Reviews (269)

One of the Governator's best...
It sits perched in the trees, invisible to the naked eye. It watches them trek through the rainforest. It stalks them slowly, lunging forward when given the chance but never revealing itself. It follows their patterns and mimics their voices. The leader turns, sporting a serious expression of fear. It is Dutch Schaefer (Arnold Schwarzenegger). "If it bleeds, we can kill it," he says, glancing down at the green liquid.

Terror comes in many forms, but so does action, and "Predator" successfully combines both. We already know the fate of our hero, but that does not matter, simply because we enjoy the ride. This is a smart action/horror/thriller that doesn't fall back on cliches, but pushes forward, aware that it may be following such films as "Alien" (1979) but yet only improving upon the presented material. The Predator is a work of genius--originally fitted for Jean-Claude Van Damme and shaped like a giant bug, it was later reworked by creature effects artist Stan Winston (with the help of James Cameron) after Van Damme was fired due to complaining too much about how hot and stuffy his suit was. The villain helps make this movie, and if there were ever a terrifying creature it is the Predator, which is not only visually haunting but an emphasis of how advanced life forms could hunt us like we hunt animal prey.

Kevin Peter Hall hadn't gotten much work then; a few stage performances but nothing serious. He was picked up by John McTiernan because he was taller than Arnold Schwarzenegger and, when placed in the alien suit, he not only looked fierce but he also looked like he could be the one and only true opponent to Arnold, a man who looks like he eats babies for breakfasts. (And perhaps grown humans for lunch.)

Not only is he the perfect opponent, he helps make the movie. A lot of the film's positive elements come from the lush Cambodian jungles, the haunting direction by McTiernan, the ultimate macho combat role by Arnold, the paranoia and startlingly effective idea of the remote settings. Much of it also comes from the fact that the alien, when finally revealed, looks real. It looks real, all right, and also pretty darn horrifying. (Who can forget when it drops its face mask and reveals its true self?)

Major Dutch Schaefer and his elite team of US Commandos are sent deep into the swampy depths of a Columbian jungle, trying to locate a downed chopper carrying a Cabinet Member. "Do your Cabinet Members always fly on the wrong side of the border?" Dutch quips before he and his men are loaded into their means of transportation.

They arrive in the jungle and soon find that a camouflaged creature is ritualistically stalking and murdering them. But this isn't just random slasher style--it picks off its prey on a whimsy, and only attacks fair game (e.g. those with weapons). Soon Dutch and his team realize that getting out of the jungle isn't going to be as easy as they thought.

For me, "Predator" is one of the best action films of all time. It has everything. It isn't messy and over-paced; it takes its time getting where it's going, building up the tension for the audience, and then unleashes a bombardment of action set pieces and visual effects. Another great thing is that it is sort of Hitchcockian in a way; it doesn't show us the killer, at least not at first. It again takes its time, building up the tension, getting us primed. When it finally does show us the creature, we're shocked.

Arnold Schwarzenegger fits the role like a glove; criticize him all you want, Dutch was made for him. Can you imagine Sly or Willis playing Dutch? Not me, either. This is his time to shine. Shine he does.

The series is getting a jumpstarted revival next year with "Alien vs. Predator" (2004). There are doubts as to whether or not it will live up to long-growing expectations, especially with Paul W.S. "Resident Evil" Anderson at the helm, but I remain the optimist as far as I can. The idea of the two species joining together for a feature film was hinted at in "Predator 2" (1990), then hinted at even further with a line of comic books, fan fiction, and great videogames. I, personally, cannot wait.

Predator Preys On Your Sense of Adventure
"The Most Dangerous Game," to which Predator bears a remarkable resemblance is a literary classic and mandatory reading in most ninth grade English classes. So the question arises, why is that story held in such high esteem when this picture is cast aside as mindless tripe? I suppose having Arnold Schwarzenegger's name above the title and Joel Silver's in the producing credits doesn't help, but don't get me wrong I'm not suggesting this movie should have been showered with praise from critics, or awards from Academy members. But a pat on the back for one of the finest action directors working today (John McTiernan of Die Hard fame) might be nice, especially considering this film isn't nearly as dumb as people would have you to believe.

Schwarzenegger stars as the leader of an elite commando force sent into Central America to retrieve U.S. hostages being held in guerrilla hands. Little does he or anybody in his team know (with the exception of Carl Weather's character) that they're actually being manipulated into assassinating a group of Communist dissidents and thorns in the thorns in the side of the C.I.A. This is the only the first back-stabbing and leads to a quite harrowing and action packed combat sequence that wouldn't have looked out of place in Platoon or Saving Private Ryan.

While all this is going on, comsuming more than a half hour of briskly paced screen time, we still have yet to see the alien. McTiernan utilizes a clever tactic orginated (or at least to the best of my knowledge) by Steven Speilberg in Jaws by shooting from the predator's point of view. By doing this we only get glimpses of the monster, as he has the ability to turn himself invisable at will, which makes the final confrontation all the more terrifying. Also noteworthy is Kevin Peter Hall as the villainous creature who is a constant menace and manages to make a very impressive impression even though we never see his face.

For about the last hour of the movie he stalks Arnie and his rebel company, picking them off one by one as is customary in these kinds of films. To me the parrallels to "Dangerous Game" are quite obvious, simply substitute an alien in place of the hunter who preys on humans. The symbolism of the book and the movie is quite clear, or at least in my mind, and is that hunting for sport is inherently wrong. But even the predator has a code of conduct that human hunters have yet to adopt, he doesn't take advantage of another species inferiority or good nature. To me, being as I'm such an animal lover, I'd root for the alien a lot sooner than I would Ted Nugget or his band of ignorant rednecks.

Now I'm willing to concede that maybe I'm so intent on justifying my appreciateion for this film that I might be imposing onto it hidden meanings that aren't really there, but even if that is the case it does little to depreciate my enjoyment of one of the most exciting science fiction movies that I've ever seen. Sure the acting is merely adequate and the writing could use some sprucing up, especially in fleshing out the characters a little more, but the directing is superb and the finished product is about as good as anything you have the right to expect considering the genre.

And that's not to mention the special effects. Done by Stan Winston, who won recognition as being the best in his field after his work creating the digital dinosaurs in Speilberg's Jurassic Park, he does an equally impressive job here. The "creature features" never get too corny and at the same time aren't so good as to distract from the rest of the film. It's a fine line to walk and I can't think of anybody who does it any better.

This is the second four star review I've given a Schwarzenegger movie in as many months (the other being for True Lies) and I'm quietly coming back around to being a big fan of his early work for the first time since I was thirteen.

the best alien action film out there
when I first saw the first Predator film,I was happy to see the strong male role running for his life. Yet I do think why this editions for the Alien and Predator films are coming out so close to each other is for the summers next cross over. Alien vs Predator. But to the film, the first predator was by far the best. Sending in comandos into a rain forest and each one being killed off is truly a scary sight and yet the movie is full of action. Predator is by far one of my favorit films and I will go by this film when it comes out three days before the opeaning of AVP.

great Sci Fi film
This has got to be one of the coolest monster movies ever made! The cast is great and the creature is THE coolest (technologically advanced) alien ever! Don't listen to the 2 bad reviews. One of those guys can't even spell a simple word like "cigar", I doubt he has much taste in movies if he can't pass high school english. It's ironic that all of the low scores (besides the two drop-outs) are given not because of the movie, but because of the poor DVD treatment Fox has given it so far. I can only hope that the upcoming Alien Vs Predator will be as good as it looks. It's been a long time coming and they had better not screw it up. Anyway, get this movie. Just make sure you wait for the spec. edition coming out July 23rd! Go Yautja!

