a guilty pleasure, thanks to the four principals. Delany finally ripples on the big screen, Rosie O'Donnell has her first confident work since A League of Their Own, Dan Aykroyd becomes a comic mainstay, and best of all is Mercurio. The brooding stud is a delight, and is sure to launch a million fans as the loverboy who finds a sweet love story. Agreeable stuff if you really want Rice's erotic novels turned into cute TV-ish comedies. With, as always, Hector Elizondo. --Doug Thomas ... Read more

Reviews (40)

Great Erotic Comedy
Loosely based on Anne Rice's same-named book (which I haven't read yet, so I can't compare the two), "Exit to Eden" is a humorous and erotic movie about an Australian photojournalist, Elliot Slater (Paul Mercurio), living in California, who goes to a S&M fantasy island resort for some sexual experimentation. There he becomes a citizen (a slave) and tries to win the guarded heart of the head dominatrix, Mistress Lisa (Dana Delany).

Meanwhile, Detectives Sheila Kingston (Rosie O'Donnell) and Fred Lavery (Dan Aykroyd) are trying to nab a couple of South American diamond smugglers: Nina (Iman) and Omar (Stuart Wilson). When the latter two head for Eden in order to steal the pictures Elliot took of them at the airport, Sheila and Fred follow in pursuit, but undercover: she as a guest, and he as the maintenance man. It's a wild goose chase after that, with Elliot chasing Lisa, the cops chasing the crooks and Elliot, and the crooks chasing Elliot--everybody basically in their undies all the while.

"Exit to Eden" is a mishmash of genres--involving detective work, romance, and erotica--but mostly it's a comedy, which lightens the load on a dark topic such as BDSM. Sheila is the main comedic relief, as well as the narrator, but I felt the movie was more about the relationship between Elliot and Lisa, a pairing I thought was believable and enjoyable--one most viewers will be cheering for from the beginning. I was also pleased that Sheila got her own chance at romance with her private citizen, Tommy (Sean O'Bryan), since she was, at times, reduced to just being the chubby jokester. Even so, her one-liners are part of what made this movie memorable for me, e.g. "We're the only two people on this island without handcuffs," as well as in the same scene where she's making fun of Nina's accent.

"Exit to Eden" is yet another favorite guilty pleasure of mine. If you like sex comedies, then you'll probably enjoy this movie. It's all in good fun. Good soundtrack, too. Rated R for--well, I'm sure you can guess.

Not the book, but wonderful on its own
First, a caveat: if you liked the Anne Rice novel this film is loosely based on, you probably won't like the film.

Exit to Eden is a wonderful, lighthearted introduction to the world of BDSM. Unlike Rice's novel, the BDSM in the film is realistic, and the viewer is introduced to elements of real-life BDSM like safewords, mutual consent, and commitment to safety, that most BDSM fiction sorely lacks.

The casting was inspired, particularly of Dana Delany, Rosie O'Donnell, and Paul Mercurio, who like the people i play with are real people behind the leather facade.

Those who are seriously into the scene might find this movie a little tame, with only a couple of real scenes and "bondage" that can easily be escaped from. But the curious will find it a safe and unthreatening introduction to a very real and viable lifestyle. The scene with Lisa, Elliot, and the hairbrush rang very true on an emotional level--and i don't care what anyone says, the scene with Elliot in Mistress Lisa's bath was HOT.

There are only a few complaints i would make. Unlike the real BDSM community (or the novel), there's no hint of homoeroticism in the film. The real-life scene is very pansexual, with people of all orientations sharing space. And the casting of Richard was terrible. Most of all, i wish a lot more screen time had been devoted to Lisa's relationship with Diana, whose heady mix of intimacy and formal role has been an inspiration for my own relationship.

But those are very minor complaints. Overall it's a delightful film, one i've watched again and again over the years. If i were ever to come out to my family about being into BDSM, i would start with having them watch this movie.

Flirty, Funny, Sexy, and Sensual
Great movie!!!! Perfect for those manly men, and dainty women. It's really the best of both worlds. The guys get the action they crave in movies. And the women, well they get the romance, sexual suspence, and desires. Definitly guarenteed to keep you busy all night! Fun for both the sexually daring but also for the timid. Opens ones eyes to both worlds. The comedy is fun and flirty. Rosie and Dan are perfect for these roles. Suprisingly it DOES HAVE A PLOT. Definitly a wonderful snuggle up by the fire type of movie.....NOT FOR CHILDREN!!!!!......by the way this was written by a woman... :)
Everyone enjoy!

Wimped Out
A pity that the movie wasn't filmed as it should have been. Someone said it's a slap in the face to Anne Rice, who's novel was made into a joke with this movie. I strongly agree.

However, it's worth watching--though I roll my eyes through a lot of it thanks to the comedic parts. The book was not written as a comedy, and it shows in this film. A pity the director didn't have the guts to do this film the way the book was written.

I strongly suggest to those who enjoy the theme of this movie to go buy the book. Anne Rice's Sleeping Beauty series (written as A. N. Roquelaure) is an incredible read--better then Exit to Eden.

TERRIBLE TERRIBLE TERRIBLE
This is a complete slap in the face of Anne Rice's work. I heard that they initially shot the version of the film that closely parallels the book. However it did so poorly in audience testing, that they brought in Dan Adroyd and Rosie O'Donnel for post-production, AND MADE A COMPLETELY DIFFERENT MOVIE!! You can tell because the four principals are together only in the end scene. But this effort only confuses and destroys whatever had existed of the original themes. I would be interested to see the original version that followed Anne Rice's book. ... Read more

Description

When Kid's college money is stolen by a crooked music promoter, Play's solution is to stage the 'mutha' of all pajama parties. Starring Kid 'n Play and Martin Lawrence. Produced and directed by Doug McHenry and George Jackson. ... Read more

Reviews (10)

Another case of a disappointing sequel
This movie was disappointing, although not a total washout. Martin Lawrence as Bilal still made me laugh, but some of the scenes had recycled jokes and even preachy tones. The scenes where Kamron (of Young Black Teenagers) as Jamal, a white kid who talks black, shows up were so gimmicky it was scary. But one funny scene was when the party was hopping from apartment to apartment while Boyz II Men's "Motownphilly" was playing in the background. Still, all of the best jokes were given away in the trailers, and they weren't even all that funny. The following two sequels are even worse, so just stick with the first House Party.

A anytime movie when you just want to kick back and chill.
This movie is funny and relaxing. It really puts you bcak in the day when everything was just alright. Watch this movie and "roll" with Kid 'n' Play! And if you love Martin Lawrence then you will love this movie. House Party 1 and 3 are also recommended.

Boom,Shaka-laka-laka!!!
This is one of the most funniest films that would really want to make you laugh harder and harder and completely HARDER!!!No other comedy film is as good as House Party 2!Peace,everybody!!!

THIS SEQUEL IS A BIT TOO MORALISTIC AT TIMES
IN THE 1ST SEQUEL, KID GOES TO COLLEGE BUT, REALIZES THAT HE LEFT HIS COLLEGE MONEY WITH PLAY WHO'S GIVEN THE MONEY AWAY TO A CON ARTIST CLAIMING TO BE A RECORD COMPANY EXECUTIVE. MOST OF THE FUNNIEST MOMENTS COME FROM MARTIN LAWRENCE, WHO RETURNS AS BILAL. THIS SEQUEL IS A LITTLE BIT MORALISTIC AT TIMES, WHICH IS NOT WHAT THE HOUSE PARTY TRADITION IS ABOUT. ESCAPES A TWO STAR RATING ONLY BECAUSE IT IS THAT MUCH BETTER THAN THE NEXT TWO HOUSE PARTIES THAT WOULD FOLLOW.