Arnold Schwarzenegger's best movie
Predator is the Arnold Schwarzeneggers greatest movie ever.A very good sample to sci-fiction in early 80's.South american terorists has captured a small group of americans and CIA is not going to send special forces to rescuing them only one man can do this job dutch and his team.Very famous actors played in this movie Arnold Schwarzenegger,Carl Weathers,Bill Duke,Jesse Ventura. if you love this movie than you must watch another great movies of schwarzenegger which is the commando,terminator ... Read more

Amazon.com essential video

Before the action-oriented "buddy movie" formula settled into place in the 1980s and 1990s with the Lethal Weapon films, Walter Hill's 48 HRS. presented a much more irreverent and politically incorrect version of the genre. Eddie Murphy made an auspicious film debut alongside veteran Nick Nolte's consummate performance as a worn cop. Murphy plays a convict on a two-day furlough from prison to help capture his former partner (James Remar). The intense animosity between his character and Nolte's impatient detective is rude and violent--albeit in a comic way--and the film's racist and sexist banter is so ubiquitous that some viewers might be turned off. (This early, raw Murphy is not the Murphy of The Nutty Professor.) Then again, sometimes deliberate overkill is funny in itself, which is certainly closer to Hill's intention. There are a couple of scenes for the ages in this film, especially Murphy's single-handed shutdown of the action in a redneck bar. --Tom Keogh ... Read more

Reviews (25)

This is the REAL thing. Accept no imitations.
In order to appreciate this film fully, you hafta turn yourself back in time to 1982, an' try an' remember the political an' social mindset of the day. Then imagine watching '48 HRS.' an unabashed an' raucous cop thriller that breaks the very foundation of political correctness. Now how does that make you feel? If you say, sick to your stomach, then maybe you needa loosen your jock strap an' try it again. E'ybody knows the plot, the hard-drinkin', chain-smokin' San Francisco cop Jack Cates, played by Nick Nolte (who looks almost TOO comfortable in the role of a wasted, burn-out), is lookin' to put two recent prison escapees an' vicious cop killers away after he tried an' failed to apprehend them. In going over the case he comes across several members of their old gang an' decides to go talk to one'a the incarcerated ones. Here's where Eddie Murphy comes in. Reggie Hammond is the smooth an' dapper, fast-talking convict who convinces Cates to get him out of jail an' on the street to help him solve this case. Cates reluctantly does so, an' from there is' jus' the two of them together goin' from place to place, crook to crook, bar to bar, lead to lead, tryin' to keep from killing each other in the process. Cates is a rough-edged, semi-bigot with an apparent vendetta toward these crooks (though apparently jus' for stealing his gun), Reggie is the charming, jive-talking criminal, with a more obvious vendetta toward the crooks (they dropped the dime on him, got him locked up, an' are now tryin' to steal a half a million dollars of his hard-earned, er, um, hard-stolen cash). Both are on the same mission, but with two TOTALLY different personalities an' when they mix it up, oh, is' gunpowder. E'ybody talks about the scene with Murphy in the country-western bar playin' cop ("Alright listen up. I don't like white people. An' I HATE rednecks. You people're rednecks. That means I'm enjoyin' this s---.") an' although it is funny, my favorite scene comes right after they question the two ladies who were s'posedly in cahoots with the killers, when Nolte an' Murphy finally drop the trash-talkin' an' jus' have a drunken brawl in the street only to be broken up by two cops on the beat.

This is the original buddy cop flick. With two guys who're ironically ANYTHING but buddies. Depending on the way you've come up watching movies, this one will either be a wonderfully offensive cop thriller, or a horribly offensive cop thriller. Of course, no matter how you look at it, '48 HRS.' will forever be a hallmark, because it was one'a the first movies of its kind: a rough-edged, blatant politically-incorrect film centering on characters that are so sleazy at times you hafta force yourself to like them, an' revolving around racial stereotypes an' sexist banter thas' thrown around like it's nothing, not to mention some brutal violence. Now it'd be much harder to overlook all the coldness if it wasn't for the charm an' appeal of Eddie Murphy, in his film debut. He is the main reason to watch the flick, although Nolte's character also provides the perfect counterbalance. Directed by Walter Hill, '48 HRS.' set a new standard for the way action flicks were to be played for the rest of the 1980s. With laughs, wit, chemistry, an' a not-so-serious attitude set against a very serious backdrop.

Fun cop buddy flick
Eddie Murphy made his debut in this Walter Hill film, and he is really the star here, even though Nick Nolte gets top billing. Nolte does a fine job, but his part is not as showy, and one's eyes are not drawn to him as much as Murphy, at his best in the country-western bar scene.

You probably know the story, but I'll summarize it here by saying that this is simply a buddy movie with an antagonistic twist. Murphy is the con, in for three years with six months left. Nolte is the cop on a search for James Remar, who stole a lot of money with Murphy long ago.

The story is set up as a mystery, with the pair questioning several possible connections, but the story doesn't really matter. The main attraction is the relationship between Murphy and Nolte and the slow growth towards friendship.

One complaint is that since this was filmed in 1982, they had a different idea of gritty police drama than today. The police department's atmosphere is incredibly tame compared to shows like NYPD Blue. Nolte does his best, chain-smoking and nipping from a flask (I read once you could tell an '80's movie by how much they smoked), but he still doesn't come across as jaded as any scene with Andy Sipowicz.

It's still fun and good entertainment, especially if you are looking for a film with an American Indian character that dresses like a '50's relic.

Wonderful
This is Eddie Murphy in is prime, when he was at the height of his acting career. He is so wonderful in this movie. He steals the show from Nick Nolte.

Worth Owning on DVD
At less than $15, this movie should be flying off the shelves. Both Nolte and Murphy are great. Their characters are are perfectly scripted to each actor's abilities and personality. Murphy plays a loudmouth penny ante punk. Nolte plays a grumpy, rascist tough guy. They, of course, learn to respect and like each other as they chase down the bad guys. The story isn't bad either. The soundtrack is good and 48 Hrs is set all over San Francisco. If your a fan of either or of comedy action or movies set in SF, you can't go wrong. My favorite Eddie Murphy movie.

Murphy's best is his first
Some of the best 1-liners ever reside in this film. Simply put, its a great comedy with a flare for drama, and in the cop buddy genre. Lots of cursing, some nudity, but ultimately, a great flick. It kicks today's cop buddy flicks in the Mother F-ing Aholes Mother F-ers! ... Read more

Reviews (6)

Romancing the...Raiders of the...
FIREWALKER is not the most memorable action adventure film out there but succeeds by not taking itself too seriously. The chemistry between Chuck Norris, Lou Gossett Jr., and Melody Anderson keeps the film from sinking from its predictable plot, cheap sets, generic action sequences and cardboard baddies (i.e. Sonny Landham -PREDATOR, 48 HRS- as "El Coyote"). The trio are on a quest to find a lost Aztec City and its hidden stockpile of hidden gold. For inspirational purposes, actor John Rhys-Davies from RAIDERS OF THE LOST ARK is in the cast in a small role. Chuck Norris in a rare light/comedic/action role is pretty good as Max Donigan, the ex-marine turned adventurist. Norris handles some of the comic banter off of his two co-stars with ease and good comic timing and his martial arts prowess is hardly used in the movie. Overall, a mindless yet entertaining and harmless action adventure film from the 80's. This was produced at a time when "Indiana Jones" type movies were beginning to lose steam. Norris and Gossett are engaging and the beautiful Melody Anderson lights up the screen,

Glad I own a copy
Yes, it is one of the goofiest pieces of, um, processed food that ever came out of Hollywood - but it's bad with such good humor! As though everyone said "You want me to do WHAT? Well, heck - why not?" One thing I'll insist upon - the relationships between Norris's character and Gossett's character is a dandy - and the one between Norris's character and Anderson's - Anderson's character is a Jim Peach. "FRUITCAKE?" shouts Anderson, after bursting into Norris's and Gossett's hotel room. "Are the walls that thin?" waffles Norris. "No, your mouth is that big!" comes her retort. And John Rhys-Davies as the adventurer who has taken over the Central-American rebel army - wonderfully crazed! Forget about the Academy, this is just plain fun.

So bad it's good.
Firewalker was meant to be a rollicking comedic adventure movie, but it is funny for all the wrong reasons. The film is filled with technical mistakes of all kinds, obviously director J. Lee Thompson knew he was working on turkey and did not even bother to pay attention to it and faded stars Chuck Norris, Louis Gossett Jr., and Melody Anderson have no real chemistry. Bad Movie fans will have a blast watching familiar character actors and former box office stars embarrass themselves for a paycheck.