JUST AS GOOD AS THE FIRST!!!
House Party 2 proved to be just as good as the first. The characters were better and the dialouge and plot made more sense but the lack of his foul mouthed father really crippled it's rating.

This movie delivers a better message than the first but the lack of Robin Harris really sucks (he died shortly after the House Party movie) However Jamal can be funny yet utterly offensive (he is a white guy who thinks he is black).

Lots of messages and innuendos in this movie to convince the viewers to stay in school. Recoomended to troubled youths. ... Read more

Description

A writer with two painful divorces behind him meets and falls in love with an artist.He decides to keep the fact of his wealth a secret, in order to make sure she loves him for reasons other than his money. ... Read more

Reviews (1)

A pleasing, funny love comedy
Steel Magnolias was the first one that I saw among Sally Field's movies, and I tend to backtrack her from there. It was interesting to see totally different her in Surrender, but her fundemental characters and actings are still there. One night, I turned on TV and I saw her. Since I rarely watch TV, I could have turned off after a moment if I hadn't seen her. And I kept watching. And I kept watching even though I was tired, and despite all the long commercials. It was not because of Sally Field. It was because the story line was pretty good. Not only it was charming, funny, and pleasing, but also it made me curious of what's going to happen. I ended up watching till the end and slept at 3:00 am, enduring all the commercials. This rarely happened in my life. As a Sally Field fan, I would like to give 5 stars, but to be fair, I would give 4 stars for this movie. Any love commedy fans should like this movie. ... Read more

Amazon.com essential video

Steve Martin wrote this film as a meditation on both love and Los Angeles (and then-wife Victoria Tennant). He plays a L.A. TV weatherman who finds himself conflicted about what to do with his life, both professionally and personally. As he works his way through a couple of relationships (including a very funny one with a frisky Sarah Jessica Parker, who talks him into colonic therapy), he discovers a L.A. freeway sign that gives him romantic advice. It helps him realize what he knows intuitively: that the British woman he is attracted to (Tennant) is the one he should pursue. A big cast (and lots of cameos) have fun with this witty (if slight) material and director Mick Jackson adds visual pizzazz. --Marshall Fine ... Read more

Reviews (62)

*Scratches head* Why did this do bad at the box office?
Actually I can probably answer my own question: because everyone went to see this movie expecting The Jerk and got Woddy Allen. This is not a bad thing, in fact this is (in my opinion) Steve Martin's finest achievement, a brilliantly written, witty, well-rounded romantic comedy that is definately a "cult-favorite". I hate most romantic comedies, detest them because they use stupid plots designed only to drive the characters together. This movie builds a world of comedy around Steve Martin's character, then gently and subtly introduces the romance in a very artistically delightful bit of filming, with a dreamy Enya soundtrack in the background (back when she was at her best). How can you not laugh when Steve Martin is on the freeway and, to his horror, hears it's the first day of spring and consequently "open season on the LA freeway", to which he immediately takes out his gun and starts firing blindly at the old granny in the car next to his, who fires back. Or all the great cameos like Rick Morrannis, Patrick Stewart, Chevy Chase, and even Terry Jones. If you're a fan of Steve Martin's more subtle wit instead of his goofy antics (read his book Pure Drivel for similar subtle humor), you will love this movie.

L.A. STORY is Steve Martin's masterpiece
It's always a delight to follow a movie comic who really knows what he's doing, because eventually you hit the jackpot. With Woody Allen, it was HANNAH AND HER SISTERS; with co-exec-producer/writer/star Steve Martin, it's L.A. STORY. Rarely does any movie, much less a comedy, keep me bolted upright in my seat in anticipation of what might happen next. But from its schizoid opening ballet to its sweetly happy ending, even when I wasn't laughing, I was enchanted.

Martin plays Harris K. Telemacher, a Los Angeles TV weatherman who's unsatisfied with his superficial lifestyle. He woos and beds some women whom most men would probably be thrilled to have (Marilu Henner, "Sex and the City's" Sarah Jessica Parker), but he is unsatisfied until he meets a British journalist (Martin's then-wife Victoria Tennant) whose very unpretentiousness is enough to knock him off his feet.

This is obviously Steve Martin's attempt to be another Woody Allen--there's the Annie Hall-like quirky romance, the use of jazz great Django Reinhardt on the soundtrack (he also uses Enya, which was my introduction to this beautiful vocalist), and he romanticizes L.A. the way Allen does The Big Apple. Funny thing is, it all works. Even if you're as anti-L.A. as Manhattanite Allen is, it's an L.A. crafted in Steve Martin's mind, anyway--and what an original landscape it is.

It even goes Allen one step better. One scene Allen filmed and then deleted from ANNIE HALL featured the rolling news marquee in Times Square telling him to return to Annie in L.A. I have no idea whether Martin ever heard about this or not, but in L.A. STORY, he gets romantic advice from a highway traffic sign. The concept sounds hopeless (as Allen obviously decided it was), but Telemacher is so disbelieving about the concept that its comedy comes across. After all, everything else offbeat happens in L.A.; why not this?

There are few comedies that meld so perfectly. One is tempted to credit its lush visuals and on-the-button pacing to director Mick Jackson, except that Jackson has done little before or since that is this striking (THE BODYGUARD was a big hit, but I can't say it stands out in my mind). It's obviously Martin's comic vision all the way, and it's pure delight.

Martin's physicality and wit are on grand display here. And though Victoria Tennant, like Jackson, has done little else in her career that's this good, Martin certainly makes us see just what he saw in her. When they finally come together, it feels deserved and not at all forced.

In an era where gastric wheezing and room-temperature mentalities substitute for wit, it's refreshing to see a comedy that actually creates its own special world. For me, L.A. STORY ranks right up there with Preston Sturges's screwball comedies--a one-of-a-kind take on the world's craziness and the love that helps us endure it.

L.A. STORY is rated PG-13 for sexual situations and strong language.

One of Martin's Worst...
Having recently been certified as a qualified Steve Martin Critic under the auspices of the ASPG (American Society for the Prevention of Gout), I feel that I must impart what knowledge I have about "L.A. Story" so that the world will be a better place.

"L.A. Story" bombed at the box office after word of mouth killed it. In looking at the overall effort, it's not difficult to see why. "L.A. Story" is, in effect, a vanity effort, something that was manufactured for film critics and industry insiders. After films like "The Jerk", "Dead Men Don't Wear Plaid", and "The Man with Two Brains", Martin probably felt that it was time to move on to films that would appeal to a more mature, demographically correct audience.

The only problem is, "L.A. Story" is an effort that over reaches. As celeberal humor, it's too predictable. The sight gags and dialogue exchanges really don't work as humor, because the story itself plods along in a rather formulaic and mechanical manner.

"L.A. Story" is a film that will appeal mainly to members of the International Steve Martin fan club or certain Hollywood mutual admiration societies. If you want to see a good Steve Martin Film, watch anything else but "L.A. Story".