Another flop from Golan-Globus.
Those execuative poroduces Golan-Globus gave us yet another flop. Firewalker has some funny moments but it is too hokey to be believable. The cave sets look really fake and laughable, not to mention the acting. Many Norris fans many disappointed with his stab at comedy, but I enjoyed it. First rent, then buy.

This movie's a lot of fun
From the realistic acting to the accurate look at the fortune hunting business(yeah, right), this movie is a real hoot. It's classic 80's to boot, and clearly one of the best films since Teen Wolf or Plan 9 From Outer Space. Wash it down with Romancing The Stone. ... Read more

Amazon.com

Even a genre film looks different in the hands of writer-director John Cassavetes. In this one, he casts a wonderfully hard-boiled Gena Rowlands as the title character: a former Mob moll who picked up a few tricks along the way. She becomes the unexpected guardian of a young boy (John Adames) who has just seen his parents wiped out. Worse, the Mob is after him as well, seeking a book he has--and the overdue fine is a killer. Though Cassavetes lets his actors have a little too much rein, it pays off in the complex--and surprisingly funny--performance by Rowlands as an unlikely nanny who discovers that, though she is an unwilling bodyguard, she actually learns to care for the tough little guy she's trying to keep out of harm's way. --Marshall Fine ... Read more

Reviews (19)

Loved it!
This is and will always be one of my favorite films! Gena Rowlands was absolutely unforgettable as Gloria. She deservedly won a Best Actress Oscar nomination for the role. The little boy John Phillips was adorable as Phil, "I'm the man!" Everything from the story and direction by John Cassevetes was terrific to the score by Bill Conti. I will always remember this film. It is in my Video collection! I will continue to enjoy it over and over. babymldaol.com Don't miss this one!! Forget the remake it has nothing to offer. is

Gloria
This is my all time favorite film. Gena Rowlands' performance was superbe. Every time I view this film I can see the perfection in the performances, and the direction. The remake is simply awful and not worth a glance. A strong female protaganist is a rare treat in film. Gloria an "X-moll" stands up to the "mob" in defence of a child and she does not, "like kids". The dialogue cannot be beat. Where were the reviewers at the time this film was made? How can it be that it never recieved the accolades it deserved? This is a jewel of a film.

A spunky performance.
I bought this DVD because I remembered seeing this film back in high school and never quite forgot the dialogue or the bravado of Gena Rowlands performance. And it's this performance and the acting ability of this great artist which makes me glad I purchased it. I've already viewed this DVD several times and never get tired of this fast paced action drama about a female hero who unlike most heriones will surely never become quite domesticated in the end. This is what makes "Gloria" unique, along with the off-beat stylized direction of Gena Rowlands late husband John Cassevettes. The story takes place in Manhattan and the entire film serves as a representation of the late 1970's. Gena Rowlands goes all the way with this character, screaming at mobsters such lines as "You let a woman beat you" "uh." Despite such dialogue or maybe because of it(and the unique, progressive, and "classy" quality of this production) this film represents an overall entertaining experience. Highly Recommended!

You Go Girl!
I saw Gloria years ago on cable. I was in the service when it was in theatres so I didn't see it in 1980. I have been a fan of it ever since. I catch it whenever it's on television. I must have seen it at least 50 times! I never tire of the non-stop action and the gritty realistic portrayal by Gena Rolands. I was estactic when it came out on DVD. It's a great flick to watch on a rainy couch potato day. I have not bothered to catch the remake.

Abundantly Bold
This is a movie which I have watched over and over and over. Although Sharon Stone did a wonderful remake, which I found to be wasteful, this is the movie I recall to others.
Little Phil, absolutely marvelous in this movie. I wonder where he ended up in life. If you have never in your life, ever, watched a movie about a tough woman in the mob, you need to watch this one. Gena Rowlands, of course, is so wonderful and captivating that one wants to watch over, more than once. It lends to the harsh part of life and comes out with you sitting on the edge of your seat, not knowing where these two will end. I really cannot tell you enough. Obviously, I do not know where to touch; this movie was written for Gena, oh so boldly. ... Read more

Reviews (7)

Another example of why sequels are a gamble
What does Hollywood do when a movie becomes a hit? Gather as many of the original cast together, write them a new but similar story, and film a sequel. When this is the basis for a sequel, the result is often disappointing. This particular film is a good example of this process. There's some good actors doing some good acting here, and some of the battle scenes are pretty good, but I came away with the strong impression that many of the people involved with this film were thinking, "Let's make a copy of a good film" instead of, "Let's make a good film."

The Dirty Dozen: The Next Mission
The Dirty Dozen: The Next Mission isn't that bad of a movie, great acting, and good battle scenes. The story begins when Maj.Gen. Warden(Ernest Borgnine) gives Maj. John Reisman(Lee Marvin) another hit-and-run mission: Kill a Nazi SS General who's wanting to kill Hitler. The Allied brass can't let that happen because they want Hitler alive, so what do the Allies do, train a gang of misfits, killers, psychos, and convicts and send them on a suicide mission behind enemy lines and kill the general. Give this movie a chance, I liked it. Hope it comes to DVD.

The Dirty Dozen: The Next Mission
Yes, the video is not like the first but it is still a great story. It had a great plot and a great ending. I reccomend this video, it is good. Besides what continueing movie is better than the first.

18 Years to Late!
After seeing the first rendition of the film, this sequel is most unfortunate. The first was canned in 1967 and this 1985 version is very disconcerting. The time from the first to the second mission was just a couple of months in 1944 but the players have all aged beyond their military retirement age. You don't make a sequel AFTER 18 years using the same principal actors portraying the same peronalities, and expect to be still within the bounds of credulity. This is a bad rehash of the first and was probabaly filmed to cash in on the "cult" popularity of the first that generated over time. Still, it was fun to see the aging Marvin, Borgnine and Jaeckel reprise their parts. It's a good thing Bronson had the good sense not to indulge in this one.

Interesting Script
I thought that this movie had a very interesting script. Some parts could have used a little more work but overall I recommend it. ... Read more

Reviews (269)

One of the Governator's best...
It sits perched in the trees, invisible to the naked eye. It watches them trek through the rainforest. It stalks them slowly, lunging forward when given the chance but never revealing itself. It follows their patterns and mimics their voices. The leader turns, sporting a serious expression of fear. It is Dutch Schaefer (Arnold Schwarzenegger). "If it bleeds, we can kill it," he says, glancing down at the green liquid.

Terror comes in many forms, but so does action, and "Predator" successfully combines both. We already know the fate of our hero, but that does not matter, simply because we enjoy the ride. This is a smart action/horror/thriller that doesn't fall back on cliches, but pushes forward, aware that it may be following such films as "Alien" (1979) but yet only improving upon the presented material. The Predator is a work of genius--originally fitted for Jean-Claude Van Damme and shaped like a giant bug, it was later reworked by creature effects artist Stan Winston (with the help of James Cameron) after Van Damme was fired due to complaining too much about how hot and stuffy his suit was. The villain helps make this movie, and if there were ever a terrifying creature it is the Predator, which is not only visually haunting but an emphasis of how advanced life forms could hunt us like we hunt animal prey.

Kevin Peter Hall hadn't gotten much work then; a few stage performances but nothing serious. He was picked up by John McTiernan because he was taller than Arnold Schwarzenegger and, when placed in the alien suit, he not only looked fierce but he also looked like he could be the one and only true opponent to Arnold, a man who looks like he eats babies for breakfasts. (And perhaps grown humans for lunch.)

Not only is he the perfect opponent, he helps make the movie. A lot of the film's positive elements come from the lush Cambodian jungles, the haunting direction by McTiernan, the ultimate macho combat role by Arnold, the paranoia and startlingly effective idea of the remote settings. Much of it also comes from the fact that the alien, when finally revealed, looks real. It looks real, all right, and also pretty darn horrifying. (Who can forget when it drops its face mask and reveals its true self?)