Incidentally, as of this writing, used VHS copies of "L.A. Story' are selling for $1.10 on Amazon...

Pure Genius
I have to admit, I'm not too keen on Steve Martin's newest (especially family-fare) movies, but can put L.A.Story up there in my top 5 movies of all time. Martin is a comedic genius and I get very excited to see him on Saturday Night Live, or in a movie such as this where he is truly in his element. I have owned this DVD for a few years and have put many miles on it, but long for artisan to release an updated version. Perhaps it is not on the top of the list for the studio or Martin (especially since it stars his ex-wife), but true L.A.Story fans hear me out and respond if you remember this:

Throughout the film there are references to "Harry Zell" (a Hollywood player)- more than I can count on one hand, actually. If you are paying attention, you keep expecting to see a scene with Mr.Zell but alas, it ended up on the cutting floor. I can vividly remember the first time L.A.Story debuted on Showtime in 1993 or so and surprise! the debut was hosted by the talented and hilarious John Lithgow- one Mr.Harry Zell. He introduced the movie and with a tear in his eye, showed his scene at the end of the movie. I'd love the film to be completed with this scene inserted in the appropriate spot- or at least included as a deleted scene.

All in all the movie is just about perfect, and people should get the Cliff's Notes to "A Mid-Summer Nights Dream" if they can't understand it.

Literate Love
Let's get this right out in the open. This is a love story. It is nothing more, and it does not need to be. It's context is a combination of philosophical literature and Los Angeles references, which makes for a dynamic range of comedic styles; testicle humor to Shakespearean parody. The sound track adds some magic and lends a weight to a story that is nothing new to the movie business. Yet it is the combination of elements that makes this movie a favorite of mine. Cinematically, it is clean and surreal.

I have read reviews that have called this movie Martin's masterpiece, and in the genre of romantic comedy, I agree. It is my favorite romantic comedy, and know that as a general rule, I hate romantic comedies. And yes, I still say this is a five star movie, definitely on my top 100 list as a Steve Martin fan and critical reviewer.

If you are looking for the "wild and crazy guy", look to The Jerk or his old stand up albums. If you want an intelligent love story in a unique backdrop, get this movie. ... Read more

Reviews (2)

Classic Preminger...a superlative screen adaptation.
From Saul Bass' incredible opening title to the final heartbreaking moment of love lost in the midst of espionage and bureaucracy, Preminger is at his utmost brilliance. He juxtaposes so skillfully from the hazardous pyrotechnics of spying and lying to the domestic side of the men he documents, never succumbing to mundane action, chases or shootouts. Sure, the subject matter may have been covered before, but not ever with such precision. Talky? Maybe. Psychological? Definitely, and that is the overall point. This is what Preminger was trying to do. Not glamorize spies by putting them in elaborate action setpieces, but really delving into the utter domesticity of the business. Some critics have called it "routine." On the contrary, there is great filmmaking to be had here, and the acting is on target all the way. Iman, in her movie debut, was a little cardboard at times, but that is to be expected. It is fair to say from an audience point of view that there is always an ambience at work in Preminger films to suggest something deeper than whatever onscreen tactics are occupying the foreground.

I have never had the privelege of reading the source novel, but intend to very soon. It tells the story of the forced defection of British government desk clerk Castle (Nicol Williamson). This is a man stuck precariously in a complex struggle between the fight for the happy, Calvinistic life and the loyalty to king and country. Castle fell in love with an African woman and called upon a Socialist friend to smuggle her back to England to lead a family. Now that he is settled, the friend asks for a favor in return, and this includes leaking information. It is also notable that the narrative does not limit itself to the daunting world of international intrigue. For instance, the scene where Richard Attenborough invites Williamson to his daughter's wedding because he does not want his wife to think that he has no friends, or the scene in the strip club with Morley, in an excellent performance, looking on at the cautious stripper. Incidentally, why is this film rated R? The strip club scene was handled with great discretion and there is no profanity or sexual matter to merit its rating. Otto's ROSEBUD was more worthy of the R-rating than this film.

The detailed flashbacks, which shows the audience why Williamson's character was forced to leak information to the Russians, are tainted with strange aphrodisia. This element makes takes these scenes to the hilt.

Internal conflict is at play here as Williamson awaits the point to where the struggle between domesticity and loyalty push him beyond good and evil (no, this is not a reference to Nietschze). Preminger had a firm handle on Graham Greene's original novel and he had something to say. The problem is that most critics are so impatient to watch the next movie to actually pinpoint purpose and excellence. In any case, it is worth whatever it takes to see it. Either that, or being a Preminger nut has forced me to think that his films cannot be touched with a ten-foot pole. And don't get me wrong, he deserves the acclaim.

Dry, but faithful
I recently watched this film on cable television (I haven't actually seen the video). Assuming that the version I saw wasn't edited, I wonder why the "R" rating? As to excitement, true, there are no car chases or shootouts (other than the excellent hunting scene at C's country estate), but fans of Graham Greene will find this adaptation very faithful to the novel. This story is considered by many familiar with the world of espionage to be one of the most accurate and realistic "spy" movies ever made. Greene's subtle but gripping movement towards the inevitable conclusion is characteristic of his best books.

The cast is superb, with the unfortunate exception of Iman as Sarah. Maybe this was her first role, as she often appears stiff.

Certainly worth watching for readers of G. Greene, perhaps the best English novelist of the 20th century. ... Read more

Reviews (26)

INTRICATELY CRAFTED POLITICAL THRILLER
If only the ending could be just a tad different, this would be twice as popular as it ever got. The topnotch, passionately made film largely goes unsung, a bit like "The Siege," only because it threw away all the riveting plot twists when it reached its ho-hum finale (some may call it a great final twist).

Quibbles aside, this fast paced nail-biter may be one of the quickest 2 hours of cinema ever filmed. Costner plays a Navy commander assigned to a high level post in the DOD, where he, and the Secretary of Defense become embroiled in a murder/scandal. The bulk of the film chronicles the Departments Under Secretary's attempts to quash the problem. A high level Russian mole in the U.S. government is being pursued throughout the film. The chase keeps narrowing down more and more drawing the government officials closer and closer to the culprit. The tension became almost unbearable as the mole was about to be trapped.

Costner, for a change, is really convincing in his role, the tight dialog helping him immeasurably. Sean Young actually smiles in this movie and looks twice as good as all her other newer movies put together. Gene Hackman has the usual commanding screen presence.

All in all, a fabulous politically charged thriller you ought not to miss!

Good suspense, excellent on first viewing
An early Kevin Costner film which many argue is one of his best. Filmed in 1987, "No Way Out" focusses on a cover up where Kevin Costner is assigned to frame the wrong person. The problem is, he is the wrong person. He then has to find a way to identify the true killer while saving his own butt in the process.
Sean Young stars as an unconvincing lover of both Kevin Costner and Gene Hackman. As one reviewer said, she does not pull off enough charm to convince the viewer that she is worthy of such attention from these men.

How does "No Way Out" fare 15 years on? I admit, I loved this film when it first came out, but now it just reeks of the 80's. Bad music, bad costumes, and quite poor acting from Sean Young and Kevin Costner. Kevin comes across as if he is in a daze the entire movie. Still, for those who have not seen it before, there are some definite suspenseful moments.

DVD SUMMARY: An early DVD release by MGM, and despite it being labelled as "16:9 enhanced", it is not. Nevertheless, the picture is surprisingly clear for a film of its age. The sound quality is just average.

A well-made political thriller with some pleasant twists...
Having lived around the outskirts of Washington, D.C. myself, it's always a nice treat to watch a film that literally takes place right where I have stood, at one time or another. It's just very fun to know that a famous movie was shot where you once walked. (Although I now regret visiting the set of "101 Dalmations" in London--that's one story I don't often tell people with a smile on my face.)

At the beginning of "No Way Out," we get to see Washington from above as the camera glides through the air, swerving and going around in circles, until we land inside a small interrogation room housing a convicted murderer (Kevin Costner), who is in fact innocent and has been framed. "When's he coming out?" he asks as he walks over to a one-way mirror and looks through the glass. Right as we start to think, "Whom is he talking to?" (Or "Does he mean Hackman?" if you've read anything about the film), we fall backwards in time and land in the same place some number of months earlier.

"No Way Out" is a government thriller about an officer wrongly accused of murder--when the Secretary of State himself is the culprit trying to avoid a scandal by launching a top-secret cover-up. Costner is the officer, and Gene Hackman is the Secretary of State. After meeting a beautiful young woman (Sean Young) at a party, Costner takes her into a limo and they have a quickie--before they even know each other's names.

What's this got to do with anything? Why is my review so choppy and linear-challenged? We'll get there.

The relationship between the two turns into a big romance until Costner is sent out to sea, where he saves a sailor from falling overboard and is praised in all the papers--where his girlfriend back home sees his face and is reminded of him. (Now she's the mistress of Hackman, by the way--that complicates matters quite a bit.)

When he arrives back home, they go on a romantic getaway--but Hackman finds out and accidentally murders the girl while trying to get her to tell him the name of her lover. Ready to turn himself in, Hackman is persuaded by his gay friend to cover everything up and blame someone else. The gay man even goes and gets rid of the evidence himself--with pride, I might add. (It's like Mr. Burns and Smithers from "The Simpsons"--the latter loves the former, but the former is too powerful and naive to ever notice.)

The clever twist in "No Way Out" is that Costner knows Hackman killed Young, but Hackman doesn't know that he knows that. (Get it?) As he runs around the Pentagon and other government establishments, the evidence starts to pile up against him--the negative off the back of a Polaroid camera, a few eyewitnesses who claim they saw a man outside Young's apartment the night of her murder, etc.

The great thing about "No Way Out," and another factor that separates it from the rest of its kind, is something that's hard to explain to someone who hasn't seen the film. Essentially, no one knows who killed the girl--and Costner isn't placed under arrest straight away because no one has uncovered any evidence pointing towards him. As the negative off the back of the Polaroid is scanned through a computer and painstakingly altered to reveal the man's face on the photo, Costner runs around trying to eliminate evidence before anyone finds out. The photo will eventually reveal his own face, yes, but he has a number of hours until then to find the true evidence that convicts Hackman.

This is a smart thriller with a few pleasant twists, particularly the very end. It's not a great movie by any means, but it's well-acted and solidly directed by Roger Donaldson, who also made last year's "The Recruit" with Al Pacino and Colin Farrell. The guy obviously likes government thrillers. This one is a lot more plausible than "The Recruit," too.

A really good politcal thriller. Good suspense film.
Kevin Costner, Gene Hackman, Sean Young, and supporting cast all turn in excellent performances in this underrated but very effective political thriller. This is a very good and effective movie dealing with inside Washington politics and intrigue, and international espionage. The plot moves at a breakneck pace, there are few draggy lulls of the type that plague so many movies these days, and the film never fails to capture and retain the viewer's interest. This is a great "beer and chips" film for a Friday evening.

No spoilers here, but just let it be said that as one watches the film, it twists and turns and continues to surprise the viewer. Costner is very effective here, Gene Hackman has his usual presence, and overall, this film solidly succeeds in its goal, which is to entertain. Recommended.

Gold-Standard of Political Thrillers now on DVD
Often, a film is compared to "No Way Out"--it's a gold standard of political thrillers. Made in the 80's, it holds up well in its genre. Now it's on DVD (without many "extras"--just the release trailers) and that's worthwhile if you are a political thriller fan.

Gene Hackman does his usual excellent job as a power-monger Secretary of Defense. He plays it subdued with restrained violence; you know this is a man capable of nearly anything. Will Patton is stunning as the bootlicking lackey, and Costner is reasonably good as the hapless pawn (?) of the Secretary's machinations. Sean Young plays a nervy, Washington bimbo. She's annoying, but actually, that seems to be part of the character and I thought she was superbly cast. The horror of the 80's overly-ornate costuming and gaudy makeup are the only hint of the age of this film.

The story is laden with clues dropped in a seemingly meaningless way and the tension builds superbly, racheting suddenly with a surprise in the action. At the end, another surprise is delicious, especially if you picked up all the red herrings (I didn't. Maybe you will.) If you love political or espionage thrillers, this one has a great payoff. ... Read more

Reviews (62)

*Scratches head* Why did this do bad at the box office?
Actually I can probably answer my own question: because everyone went to see this movie expecting The Jerk and got Woddy Allen. This is not a bad thing, in fact this is (in my opinion) Steve Martin's finest achievement, a brilliantly written, witty, well-rounded romantic comedy that is definately a "cult-favorite". I hate most romantic comedies, detest them because they use stupid plots designed only to drive the characters together. This movie builds a world of comedy around Steve Martin's character, then gently and subtly introduces the romance in a very artistically delightful bit of filming, with a dreamy Enya soundtrack in the background (back when she was at her best). How can you not laugh when Steve Martin is on the freeway and, to his horror, hears it's the first day of spring and consequently "open season on the LA freeway", to which he immediately takes out his gun and starts firing blindly at the old granny in the car next to his, who fires back. Or all the great cameos like Rick Morrannis, Patrick Stewart, Chevy Chase, and even Terry Jones. If you're a fan of Steve Martin's more subtle wit instead of his goofy antics (read his book Pure Drivel for similar subtle humor), you will love this movie.

L.A. STORY is Steve Martin's masterpiece
It's always a delight to follow a movie comic who really knows what he's doing, because eventually you hit the jackpot. With Woody Allen, it was HANNAH AND HER SISTERS; with co-exec-producer/writer/star Steve Martin, it's L.A. STORY. Rarely does any movie, much less a comedy, keep me bolted upright in my seat in anticipation of what might happen next. But from its schizoid opening ballet to its sweetly happy ending, even when I wasn't laughing, I was enchanted.

Martin plays Harris K. Telemacher, a Los Angeles TV weatherman who's unsatisfied with his superficial lifestyle. He woos and beds some women whom most men would probably be thrilled to have (Marilu Henner, "Sex and the City's" Sarah Jessica Parker), but he is unsatisfied until he meets a British journalist (Martin's then-wife Victoria Tennant) whose very unpretentiousness is enough to knock him off his feet.