Major Dutch Schaefer and his elite team of US Commandos are sent deep into the swampy depths of a Columbian jungle, trying to locate a downed chopper carrying a Cabinet Member. "Do your Cabinet Members always fly on the wrong side of the border?" Dutch quips before he and his men are loaded into their means of transportation.

They arrive in the jungle and soon find that a camouflaged creature is ritualistically stalking and murdering them. But this isn't just random slasher style--it picks off its prey on a whimsy, and only attacks fair game (e.g. those with weapons). Soon Dutch and his team realize that getting out of the jungle isn't going to be as easy as they thought.

For me, "Predator" is one of the best action films of all time. It has everything. It isn't messy and over-paced; it takes its time getting where it's going, building up the tension for the audience, and then unleashes a bombardment of action set pieces and visual effects. Another great thing is that it is sort of Hitchcockian in a way; it doesn't show us the killer, at least not at first. It again takes its time, building up the tension, getting us primed. When it finally does show us the creature, we're shocked.

Arnold Schwarzenegger fits the role like a glove; criticize him all you want, Dutch was made for him. Can you imagine Sly or Willis playing Dutch? Not me, either. This is his time to shine. Shine he does.

The series is getting a jumpstarted revival next year with "Alien vs. Predator" (2004). There are doubts as to whether or not it will live up to long-growing expectations, especially with Paul W.S. "Resident Evil" Anderson at the helm, but I remain the optimist as far as I can. The idea of the two species joining together for a feature film was hinted at in "Predator 2" (1990), then hinted at even further with a line of comic books, fan fiction, and great videogames. I, personally, cannot wait.

Predator Preys On Your Sense of Adventure
"The Most Dangerous Game," to which Predator bears a remarkable resemblance is a literary classic and mandatory reading in most ninth grade English classes. So the question arises, why is that story held in such high esteem when this picture is cast aside as mindless tripe? I suppose having Arnold Schwarzenegger's name above the title and Joel Silver's in the producing credits doesn't help, but don't get me wrong I'm not suggesting this movie should have been showered with praise from critics, or awards from Academy members. But a pat on the back for one of the finest action directors working today (John McTiernan of Die Hard fame) might be nice, especially considering this film isn't nearly as dumb as people would have you to believe.

Schwarzenegger stars as the leader of an elite commando force sent into Central America to retrieve U.S. hostages being held in guerrilla hands. Little does he or anybody in his team know (with the exception of Carl Weather's character) that they're actually being manipulated into assassinating a group of Communist dissidents and thorns in the thorns in the side of the C.I.A. This is the only the first back-stabbing and leads to a quite harrowing and action packed combat sequence that wouldn't have looked out of place in Platoon or Saving Private Ryan.

While all this is going on, comsuming more than a half hour of briskly paced screen time, we still have yet to see the alien. McTiernan utilizes a clever tactic orginated (or at least to the best of my knowledge) by Steven Speilberg in Jaws by shooting from the predator's point of view. By doing this we only get glimpses of the monster, as he has the ability to turn himself invisable at will, which makes the final confrontation all the more terrifying. Also noteworthy is Kevin Peter Hall as the villainous creature who is a constant menace and manages to make a very impressive impression even though we never see his face.

For about the last hour of the movie he stalks Arnie and his rebel company, picking them off one by one as is customary in these kinds of films. To me the parrallels to "Dangerous Game" are quite obvious, simply substitute an alien in place of the hunter who preys on humans. The symbolism of the book and the movie is quite clear, or at least in my mind, and is that hunting for sport is inherently wrong. But even the predator has a code of conduct that human hunters have yet to adopt, he doesn't take advantage of another species inferiority or good nature. To me, being as I'm such an animal lover, I'd root for the alien a lot sooner than I would Ted Nugget or his band of ignorant rednecks.

Now I'm willing to concede that maybe I'm so intent on justifying my appreciateion for this film that I might be imposing onto it hidden meanings that aren't really there, but even if that is the case it does little to depreciate my enjoyment of one of the most exciting science fiction movies that I've ever seen. Sure the acting is merely adequate and the writing could use some sprucing up, especially in fleshing out the characters a little more, but the directing is superb and the finished product is about as good as anything you have the right to expect considering the genre.

And that's not to mention the special effects. Done by Stan Winston, who won recognition as being the best in his field after his work creating the digital dinosaurs in Speilberg's Jurassic Park, he does an equally impressive job here. The "creature features" never get too corny and at the same time aren't so good as to distract from the rest of the film. It's a fine line to walk and I can't think of anybody who does it any better.

This is the second four star review I've given a Schwarzenegger movie in as many months (the other being for True Lies) and I'm quietly coming back around to being a big fan of his early work for the first time since I was thirteen.

the best alien action film out there
when I first saw the first Predator film,I was happy to see the strong male role running for his life. Yet I do think why this editions for the Alien and Predator films are coming out so close to each other is for the summers next cross over. Alien vs Predator. But to the film, the first predator was by far the best. Sending in comandos into a rain forest and each one being killed off is truly a scary sight and yet the movie is full of action. Predator is by far one of my favorit films and I will go by this film when it comes out three days before the opeaning of AVP.

great Sci Fi film
This has got to be one of the coolest monster movies ever made! The cast is great and the creature is THE coolest (technologically advanced) alien ever! Don't listen to the 2 bad reviews. One of those guys can't even spell a simple word like "cigar", I doubt he has much taste in movies if he can't pass high school english. It's ironic that all of the low scores (besides the two drop-outs) are given not because of the movie, but because of the poor DVD treatment Fox has given it so far. I can only hope that the upcoming Alien Vs Predator will be as good as it looks. It's been a long time coming and they had better not screw it up. Anyway, get this movie. Just make sure you wait for the spec. edition coming out July 23rd! Go Yautja!

Arnold Schwarzenegger's best movie
Predator is the Arnold Schwarzeneggers greatest movie ever.A very good sample to sci-fiction in early 80's.South american terorists has captured a small group of americans and CIA is not going to send special forces to rescuing them only one man can do this job dutch and his team.Very famous actors played in this movie Arnold Schwarzenegger,Carl Weathers,Bill Duke,Jesse Ventura. if you love this movie than you must watch another great movies of schwarzenegger which is the commando,terminator ... Read more

Reviews (5)

Worst of the Best or Best of the Worst?
After seeing the excellent BEST OF THE BEST, I felt sure that a sequel was in the works. It took four years, but after seeing BEST OF THE BEST 2, I was hugely disappointed. Perhaps it is unfair to compare a sequel to the original. Stallone in ROCKY was so good that even if ROCKY II had been much better than it was, it would have been hard to approach the first.The problem with BEST OF THE BEST II is that director Robert Radler, who directed both, had no idea what on what plot frame to hang his martial arts sequences. Instead of a morally uplifting tournament which admittedly had revenge as a contributing element as Radler had in Part I, he took the by now weary motife of revenge, placed it squarely on center stage, and to it added a loathesome series of characters whose sliminess made my skin crawl. Wayne Newton, who is one of the richest of men in Las Vegas in real life, is here one of the most obnoxiously repulsive underground fight promoters. Now you might think that his very obnoxiousness is what marks him as a fine actor, but I have seen dozens of other actors in exactly the same role do a better job without going over the top as Newton does in each scene that he is in. The plot is your standard bad-guy-kills-my-brother-in-a-cage theme. But what I found most repellent was the audience watching the cage matches. If this film is to be believed, it suggests that the typical audience member is a mindless goon, intent only on seeing gore, regardless of whose it is. I found it difficult to watch the moral bankruptcy that filled the void that Radler calls a plot. What saved this movie from being totally repugnant were the fight scenes. Eric Roberts and Phillip Rhee reprise their roles as fellow martial artists who now find that their fighting is not restricted by the rules of a tournament but by the limits of their skill in deadly combat. Roberts has little to do except punch out the usual number of lackeys. It is Rhee who moves to center stage in a series of consecutive combats that brings to mind Van Damme in the kumite. Rhee defeats an inreasingly skillful level of fighter until he meets the Bad Guy (Moeller), who looks like (and sounds like) a more chiseled Schwartzenegger. Rhee's fight scenes during the last twenty minutes are quite thrilling, especially since Rhee had the good sense to avoid the patently phony choreographed look of kick followed by punch. He shows the varied moves that reality fighters have shown in the Ultimate Fighting Championship. Moeller, who later wrestled for Vince McMahon in the WWF, is convincing as the ruthless Brakus. Sonny Ladham switches from playing a drunk to being Rhee's martial arts instructor and does creditably in both. By the time the closing credits roll, the sensational fight scenes nearly made me forget the muck I had to wade through to get there.