This is obviously Steve Martin's attempt to be another Woody Allen--there's the Annie Hall-like quirky romance, the use of jazz great Django Reinhardt on the soundtrack (he also uses Enya, which was my introduction to this beautiful vocalist), and he romanticizes L.A. the way Allen does The Big Apple. Funny thing is, it all works. Even if you're as anti-L.A. as Manhattanite Allen is, it's an L.A. crafted in Steve Martin's mind, anyway--and what an original landscape it is.

It even goes Allen one step better. One scene Allen filmed and then deleted from ANNIE HALL featured the rolling news marquee in Times Square telling him to return to Annie in L.A. I have no idea whether Martin ever heard about this or not, but in L.A. STORY, he gets romantic advice from a highway traffic sign. The concept sounds hopeless (as Allen obviously decided it was), but Telemacher is so disbelieving about the concept that its comedy comes across. After all, everything else offbeat happens in L.A.; why not this?

There are few comedies that meld so perfectly. One is tempted to credit its lush visuals and on-the-button pacing to director Mick Jackson, except that Jackson has done little before or since that is this striking (THE BODYGUARD was a big hit, but I can't say it stands out in my mind). It's obviously Martin's comic vision all the way, and it's pure delight.

Martin's physicality and wit are on grand display here. And though Victoria Tennant, like Jackson, has done little else in her career that's this good, Martin certainly makes us see just what he saw in her. When they finally come together, it feels deserved and not at all forced.

In an era where gastric wheezing and room-temperature mentalities substitute for wit, it's refreshing to see a comedy that actually creates its own special world. For me, L.A. STORY ranks right up there with Preston Sturges's screwball comedies--a one-of-a-kind take on the world's craziness and the love that helps us endure it.

L.A. STORY is rated PG-13 for sexual situations and strong language.

One of Martin's Worst...
Having recently been certified as a qualified Steve Martin Critic under the auspices of the ASPG (American Society for the Prevention of Gout), I feel that I must impart what knowledge I have about "L.A. Story" so that the world will be a better place.

"L.A. Story" bombed at the box office after word of mouth killed it. In looking at the overall effort, it's not difficult to see why. "L.A. Story" is, in effect, a vanity effort, something that was manufactured for film critics and industry insiders. After films like "The Jerk", "Dead Men Don't Wear Plaid", and "The Man with Two Brains", Martin probably felt that it was time to move on to films that would appeal to a more mature, demographically correct audience.

The only problem is, "L.A. Story" is an effort that over reaches. As celeberal humor, it's too predictable. The sight gags and dialogue exchanges really don't work as humor, because the story itself plods along in a rather formulaic and mechanical manner.

"L.A. Story" is a film that will appeal mainly to members of the International Steve Martin fan club or certain Hollywood mutual admiration societies. If you want to see a good Steve Martin Film, watch anything else but "L.A. Story".

Incidentally, as of this writing, used VHS copies of "L.A. Story' are selling for $1.10 on Amazon...

Pure Genius
I have to admit, I'm not too keen on Steve Martin's newest (especially family-fare) movies, but can put L.A.Story up there in my top 5 movies of all time. Martin is a comedic genius and I get very excited to see him on Saturday Night Live, or in a movie such as this where he is truly in his element. I have owned this DVD for a few years and have put many miles on it, but long for artisan to release an updated version. Perhaps it is not on the top of the list for the studio or Martin (especially since it stars his ex-wife), but true L.A.Story fans hear me out and respond if you remember this:

Throughout the film there are references to "Harry Zell" (a Hollywood player)- more than I can count on one hand, actually. If you are paying attention, you keep expecting to see a scene with Mr.Zell but alas, it ended up on the cutting floor. I can vividly remember the first time L.A.Story debuted on Showtime in 1993 or so and surprise! the debut was hosted by the talented and hilarious John Lithgow- one Mr.Harry Zell. He introduced the movie and with a tear in his eye, showed his scene at the end of the movie. I'd love the film to be completed with this scene inserted in the appropriate spot- or at least included as a deleted scene.

All in all the movie is just about perfect, and people should get the Cliff's Notes to "A Mid-Summer Nights Dream" if they can't understand it.

Literate Love
Let's get this right out in the open. This is a love story. It is nothing more, and it does not need to be. It's context is a combination of philosophical literature and Los Angeles references, which makes for a dynamic range of comedic styles; testicle humor to Shakespearean parody. The sound track adds some magic and lends a weight to a story that is nothing new to the movie business. Yet it is the combination of elements that makes this movie a favorite of mine. Cinematically, it is clean and surreal.

I have read reviews that have called this movie Martin's masterpiece, and in the genre of romantic comedy, I agree. It is my favorite romantic comedy, and know that as a general rule, I hate romantic comedies. And yes, I still say this is a five star movie, definitely on my top 100 list as a Steve Martin fan and critical reviewer.

If you are looking for the "wild and crazy guy", look to The Jerk or his old stand up albums. If you want an intelligent love story in a unique backdrop, get this movie. ... Read more

Reviews (50)

An essential collection!
This is a review of the VHS video "Michael Jackson: Video Greatest Hits HIStory" Vol. 1. Whether or not you are a fan of Michael Jackson, this is an essential video because it shows how good music videos can be. BILLIE JEAN is a striking video that broke down color barriers on MTV; THE WAY YOU MAKE ME FEEL has a loose improvisational feeling to it which makes it fun to watch; BLACK OR WHITE is modern masterpiece complete with morphing and the controversial "panther dance" sequence. In the original version of this video, Michael smashes in a car windshield that has racist grafitti on it... he is fighting back against the racism. However, in the version included on this tape, the grafitti is edited out, so we just see Michael smashing a window for no apparent reason. Even so, the video is still an amazing experience! ROCK WITH YOU takes us back to 1980 before Michael's plastic surgery; BAD and BEAT IT include some of the best choreography even seen in music videos, although the version of BAD on this tape is the short version, not the full version with Wesley Snipes. This tape also includes the videos for Thriller, Remember The Time, Don't Stop Till You Get Enough and Heal The World in their entirety. This video is a powerful mix of music, dance, and film. Even if you don't think Michael is the King of Pop, this collection proves he is the King of VIDEO!

Michael Jackson - Video Greatest Hits - HIStory on Film
This spectacular compilation of Michael Jackson's music videos is a must-see for all MJ fans, and anyone else who enjoys good music and dancing. This tape includes the videos:

-Billie Jean -The Way You Make Me Feel -Black or White* -Rock with You -Bad (shortened version without Wesley Snipes) -Thriller (entire video with credits) -Beat It -Remember the Time -Don't Stop 'Til You Get Enough -Heal The World

This is a great video that shows not only the evolution of Michael Jackson's music, but also that of his appearance. Co-stars include Eddie Murphy, Iman, Magic Johnson, McAuley Culkin, Bart and Homer Simpson, and others. An exceptional video!!! *In the video Black or White, Michael appears to be furiously smashing the windows of a car for no reason. In the original, racist graffiti is painted on the windows. This was edited out in this version. Relax, Michael is not crazy. Or at least not that crazy.

Video HIStory
Don't just listen to the album,watch the videos! However there are fewer songs in this package than the audio counterpart. We see videos for hits from OFF THE WALL,THRILLER,BAD,DANGEROUS and of course,the audio counterpart of HISTORY. No fan of the King Of Pop should be without this unless he/she chooses not to.

Big fan here but this is a disappointment....
Honestly, I love Michael Jackson's music and have purchased History 2 on VHS (the gold box) and Dangerous: The Short Films before I got this. I was excited because I thought I would see some things different on this DVD, but it's all the same! You're better off purchasing Dangerous: The Short Films or History 2 because most of the same material on this video is on the others, and the others have some new added footage.

Thllermans/bestviedosondvd
Foryears michaeljackson hasrockedour world from abc to rock withyou jackson has made pop hirstoy and the viedos that made himfameuos are now on dvd frautes the viedos for billejean theway youmake me feel black orwhtie rock with you bad thllerbeatit rember thetime dont stop tillyou getehuogh andthe90shealthe wolrd. my fartivoe viedo is the thller video itsa shrot film with amazing muisc staring mihchael jackson theres also bad the 18minute nverbefore seenshrotfilm . this dvdis a collbte any mihchaeljacksonfan will love this dvd. ... Read more

Reviews (1)

pure trash and delicious fun
Isabella Rossellini stars as a fashion model (surprise!) in therapy with psychiatrist Jonathon - Aidan Quinn, however therapy is abandoned because Aidan is much too attracted to Isabella to continue. So they move in together instead. Then one night Isabella sees Aidan flirting with a woman at an art galley and she immediately slaps his face. It turns out this Aidan is James, Jonathon's twin, and a psycho-therapist. (Get it?) Isabella becomes interested in the livelier James since he is not a workaholic, though we never see him with a patient, and because James believes he appreciates her better than Jonathon does. James' expression of appreciation appears to be insulting her and rough sex. Quinn slows down his speech to give Jonathon a Montgomery Clift mushiness, and is all smirks as the sleazier James, however they are both still dull. Luckily director Tim Hunter shifts the focus to Isabella's reactions, which is also wise since the two times we see the twins side by side we get poorly done split screen, and an obvious body double. The screenplay explores Isabella as an aging model. She is interested in retiring and becoming an agent, in spite of the protests from everyone, except of course James. I lost count the number of times Rossellini is told she is beautiful. Of course she is, but it almost plays as a vanity production. You can tell that Hunter is aiming for camp from the constant music, and the fact that he casts Iman as Isabella's confidant, named Elle (!). Iman appears in one outrageous costume after another, but does have some funny lines. We also get The Picture of Dorian Gray's Hurd Hatfield as Isabella's agent, who actually gives the best performance in the film. Isabella is unintentionally funny since she delivers all her lines with the same intonation. There is also an irony in her involvement with "mirror-image" twins, and her resemblance to her mother. As a thriller this production fails miserably since Rossellini isn't the actress her mother was to make us believe she is in peril, though presumably Hunter would have cast someone better if he wanted a make a real thriller. I like her line when she refuses to let Jonathon buy her a dress. She says she is afraid he will make her "look like a school teacher" but the clothes she wears are faux-peasant understatement, with lots of low necks to show off her collarbone. ... Read more

Description

1999 THEATRICAL RELEASE A "feel good" New York slice-of-life with an ensemble cast of favorites, "The Deli", tells the engaging tale of Johnny Amico (Dumb & Dumber's Mike Starr), a lovable but incorrigibly bad gambler who has a tough time paying the bills at his Italian-American delicatessen.

With one week to make good on his debts, Johnny rides a comic roller-coaster as her desperately tries to save "The Deli" while battling a crazy bunch of bookies, gangsters and neighborhood nut jobs.

"The Deli" features a soundtrack with songs by David Bowie, Marvin Gaye, The Posies, Davis Johansen and Craig Mack"

A MUST FOR ALL SOPRANOS FANS!!!

SEE ALL OF THEM IN ACTION IN "THE DELI" ... Read more

Reviews (4)

A gambler's comedy
Where's the DVD? This is a sport gambler's comedy GEM...waiting to add to my DVD collection upon release! Highly recommend busting a gut viewing this with the beer buddy's following a football game.

A pre-Sopranos classic.
From the first surreal scene, the dialogue in The Deli is funny and original. With too many stars and cameos to mention, this movie will remind you of The Sopranos (it features three members of the Soprano cast), and if you like that show, you will love The Deli.

A waste of talent
This movie has an all star cast but is so horrid. It is so funny to watch how horrible the movie is. Do not buy it, please save your money and buy shaft! This movie is so corny it is like you woke up in a comedy of Goodfellas.

MICHAEL IMPERIOLI - SOPRANOS - CHRISTOPHER MULTISANTI
An absolute GEM! This movie encompasses every possible situation that a small gambler can influence his friends and family in a big city (NYC). Iman, Davis Johansan, Frant Vincent, Jerry Stiller and countless other stars made this an enjoyable film to watch! Highly recommend! ... Read more

Description

How do two of the straightest undercover cops in L.A. find themselves on a sex fantasy island where the secret of keeping their cover is to uncover more than the truth? The answer lies in the naughtiest comedy since director Marshall's ' 'Pretty Woman.' ' ... Read more

Reviews (40)

Great Erotic Comedy
Loosely based on Anne Rice's same-named book (which I haven't read yet, so I can't compare the two), "Exit to Eden" is a humorous and erotic movie about an Australian photojournalist, Elliot Slater (Paul Mercurio), living in California, who goes to a S&M fantasy island resort for some sexual experimentation. There he becomes a citizen (a slave) and tries to win the guarded heart of the head dominatrix, Mistress Lisa (Dana Delany).

Meanwhile, Detectives Sheila Kingston (Rosie O'Donnell) and Fred Lavery (Dan Aykroyd) are trying to nab a couple of South American diamond smugglers: Nina (Iman) and Omar (Stuart Wilson). When the latter two head for Eden in order to steal the pictures Elliot took of them at the airport, Sheila and Fred follow in pursuit, but undercover: she as a guest, and he as the maintenance man. It's a wild goose chase after that, with Elliot chasing Lisa, the cops chasing the crooks and Elliot, and the crooks chasing Elliot--everybody basically in their undies all the while.

"Exit to Eden" is a mishmash of genres--involving detective work, romance, and erotica--but mostly it's a comedy, which lightens the load on a dark topic such as BDSM. Sheila is the main comedic relief, as well as the narrator, but I felt the movie was more about the relationship between Elliot and Lisa, a pairing I thought was believable and enjoyable--one most viewers will be cheering for from the beginning. I was also pleased that Sheila got her own chance at romance with her private citizen, Tommy (Sean O'Bryan), since she was, at times, reduced to just being the chubby jokester. Even so, her one-liners are part of what made this movie memorable for me, e.g. "We're the only two people on this island without handcuffs," as well as in the same scene where she's making fun of Nina's accent.

"Exit to Eden" is yet another favorite guilty pleasure of mine. If you like sex comedies, then you'll probably enjoy this movie. It's all in good fun. Good soundtrack, too. Rated R for--well, I'm sure you can guess.

Not the book, but wonderful on its own
First, a caveat: if you liked the Anne Rice novel this film is loosely based on, you probably won't like the film.

Exit to Eden is a wonderful, lighthearted introduction to the world of BDSM. Unlike Rice's novel, the BDSM in the film is realistic, and the viewer is introduced to elements of real-life BDSM like safewords, mutual consent, and commitment to safety, that most BDSM fiction sorely lacks.

The casting was inspired, particularly of Dana Delany, Rosie O'Donnell, and Paul Mercurio, who like the people i play with are real people behind the leather facade.