Phillip Rhea - The Unknown Talent
First and foremost, this is a "B" movie. The acting is not top notch and the plot itself will not make any significat changes to your perspective on life. Furthermore, if you are not a fan of Martial Arts, then please stop reading. This movie will most likely not appeal to you. Now that we have that out of the way, and you are still reading, please... buy it, rent it, schedule time for it if it's on cable/satellite TV, whatever. Phillip Rhea is very impressive in this second installment ~ a lot more than in part one. His range in Martial Arts is truly engaging, apparently combining moves from several of the different arts. Pay particular close attention to the fighting scenes in the arena. He changes his style when fighting different opponents to capitalize on their weaknesses. As a matter of fact, it is the fighting scenes in the arena that make this worth watching.
"B" movie actors, Chris Penn and the overdramatic Eric Roberts, also appear in this second part. Stiff and unorthodox, their skills (acting or martial art?) have not improved since part one. However, Sonny Landham also makes an appearance. He is that obscure Native American actor you see here and there, but never really knew his name. Some of you might remember him in Predator. Well he plays Rhea's older brother, a former tournament fighter turned $hit kicking, Jack-Daniels stinkin' drunk. He is actually quite funny and lends to the overall entertainment value.
Enjoy.

Legendary Martial Arts Action
Leonard Maltin must have been under the influence when he rated this series. Best of the Best 1 and 2 deserve to be in the top 10 for Martial Arts movies. Phillip Rhee should be placed in a category with Bruce and Brandon Lee, Mark Dacoscas, Jackie, Sammo and Yeung. It's martial arts ability, form, and charisma all rolled into one. I remember rewinding the scene with the nunchaku until I could mimic it. If you like martial arts, you WILL love this movie. You should also try Rapid Fire, The Big Brawl, Only the Strong, Drive, and rent some old wrestling videos with the Steiner Brothers and Shawn Michaels. Trust me.

... I still like this movie, but I was just a kid when I wrote this review. Don't hold it against me.

Leonard Maltlin is out to lunch
This one is fun. Yes you should enjoy martial arts. But basically its fun. Especially Rhee's fight at the arena.

This is an excellent movie!!
This movie is great. It has lots of action and has a great score. Leonard Maltin does not know what he is talking aabout. The "Best of the Best" series is nothing like "Rocky". ... Read more

Reviews (3)

great family western
i really loved this movie i do not like westerns but this movie kept me on my seat it has a lot of action corbin bernsen really plays a great westerner. highly recommend.

Great family entertainment, good clean fun.
My kids really like Savage Land, and know just about every line of dialogue, as well as all of the lyrics to the songs performed by the Kansas City Thrush. Charming kids, very likable female leads, and a good bunch of funny bad guys makes this film very accessible and enjoyable for family entertainment. Can't wait for the DVD version, and hope there will be some bonus features (hint-hint?)

Adventure In The Great Outdoors
Two children, and two single women struggle to survive after their stagecoach is ambushed; Gunslinger Vivian Schilling should have shot the painfully dreadful Singer Charlotte Ross to move the film up to five stars. Otherwise, great cast, great script and a lot of fun. ... Read more

Reviews (25)

This is the REAL thing. Accept no imitations.
In order to appreciate this film fully, you hafta turn yourself back in time to 1982, an' try an' remember the political an' social mindset of the day. Then imagine watching '48 HRS.' an unabashed an' raucous cop thriller that breaks the very foundation of political correctness. Now how does that make you feel? If you say, sick to your stomach, then maybe you needa loosen your jock strap an' try it again. E'ybody knows the plot, the hard-drinkin', chain-smokin' San Francisco cop Jack Cates, played by Nick Nolte (who looks almost TOO comfortable in the role of a wasted, burn-out), is lookin' to put two recent prison escapees an' vicious cop killers away after he tried an' failed to apprehend them. In going over the case he comes across several members of their old gang an' decides to go talk to one'a the incarcerated ones. Here's where Eddie Murphy comes in. Reggie Hammond is the smooth an' dapper, fast-talking convict who convinces Cates to get him out of jail an' on the street to help him solve this case. Cates reluctantly does so, an' from there is' jus' the two of them together goin' from place to place, crook to crook, bar to bar, lead to lead, tryin' to keep from killing each other in the process. Cates is a rough-edged, semi-bigot with an apparent vendetta toward these crooks (though apparently jus' for stealing his gun), Reggie is the charming, jive-talking criminal, with a more obvious vendetta toward the crooks (they dropped the dime on him, got him locked up, an' are now tryin' to steal a half a million dollars of his hard-earned, er, um, hard-stolen cash). Both are on the same mission, but with two TOTALLY different personalities an' when they mix it up, oh, is' gunpowder. E'ybody talks about the scene with Murphy in the country-western bar playin' cop ("Alright listen up. I don't like white people. An' I HATE rednecks. You people're rednecks. That means I'm enjoyin' this s---.") an' although it is funny, my favorite scene comes right after they question the two ladies who were s'posedly in cahoots with the killers, when Nolte an' Murphy finally drop the trash-talkin' an' jus' have a drunken brawl in the street only to be broken up by two cops on the beat.

This is the original buddy cop flick. With two guys who're ironically ANYTHING but buddies. Depending on the way you've come up watching movies, this one will either be a wonderfully offensive cop thriller, or a horribly offensive cop thriller. Of course, no matter how you look at it, '48 HRS.' will forever be a hallmark, because it was one'a the first movies of its kind: a rough-edged, blatant politically-incorrect film centering on characters that are so sleazy at times you hafta force yourself to like them, an' revolving around racial stereotypes an' sexist banter thas' thrown around like it's nothing, not to mention some brutal violence. Now it'd be much harder to overlook all the coldness if it wasn't for the charm an' appeal of Eddie Murphy, in his film debut. He is the main reason to watch the flick, although Nolte's character also provides the perfect counterbalance. Directed by Walter Hill, '48 HRS.' set a new standard for the way action flicks were to be played for the rest of the 1980s. With laughs, wit, chemistry, an' a not-so-serious attitude set against a very serious backdrop.

Fun cop buddy flick
Eddie Murphy made his debut in this Walter Hill film, and he is really the star here, even though Nick Nolte gets top billing. Nolte does a fine job, but his part is not as showy, and one's eyes are not drawn to him as much as Murphy, at his best in the country-western bar scene.

You probably know the story, but I'll summarize it here by saying that this is simply a buddy movie with an antagonistic twist. Murphy is the con, in for three years with six months left. Nolte is the cop on a search for James Remar, who stole a lot of money with Murphy long ago.

The story is set up as a mystery, with the pair questioning several possible connections, but the story doesn't really matter. The main attraction is the relationship between Murphy and Nolte and the slow growth towards friendship.

One complaint is that since this was filmed in 1982, they had a different idea of gritty police drama than today. The police department's atmosphere is incredibly tame compared to shows like NYPD Blue. Nolte does his best, chain-smoking and nipping from a flask (I read once you could tell an '80's movie by how much they smoked), but he still doesn't come across as jaded as any scene with Andy Sipowicz.

It's still fun and good entertainment, especially if you are looking for a film with an American Indian character that dresses like a '50's relic.

Wonderful
This is Eddie Murphy in is prime, when he was at the height of his acting career. He is so wonderful in this movie. He steals the show from Nick Nolte.