Those who are seriously into the scene might find this movie a little tame, with only a couple of real scenes and "bondage" that can easily be escaped from. But the curious will find it a safe and unthreatening introduction to a very real and viable lifestyle. The scene with Lisa, Elliot, and the hairbrush rang very true on an emotional level--and i don't care what anyone says, the scene with Elliot in Mistress Lisa's bath was HOT.

There are only a few complaints i would make. Unlike the real BDSM community (or the novel), there's no hint of homoeroticism in the film. The real-life scene is very pansexual, with people of all orientations sharing space. And the casting of Richard was terrible. Most of all, i wish a lot more screen time had been devoted to Lisa's relationship with Diana, whose heady mix of intimacy and formal role has been an inspiration for my own relationship.

But those are very minor complaints. Overall it's a delightful film, one i've watched again and again over the years. If i were ever to come out to my family about being into BDSM, i would start with having them watch this movie.

Flirty, Funny, Sexy, and Sensual
Great movie!!!! Perfect for those manly men, and dainty women. It's really the best of both worlds. The guys get the action they crave in movies. And the women, well they get the romance, sexual suspence, and desires. Definitly guarenteed to keep you busy all night! Fun for both the sexually daring but also for the timid. Opens ones eyes to both worlds. The comedy is fun and flirty. Rosie and Dan are perfect for these roles. Suprisingly it DOES HAVE A PLOT. Definitly a wonderful snuggle up by the fire type of movie.....NOT FOR CHILDREN!!!!!......by the way this was written by a woman... :)
Everyone enjoy!

Wimped Out
A pity that the movie wasn't filmed as it should have been. Someone said it's a slap in the face to Anne Rice, who's novel was made into a joke with this movie. I strongly agree.

However, it's worth watching--though I roll my eyes through a lot of it thanks to the comedic parts. The book was not written as a comedy, and it shows in this film. A pity the director didn't have the guts to do this film the way the book was written.

I strongly suggest to those who enjoy the theme of this movie to go buy the book. Anne Rice's Sleeping Beauty series (written as A. N. Roquelaure) is an incredible read--better then Exit to Eden.

TERRIBLE TERRIBLE TERRIBLE
This is a complete slap in the face of Anne Rice's work. I heard that they initially shot the version of the film that closely parallels the book. However it did so poorly in audience testing, that they brought in Dan Adroyd and Rosie O'Donnel for post-production, AND MADE A COMPLETELY DIFFERENT MOVIE!! You can tell because the four principals are together only in the end scene. But this effort only confuses and destroys whatever had existed of the original themes. I would be interested to see the original version that followed Anne Rice's book. ... Read more

Reviews (26)

INTRICATELY CRAFTED POLITICAL THRILLER
If only the ending could be just a tad different, this would be twice as popular as it ever got. The topnotch, passionately made film largely goes unsung, a bit like "The Siege," only because it threw away all the riveting plot twists when it reached its ho-hum finale (some may call it a great final twist).

Quibbles aside, this fast paced nail-biter may be one of the quickest 2 hours of cinema ever filmed. Costner plays a Navy commander assigned to a high level post in the DOD, where he, and the Secretary of Defense become embroiled in a murder/scandal. The bulk of the film chronicles the Departments Under Secretary's attempts to quash the problem. A high level Russian mole in the U.S. government is being pursued throughout the film. The chase keeps narrowing down more and more drawing the government officials closer and closer to the culprit. The tension became almost unbearable as the mole was about to be trapped.

Costner, for a change, is really convincing in his role, the tight dialog helping him immeasurably. Sean Young actually smiles in this movie and looks twice as good as all her other newer movies put together. Gene Hackman has the usual commanding screen presence.

All in all, a fabulous politically charged thriller you ought not to miss!

Good suspense, excellent on first viewing
An early Kevin Costner film which many argue is one of his best. Filmed in 1987, "No Way Out" focusses on a cover up where Kevin Costner is assigned to frame the wrong person. The problem is, he is the wrong person. He then has to find a way to identify the true killer while saving his own butt in the process.
Sean Young stars as an unconvincing lover of both Kevin Costner and Gene Hackman. As one reviewer said, she does not pull off enough charm to convince the viewer that she is worthy of such attention from these men.

How does "No Way Out" fare 15 years on? I admit, I loved this film when it first came out, but now it just reeks of the 80's. Bad music, bad costumes, and quite poor acting from Sean Young and Kevin Costner. Kevin comes across as if he is in a daze the entire movie. Still, for those who have not seen it before, there are some definite suspenseful moments.

DVD SUMMARY: An early DVD release by MGM, and despite it being labelled as "16:9 enhanced", it is not. Nevertheless, the picture is surprisingly clear for a film of its age. The sound quality is just average.

A well-made political thriller with some pleasant twists...
Having lived around the outskirts of Washington, D.C. myself, it's always a nice treat to watch a film that literally takes place right where I have stood, at one time or another. It's just very fun to know that a famous movie was shot where you once walked. (Although I now regret visiting the set of "101 Dalmations" in London--that's one story I don't often tell people with a smile on my face.)

At the beginning of "No Way Out," we get to see Washington from above as the camera glides through the air, swerving and going around in circles, until we land inside a small interrogation room housing a convicted murderer (Kevin Costner), who is in fact innocent and has been framed. "When's he coming out?" he asks as he walks over to a one-way mirror and looks through the glass. Right as we start to think, "Whom is he talking to?" (Or "Does he mean Hackman?" if you've read anything about the film), we fall backwards in time and land in the same place some number of months earlier.

"No Way Out" is a government thriller about an officer wrongly accused of murder--when the Secretary of State himself is the culprit trying to avoid a scandal by launching a top-secret cover-up. Costner is the officer, and Gene Hackman is the Secretary of State. After meeting a beautiful young woman (Sean Young) at a party, Costner takes her into a limo and they have a quickie--before they even know each other's names.

What's this got to do with anything? Why is my review so choppy and linear-challenged? We'll get there.

The relationship between the two turns into a big romance until Costner is sent out to sea, where he saves a sailor from falling overboard and is praised in all the papers--where his girlfriend back home sees his face and is reminded of him. (Now she's the mistress of Hackman, by the way--that complicates matters quite a bit.)

When he arrives back home, they go on a romantic getaway--but Hackman finds out and accidentally murders the girl while trying to get her to tell him the name of her lover. Ready to turn himself in, Hackman is persuaded by his gay friend to cover everything up and blame someone else. The gay man even goes and gets rid of the evidence himself--with pride, I might add. (It's like Mr. Burns and Smithers from "The Simpsons"--the latter loves the former, but the former is too powerful and naive to ever notice.)

The clever twist in "No Way Out" is that Costner knows Hackman killed Young, but Hackman doesn't know that he knows that. (Get it?) As he runs around the Pentagon and other government establishments, the evidence starts to pile up against him--the negative off the back of a Polaroid camera, a few eyewitnesses who claim they saw a man outside Young's apartment the night of her murder, etc.

The great thing about "No Way Out," and another factor that separates it from the rest of its kind, is something that's hard to explain to someone who hasn't seen the film. Essentially, no one knows who killed the girl--and Costner isn't placed under arrest straight away because no one has uncovered any evidence pointing towards him. As the negative off the back of the Polaroid is scanned through a computer and painstakingly altered to reveal the man's face on the photo, Costner runs around trying to eliminate evidence before anyone finds out. The photo will eventually reveal his own face, yes, but he has a number of hours until then to find the true evidence that convicts Hackman.