Worth Owning on DVD
At less than $15, this movie should be flying off the shelves. Both Nolte and Murphy are great. Their characters are are perfectly scripted to each actor's abilities and personality. Murphy plays a loudmouth penny ante punk. Nolte plays a grumpy, rascist tough guy. They, of course, learn to respect and like each other as they chase down the bad guys. The story isn't bad either. The soundtrack is good and 48 Hrs is set all over San Francisco. If your a fan of either or of comedy action or movies set in SF, you can't go wrong. My favorite Eddie Murphy movie.

Murphy's best is his first
Some of the best 1-liners ever reside in this film. Simply put, its a great comedy with a flare for drama, and in the cop buddy genre. Lots of cursing, some nudity, but ultimately, a great flick. It kicks today's cop buddy flicks in the Mother F-ing Aholes Mother F-ers! ... Read more

Reviews (32)

A Vietnam set in Louisiana swampland
Southern comfort is a great metaphor for the Vietnam War, except instead of the Viet-Cong, the enemy is some mean and nasty backwood Cajuns you would not want to run into if you were lost in the swamp. The soldiers are really a bunch of civilians thrown into an ugly situation they really want no part of, and they are impotent weekend warriors as well, as they have to fight the Cajun's powerful hunting rifles with nothing but blanks! Powers Booth, and Keith Carradine steal the show as the two soldiers with any common sense , that want to survive the situation...gory and violent, you really get into the story as their situation keeps worsening, and the plot thickens. The score by Ry Cooder is unforgettable and haunting, and listen for some down home Cajun music in the climax...will make you think twice about heading out into the bayous of Southern Louisiana....Highly recommended.

Deliverance + Blair Witch Project = Terrible, Terrible Movie
It's like Deliverance because it has hillbillies hunting city boys and it's like the Blair Witch Project because all that happens is they wander around not knowing where to go and eventually get killed. The script is so poorly written that someone actually gets killed by quick sand. The music is awful; at one point it's a single note being played for ten minutes. The acting is horrendous; they're supposed to be convincing each other that they're seriously lost and need to think of a plan, but they can't even convince me that they're in the Bayou.
The film is classified as action/adventure, but all that happens is that they walk around for seventy minutes, deliver terrible dialogs, spend twenty minutes in a hillbilly hootenanny, and battle their pursuers in a confrontation that makes the stunts on Xena look like a Bruce Lee movie. There's a scene where a pig is cut open and its guts come out and say, "Look at me: I'm unpleasant, but an hour of me is still better than ten minutes of this garbage!"
If you like this movie, make sure to check out Battlefield Earth and Cut Throat Island.

An Extraordinary Gem that deserves more prominence
Whatver I say about this film, I can't admit to being objective about it because I adore it so much. At this point, I have probably watched it about 15 times over the years so I feel something of an expert on it.

Since others have written some very well written reviews of "Southern Comfort" I don't want to repeat what they say however a few points require clarification.

First, what this film is about. It is not, in my opinion, merely about the traditional urban/rural divide. That divide exists in the film as it does in real life. But that is not the point of the film. Nor is it an anti-white or anti-Southern screed. Although it takes place in the South it could take place just about anywhere when one realizes what the film is really about. Also both the "survivors" and the "villains" in the film are white Southerners. The "survivors" being two Lousiana National Guardsman - Spencer (Kieth Carradine) and Hardin (Powers Boothe). The "villains" being Cajun fisherman/hunters out in the swamps of Lousiana.

No, what "Southern Comfort" is really about is what happens when arrogant fools invade another people's land and start indulging in violent and hostile acts, including destroying the livelihood of the indigeneous native people (e.g. cutting their fishing nets and stealing their boats), shooting at, seizing, and taking prisoner innocent locals, blowing up their homes, abusing and torturing them (sounds all to familiar), and then wondering why they are hated so much and why the native people attack them. The message is really that simple.

It was captured in a short dialogue after the "survivors" are shown to be the last two left among the guardsmen. When they are confronted by a shotgun toting one armed Cajun (who was previously their prisoner) brilliantly played by the late Brion James, Hardin asks the Cajun, "Do you mind telling us what this [the war with the guardsmen] is all about?" The Cajun responds, "It's real simple. This is our land. We live back here and no one f***s with us here." For that reason the advertising slogan for the film - "The Land of Hospitality...unless you don't belong" - is wrong. It should have read "The Land of Hospitality...unless you misbehave and start mistreating and abusing the locals!"

If the guardsman hadn't behaved badly then they would not have had much trouble with the locals in the first place. Also, the Cajuns in the small town at the end of the film came across as quite normal and hospitable to me. Only the "swamp rat" Cajuns come across as threatening and THEY were only fighting back against violent intruders. So I have to disagree with the assessment by some that the film is anti-Cajun, anti-white, or anti-Southern. On the contrary, one of the "heroes" (i.e., survivors) is a white Southerner from Baton Rouge (Spencer played by Keith Carradine). As for the Cajuns shown in the small town, they were not actors. They were real people that were shown honestly and fairly - enjoying good food, good company, good music, and dancing.

To sum up, "Southern Comfort" is an outstanding and extraordinary film in its own right. The acting is persuasive and very convincing, especially from Fred Ward who plays a very menancing type and, of course, the much underrated and underappreciated Powers Boothe who plays the "outsider" from El Paso, Texas. The direction by Walter Hill is superb. The cinematography from the first frame to the last by Andrew Laszlo is lush, rich, and luxuriant. (It makes me want to visit the Lousiana bayou to see it for myself.) And last, but not least, the music composed and arranged (and played) by Ry Cooder is both mysterious and seductive. Few films have ever enjoyed such a perfect marriage between image and music as "Southern Comfort." The only other film that has this quality that immediately comes to mind is Carol Reed's "The Third Man" which featured the hypnotically beautiful zither music by Anton Karas. Karas and Cooder both share an indescribable special quality that is evident in both films.

The DVD transfer is outstanding. The only disappointment is the lack of any meaningful extras. Other than the original trailer there is nothing else. Okay, this is a budget priced DVD but still this film deserves better. I hope that MGM will see the light and re-release "Southern Comfort" with some useful extras like filmographies/biographies, behind the scenes photos, a "making of" documentary, and especially an expert commentary. This film definitely deserves it. Halliwell's Film Guide gives it four stars and if you know anything about Halliwell's you know how difficult it is for any film to get four stars.

So on a scale of one to five stars, I give the film five stars but the DVD four stars. Nevertheless because I love this film so much and wish it had a larger audience I will rate it five stars for Amazon.

Succeeds despite its prejudices
Walter Hill's 1981 film "Southern Comfort" slightly resembles other "hillbillies gone wild" type films like "Deliverance" and H.G. Lewis's "2000 Maniacs." Hill's filmography contains a few memorable films ("The Warriors, "48 Hours") and even more forgettable pictures ("Extreme Prejudice," "Red Heat"). Considering the man's body of work, I am willing to wager that "Southern Comfort" is his best film, an effort where nearly everything gels into a magnificent whole. Technically, the film is wonderfully brilliant, filled with compelling and well-developed characters, tremendous scenery and ominous atmosphere, menacing villains, and an incredible music score from Ry Cooder. Notice, however, that I said "nearly everything." I have serious problems with several of the philosophical tenets that lay over every part of the picture like a wet blanket. Perhaps some of the issues I had with Hill's project weren't as apparent in 1981 as they are now. Whatever the case, "Southern Comfort" is a racist film loaded with sectionalism, irrational fears, and scurrilous stereotyping. "If your claims are true," you might ask, "why have I not heard about this film before?" Good question. The answer, if you want one, concerns racism directed against whites.

The plot is deceptively simple. Set in the watery recesses of the Louisiana bayous, "Southern Comfort" tells the tale of a squad of National Guardsmen who encounter way more than they imagined after running into a trio of Cajuns during a routine training mission. When the guardsmen realize they are lost in the swamps, they decide to steal some poachers' canoes they find on a riverbank. Big mistake. As the weekend warriors float away, they notice the Cajuns watching them from the shoreline. One of the dunces in the outfit rattles off a burst of blanks from his machine gun as a sort of joke. The Cajuns don't know the gun isn't real, and one of them promptly plants a bullet into the head of the squad leader (Peter Coyote in one of his shortest film roles) from an amazing distance. The soldiers, horribly surprised by such a bloody incident, make it to shore and begin worrying about how to get out of the bayou. The compass, the radio, and the only map went down with the canoes, thus effectively trapping the men behind enemy lines. The Cajuns track the soldiers down and dispatch them with dogs, traps, falling trees, and gunfire. As the squad rapidly dwindles, the only hope is to keep going and find a way out. Hindering the quest for civilization are tensions within the group between two city boys (Powers Boothe and Keith Carradine) and two rednecks (Fred Ward and Lewis Smith).