This is a smart thriller with a few pleasant twists, particularly the very end. It's not a great movie by any means, but it's well-acted and solidly directed by Roger Donaldson, who also made last year's "The Recruit" with Al Pacino and Colin Farrell. The guy obviously likes government thrillers. This one is a lot more plausible than "The Recruit," too.

A really good politcal thriller. Good suspense film.
Kevin Costner, Gene Hackman, Sean Young, and supporting cast all turn in excellent performances in this underrated but very effective political thriller. This is a very good and effective movie dealing with inside Washington politics and intrigue, and international espionage. The plot moves at a breakneck pace, there are few draggy lulls of the type that plague so many movies these days, and the film never fails to capture and retain the viewer's interest. This is a great "beer and chips" film for a Friday evening.

No spoilers here, but just let it be said that as one watches the film, it twists and turns and continues to surprise the viewer. Costner is very effective here, Gene Hackman has his usual presence, and overall, this film solidly succeeds in its goal, which is to entertain. Recommended.

Gold-Standard of Political Thrillers now on DVD
Often, a film is compared to "No Way Out"--it's a gold standard of political thrillers. Made in the 80's, it holds up well in its genre. Now it's on DVD (without many "extras"--just the release trailers) and that's worthwhile if you are a political thriller fan.

Gene Hackman does his usual excellent job as a power-monger Secretary of Defense. He plays it subdued with restrained violence; you know this is a man capable of nearly anything. Will Patton is stunning as the bootlicking lackey, and Costner is reasonably good as the hapless pawn (?) of the Secretary's machinations. Sean Young plays a nervy, Washington bimbo. She's annoying, but actually, that seems to be part of the character and I thought she was superbly cast. The horror of the 80's overly-ornate costuming and gaudy makeup are the only hint of the age of this film.

The story is laden with clues dropped in a seemingly meaningless way and the tension builds superbly, racheting suddenly with a surprise in the action. At the end, another surprise is delicious, especially if you picked up all the red herrings (I didn't. Maybe you will.) If you love political or espionage thrillers, this one has a great payoff. ... Read more

Reviews (26)

INTRICATELY CRAFTED POLITICAL THRILLER
If only the ending could be just a tad different, this would be twice as popular as it ever got. The topnotch, passionately made film largely goes unsung, a bit like "The Siege," only because it threw away all the riveting plot twists when it reached its ho-hum finale (some may call it a great final twist).

Quibbles aside, this fast paced nail-biter may be one of the quickest 2 hours of cinema ever filmed. Costner plays a Navy commander assigned to a high level post in the DOD, where he, and the Secretary of Defense become embroiled in a murder/scandal. The bulk of the film chronicles the Departments Under Secretary's attempts to quash the problem. A high level Russian mole in the U.S. government is being pursued throughout the film. The chase keeps narrowing down more and more drawing the government officials closer and closer to the culprit. The tension became almost unbearable as the mole was about to be trapped.

Costner, for a change, is really convincing in his role, the tight dialog helping him immeasurably. Sean Young actually smiles in this movie and looks twice as good as all her other newer movies put together. Gene Hackman has the usual commanding screen presence.

All in all, a fabulous politically charged thriller you ought not to miss!

Good suspense, excellent on first viewing
An early Kevin Costner film which many argue is one of his best. Filmed in 1987, "No Way Out" focusses on a cover up where Kevin Costner is assigned to frame the wrong person. The problem is, he is the wrong person. He then has to find a way to identify the true killer while saving his own butt in the process.
Sean Young stars as an unconvincing lover of both Kevin Costner and Gene Hackman. As one reviewer said, she does not pull off enough charm to convince the viewer that she is worthy of such attention from these men.

How does "No Way Out" fare 15 years on? I admit, I loved this film when it first came out, but now it just reeks of the 80's. Bad music, bad costumes, and quite poor acting from Sean Young and Kevin Costner. Kevin comes across as if he is in a daze the entire movie. Still, for those who have not seen it before, there are some definite suspenseful moments.

DVD SUMMARY: An early DVD release by MGM, and despite it being labelled as "16:9 enhanced", it is not. Nevertheless, the picture is surprisingly clear for a film of its age. The sound quality is just average.

A well-made political thriller with some pleasant twists...
Having lived around the outskirts of Washington, D.C. myself, it's always a nice treat to watch a film that literally takes place right where I have stood, at one time or another. It's just very fun to know that a famous movie was shot where you once walked. (Although I now regret visiting the set of "101 Dalmations" in London--that's one story I don't often tell people with a smile on my face.)

At the beginning of "No Way Out," we get to see Washington from above as the camera glides through the air, swerving and going around in circles, until we land inside a small interrogation room housing a convicted murderer (Kevin Costner), who is in fact innocent and has been framed. "When's he coming out?" he asks as he walks over to a one-way mirror and looks through the glass. Right as we start to think, "Whom is he talking to?" (Or "Does he mean Hackman?" if you've read anything about the film), we fall backwards in time and land in the same place some number of months earlier.

"No Way Out" is a government thriller about an officer wrongly accused of murder--when the Secretary of State himself is the culprit trying to avoid a scandal by launching a top-secret cover-up. Costner is the officer, and Gene Hackman is the Secretary of State. After meeting a beautiful young woman (Sean Young) at a party, Costner takes her into a limo and they have a quickie--before they even know each other's names.

What's this got to do with anything? Why is my review so choppy and linear-challenged? We'll get there.

The relationship between the two turns into a big romance until Costner is sent out to sea, where he saves a sailor from falling overboard and is praised in all the papers--where his girlfriend back home sees his face and is reminded of him. (Now she's the mistress of Hackman, by the way--that complicates matters quite a bit.)

When he arrives back home, they go on a romantic getaway--but Hackman finds out and accidentally murders the girl while trying to get her to tell him the name of her lover. Ready to turn himself in, Hackman is persuaded by his gay friend to cover everything up and blame someone else. The gay man even goes and gets rid of the evidence himself--with pride, I might add. (It's like Mr. Burns and Smithers from "The Simpsons"--the latter loves the former, but the former is too powerful and naive to ever notice.)

The clever twist in "No Way Out" is that Costner knows Hackman killed Young, but Hackman doesn't know that he knows that. (Get it?) As he runs around the Pentagon and other government establishments, the evidence starts to pile up against him--the negative off the back of a Polaroid camera, a few eyewitnesses who claim they saw a man outside Young's apartment the night of her murder, etc.

The great thing about "No Way Out," and another factor that separates it from the rest of its kind, is something that's hard to explain to someone who hasn't seen the film. Essentially, no one knows who killed the girl--and Costner isn't placed under arrest straight away because no one has uncovered any evidence pointing towards him. As the negative off the back of the Polaroid is scanned through a computer and painstakingly altered to reveal the man's face on the photo, Costner runs around trying to eliminate evidence before anyone finds out. The photo will eventually reveal his own face, yes, but he has a number of hours until then to find the true evidence that convicts Hackman.

This is a smart thriller with a few pleasant twists, particularly the very end. It's not a great movie by any