"Southern Comfort" is an enjoyable film in many respects. The excellent cast takes most of the credit for the success of the film. Powers Boothe-great as always-plays main character Charles Hardin, a soldier who recently transferred into the Louisiana Guard from Texas. He's a city boy who despises rednecks, hates the South, and has a hard time accepting the behavior he sees from some of his squad mates. Keith Carradine plays a Louisiana city boy, Spencer, who befriends Hardin even as he feels pressure from his fellow soldiers to conform. The best performance in the film comes from Fred Ward. Ward plays sinister redneck soldier Lonnie Reece, a man who readily takes to violence in any situation. He's the one who brought along a box of live ammo, who tortures a Cajun captive, and who opposes Hardin. You'll recognize several other actors in the film, including Brion James as a Cajun, Franklyn Seales and T.K. Carter as guardsmen, and Alan Autry as the unstable Corporal "Coach" Bowden. The cast makes the movie, and ultimately saves it considering the overtones of racism and hatred in the script.

The film's prejudice against poor white southerners becomes apparent very quickly. The bad guys in the film are always rural types like Lonnie Reece or the Cajuns. Moreover, the film presents these characters as dangerously unbalanced types prone to fits of irrational violence (Reece's threats with his gun and knife, Bowden's firebombing of the Cajun trapper's home) or bouts of mental instability (Bowden's retreat into insanity). There certainly isn't any sympathy for the Cajuns in any part of the film. "Southern Comfort" presents them as filthy savages barely capable of speaking. Sure, these swamp dwellers started killing the soldiers, but they only did so after the squad stole their boats and one idiot opened up on them with a machine gun full of blanks. In fact, the guy who fired the blanks in jest is of course one of the rural rednecks in the outfit. At the end of the film, Hardin and Spencer end up in a Cajun town out in the boonies. The fear on Hardin's face underscores the fear urban dwellers should always have when confronted with a group of "dumb hicks" out in the sticks. Heck, these folks don't even have a phone! What rural stereotypes! On the other hand, the city boy Hardin-and to a lesser extent Spencer-always come across as saner, more sure of themselves, and knowledgeable. So not only do we see anti-white racism, we also get the old urban-rural sectionalism that has defined the development of the United States since its inception.

I'm still going to give the movie a good grade if for no other reason than its opulent cinematography, the wonderful performances, and that great Cajun music at the end of the film. I just didn't care for the pro-urban, hate the rurals propaganda. As though cities are safer and cleaner! Thanks once again go to MGM for releasing a DVD without any extras. All you get here is a widescreen transfer and a trailer. I recommend "Southern Comfort" wholeheartedly as long as you recognize the film for what it truly is: an intriguing story infused with questionable philosophical beliefs. Enjoy (I think...)!

good movie
I first saw this film in 1982 and I enjoyed it.The acting is good,the settings are good,the music score by Ry Cooder is superb.The cajun camp sequences are interesting..hearing their accents,watching them cut open a pigs belly.In all,a very entertaining movie to eat pizza with. ... Read more

Amazon.com

With vanity projects like 1989's schlocky Lock Up to his credit, it's a wonder Sylvester Stallone survived to make some better movies in the '90s.This is a brutal dose of macho action that Stallone squeezed in between Rambo III and Rocky V, and his fans didn't seem to mind, so who's to judge? It's not as bad as Sly's other 1989 disaster (Tango & Cash), but you'd have to be demented, drunk, or have really low standards to call this a good movie. But if you're in a primal mood you'll get a kick out of this grimy flick, which would qualify as Z-grade exploitation if it weren't for Stallone's beefy presence as Frank Leone, a cooperative prisoner who's six months shy of parole when he's relocated to a hellhole called Gateway Prison. The wretched high-security facility is commandeered by Warden Drumgoole (Donald Sutherland), who is determined to settle an old score with Stallone ... and you can pretty much guess the rest. Director John Flynn didn't exactly distinguish himself with this one (he'd go on to direct forgettable fare like Out for Justice and Brainscan), but there's more visual style here than you might expect, and Sly manages to take it all so seriously that you can easily enjoy this gut buster as an unintentional comedy. --Jeff Shannon ... Read more

Reviews (16)

Make sure you have a spare key handy!
"Lock Up" features a strong cast with the likes of Sylvester Stallone, Donald Sutherland, John Amos, Tom Sizemore and Sonny Landham. Stallone portrays Frank Leone, who must serve the remaining six months of his sentence at a minimum security correctional facility. Leone's cell is ransacked in the middle of the night and is taken into custody against his will by security guards from a maximum security prison, where Leone is escorted and is promptly given the guided tour of hell. The viewer, as well as Leone, is then given an explanation of Leone's transfer, courtesy of one evil Warden Drumgoole, played by Sutherland. The tone of the movie is set upon Drumgoole's intense greeting: "Welcome to Gateway, Leone". It's payback time, according to the warden, whose administration was publicly humiliated by Leone, whom Warden Drumgoole makes sure never has another pleasureable moment during Leone's sentence. Leone's stay isn't entirely unbearable, for there are a few bright spots here, as our beloved convict-hero makes some fast friends in the prison autobody shop, with the likes of Eclipse (Frank McRae), Dallas (Tom Sizemore) and First Base (Larry Romano). It is here where these individuals share a common bond of friendship, including their love of cars, which is one of "Lock Up's" few tender moments. Ah, but there can't be friends without enemies, can there? Frank finds his enemy at a prison football game, where he is brutally roughhoused by one Chink Weber (Sonny Landham). Things don't get any easier for Leone, as he is constantly belittled and brutally assaulted by Drumgoole's staff. Overall, this is a strong film, with some believable characters, although the plot in certain spots is somewhat weak and unbelievable. For instance, I find it hard to believe that a prison autobody shop, such as this, displays little or no security, as well as a large maximum security prison, like this one, being overseen by just one warden, who, out of hundreds and hundreds of inmates, is so obsessed with just one of them. I'm sure the warden has other responsibilities to be concerned about, which I'm sure are many. But, the one good thing about watching a film of this caliber is that the warden's obsession with one man builds an intense climax that leaves the viewer on the edge of his/her seat the entire length of the movie, thus craving more substantial thrills and dialog. "Lock Up" contains all of the above, and is one film you're sure to come back to time and again. Plus, no other actor can bring more to an action-thriller quite like Sly Stallone, although "Lock Up" probably isn't his best role. That honor would have to go to his Rambo and Rocky roles. When viewing "Lock Up", make sure you have a spare key (and some refreshments) handy at all times, because you never know how long your stay of execution will last!

It's STALLONE for crying out loud!!!
Ok, so the guy who did the Amazon.com Editorial review calls the people who enjoy this movie demented, drunk, or having really low standards. Who says you have to take the movie seriously...just enjoy it; I think we all realize that what happens in this movie would never happen in real life, and that's what makes it so cool. I say Lock Up is one of Stallone's more memorable movies for me although it is one of his lesser known roles. This movie probably wouldn't be good if it were played by anyone other than Stallone, but it isn't so it's great. Stallone plays Frank Leone, a man serving a short and normal prison sentence, when he is suddenly and inexplicably sent to Gateway, a hell-hole of a prison, with the evil Warden Drumgoole in charge, played very well by Donald Sutherland. Drumgoole employs a bully named Chink, (played by Sonny Landham) to make sure Leone's time at Gateway is as unpleasant as possible. The most memorable moment in the film for me is when Leone goes after Chink when he crosses the line. On the front of the DVD one critic states, "A surprisingly human film." I must agree. You really start to feel for Frank Leone after he is given such a hard time, and you want to see him exact his revenge like only Stallone can.

Stallone just has a certain aura about him, ya know? Like he's almost not human, with larger-than-life characters like Rocky and Rambo in his name, but something more...maybe I am just, demented...but I think a lot of Stallone fans know exactly what I mean.

I like this movie
I was told that this was a bad movie and that it would be a waste of time to watch it, but I had to see for my self and form my own opinion.
I think this is very good movie, not like anything sly had done before (maybe that's why I like it).
I strongly recommend this movie to anyone with an open mind to judge it for what it really is and not for what it should be.

Flagitious Prison!
The icon known as Sylvester Stallone is an ideal prisoner who is unexpectedly transferred to the depraved warden Donald Sutherland's prison. I was scandalized when the police officers handcuffed Stallone during the middle of the night and drove him to the evil Sutherland's prison! Irate! Sutherland and Stallone had a troubled past and Sutherland was getting revenge. Oh, you know what happens when you mess with a legend. No mercy upon him! Stallone plays football with inmates, has a car destroyed, and he doesn't know who to trust. Stallone gets reprisal when his friend is murdered by Sonny Landham (crazy guy from "Predator"). Stallone tries to break out of prison and got his hands on the sadistic Sutherland. Electrifying! Stallone gives his most thoughtful performance since the Rambo trilogy. Almost golden.

Uh........no
No, no, no. Would I EVER watch this ridiculous movie again? No. ... Read more

Reviews (2)

tries hard
Old Chuck tries hard in both Firewalker and Hero & The Terror to present a new, softer image. Were it not for the fact that Chuck appears to radiate such charisma this character change would fail completely.

Both these titles are essential for Chuck fans but to anyone else: Fiewalker is just plain ropey and Hero & The Terror slightly boring.

ONE OF HIS BEST MOVIES YET !!!!
I think this is a change for Chuck. We think it was one of his BEST MOVIES EVER !! IT WAS GREAT !!!!! we love you Chuck.....

FROM SHIRLEY HEAD OF HIS FAN CLUB HERE IN CANADA ... Read more

Reviews (269)

One of the Governator's best...
It sits perched in the trees, invisible to the naked eye. It watches them trek through the rainforest. It stalks them slowly, lunging forward when given the chance but never revealing itself. It follows their patterns and mimics their voices. The leader turns, sporting a serious expression of fear. It is Dutch Schaefer (Arnold Schwarzenegger). "If it bleeds, we can kill it," he says, glancing down at the green liquid.

Terror comes in many forms, but so does action, and "Predator" successfully combines both. We already know the fate of our hero, but that does not matter, simply because we enjoy the ride. This is a smart action/horror/thriller that doesn't fall back on cliches, but pushes forward, aware that it may be following such films as "Alien" (1979) but yet only improving upon the presented material. The Predator is a work of genius--originally fitted for Jean-Claude Van Damme and shaped like a giant bug, it was later reworked by creature effects artist Stan Winston (with the help of James Cameron) after Van Damme was fired due to complaining too much about how hot and stuffy his suit was. The villain helps make this movie, and if there were ever a terrifying creature it is the Predator, which is not only visually haunting but an emphasis of how advanced life forms could hunt us like we hunt animal prey.

Kevin Peter Hall hadn't gotten much work then; a few stage performances but nothing serious. He was picked up by John McTiernan because he was taller than Arnold Schwarzenegger and, when placed in the alien suit, he not only looked fierce but he also looked like he could be the one and only true opponent to Arnold, a man who looks like he eats babies for breakfasts. (And perhaps grown humans for lunch.)

Not only is he the perfect opponent, he helps make the movie. A lot of the film's positive elements come from the lush Cambodian jungles, the haunting direction by McTiernan, the ultimate macho combat role by Arnold, the paranoia and startlingly effective idea of the remote settings. Much of it also comes from the fact that the alien, when finally revealed, looks real. It looks real, all right, and also pretty darn horrifying. (Who can forget when it drops its face mask and reveals its true self?)

Major Dutch Schaefer and his elite team of US Commandos are sent deep into the swampy depths of a Columbian jungle, trying to locate a downed chopper carrying a Cabinet Member. "Do your Cabinet Members always fly on the wrong side of the border?" Dutch quips before he and his men are loaded into their means of transportation.

They arrive in the jungle and soon find that a camouflaged creature is ritualistically stalking and murdering them. But this isn't just random slasher style--it picks off its prey on a whimsy, and only attacks fair game (e.g. those with weapons). Soon Dutch and his team realize that getting out of the jungle isn't going to be as easy as they thought.

For me, "Predator" is one of the best action films of all time. It has everything. It isn't messy and over-paced; it takes its time getting where it's going, building up the tension for the audience, and then unleashes a bombardment of action set pieces and visual effects. Another great thing is that it is sort of Hitchcockian in a way; it doesn't show us the killer, at least not at first. It again takes its time, building up the tension, getting us primed. When it finally does show us the creature, we're shocked.

Arnold Schwarzenegger fits the role like a glove; criticize him all you want, Dutch was made for him. Can you imagine Sly or Willis playing Dutch? Not me, either. This is his time to shine. Shine he does.

The series is getting a jumpstarted revival next year with "Alien vs. Predator" (2004). There are doubts as to whether or not it will live up to long-growing expectations, especially with Paul W.S. "Resident Evil" Anderson at the helm, but I remain the optimist as far as I can. The idea of the two species joining together for a feature film was hinted at in "Predator 2" (1990), then hinted at even further with a line of comic books, fan fiction, and great videogames. I, personally, cannot wait.

Predator Preys On Your Sense of Adventure
"The Most Dangerous Game," to which Predator bears a remarkable resemblance is a literary classic and mandatory reading in most ninth grade English classes. So the question arises, why is that story held in such high esteem when this picture is cast aside as mindless tripe? I suppose having Arnold Schwarzenegger's name above the title and Joel Silver's in the producing credits doesn't help, but don't get me wrong I'm not suggesting this movie should have been showered with praise from critics, or awards from Academy members. But a pat on the back for one of the finest action directors working today (John McTiernan of Die Hard fame) might be nice, especially considering this film isn't nearly as dumb as people would have you to believe.

Schwarzenegger stars as the leader of an elite commando force sent into Central America to retrieve U.S. hostages being held in guerrilla hands. Little does he or anybody in his team know (with the exception of Carl Weather's character) that they're actually being manipulated into assassinating a group of Communist dissidents and thorns in the thorns in the side of the C.I.A. This is the only the first back-stabbing and leads to a quite harrowing and action packed combat sequence that wouldn't have looked out of place in Platoon or Saving Private Ryan.

While all this is going on, comsuming more than a half hour of briskly paced screen time, we still have yet to see the alien. McTiernan utilizes a clever tactic orginated (or at least to the best of my knowledge) by Steven Speilberg in Jaws by shooting from the predator's point of view. By doing this we only get glimpses of the monster, as he has the ability to turn himself invisable at will, which makes the final confrontation all the more terrifying. Also noteworthy is Kevin Peter Hall as the villainous creature who is a constant menace and manages to make a very impressive impression even though we never see his face.

For about the last hour of the movie he stalks Arnie and his rebel company, picking them off one by one as is customary in these kinds of films. To me the parrallels to "Dangerous Game" are quite obvious, simply substitute an alien in place of the hunter who preys on humans. The symbolism of the book and the movie is quite clear, or at least in my mind, and is that hunting for sport is inherently wrong. But even the predator has a code of conduct that human hunters have yet to adopt, he doesn't take advantage of another species inferiority or good nature. To me, being as I'm such an animal lover, I'd root for the alien a lot sooner than I would Ted Nugget or his band of ignorant rednecks.

Now I'm willing to concede that maybe I'm so intent on justifying my appreciateion for this film that I might be imposing onto it hidden meanings that aren't really there, but even if that is the case it does little to depreciate my enjoyment of one of the most exciting science fiction movies that I've ever seen. Sure the acting is merely adequate and the writing could use some sprucing up, especially in fleshing out the characters a little more, but the directing is superb and the finished product is about as good as anything you have the right to expect considering the genre.

And that's not