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This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

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Garry Marshall (Pretty Woman) directs the screen adaptation of Terence McNally's play Frankie and Johnny at the Clair de Lune, the story of a short-order cook (Al Pacino) who drives a waitress (Michelle Pfeiffer) crazy with his adamant courtship and mixed messages. The film is okay and not much more than that, the major stumbling block being Marshall's failure to scrub away enough star veneer on Pacino and Pfeiffer to accept them as minimum-wage drones with nowhere to go but toward each other. Fortunately, Marshall's feel for the texture offered by supporting players--Hector Elizondo as a café owner, Nathan Lane as Pfeiffer's inevitably gay neighbor-buddy, Kate Nelligan as another lonely waitress--keeps things interesting enough. --Tom Keogh ... Read more

Reviews (35)

"We're expecting another call from you any minute"
Surprisingly subtle love story from director Garry Marshall. I think it tanked in theaters for the same reason I didn't see it until it went to video--I wasn't ready to accept Michelle Pfeiffer as a greasy-spoon waitress (or Al Pacino as a short-order cook). But I forgot that they can both act, and they do a wonderful job here. Nathan Lane is hilarious in a supporting role; he provides what might be the single funniest line that movie year.

Best Romantic Movie Ever Made!
This movie is one of the best!! You have to own it. If you are a hopeless romantic, then you MUST have it!!!! Not a movie for the kiddies. Just you and with someone you love or want to love...

I wish I could live in that Universe.
The dialogs are a dream come true.

I heard some people were upset that Michelle Pfeiffer was cast as Frankie. Apparently the actress who played that character on stage was Kathy Bates and came to be regarded by many as definitive in that role. I'm sure she was terrific, and I loved her in "Dolores Claiborne", but as much as I sympathize with those who claim that it's all part of Hollywood's conspiracy to make ordinary women feel dissatisfied with their "real", ordinary bodies and faces, Michelle Pfeiffer - gorgeous as she is - is a sensitive, real performer, not a Barbie doll in any way, and though I couldn't be more different from her physically, I find it very easy to relate to her thanks to her talent.

The movie is a gem, though every time I watch anything with Al Pacino in it I'm always counting the seconds for the "scream scene". I'm not sure I ever watched a movie in which he starred, that he didn't scream his head off at some point, and this one's no exception. One love scene is basically spoiled by it, although die hard fans can always make the case that the script was asking for it. No minor problems like this one can spoil the movie as a whole though, that's what's important.

A true love story
The way it really is. two people who aren't anything special at all. And they find one another and make it work despite everything else. because they have to. because they need something in their lives and this is the best thing coming around. Nice.

Beautiful Love Story!
I saw this in 1991 when I was in middle school and I instantly fell in love with the movie. This film introduced me to romantic comedies and though I am not a fan of most films of this genre this one has a lot of heart and soul.

Al Pacino took a break from his usual cop/crook roles to play Johnny, a sweet ex-con with a bruised heart. He's a kindred spirit looking for someone else to share his lonely life with. Michelle Pheiffer is the same kindred spirit except Frankie has been so bruised she can not get back. Frankie and Johnny go through twists and turns before Frankie agrees to go out on a date. The more Frankie sees into Johnny's world she realizes he's the one person who can help her move past her former relationship with a man who beat her. This actually scares Frankie even more and she does her best to fight Johnny's advances but ultimately cannot fight her own heart.

This movie is the perfect date movie all rolled into one. It would have been a great family movie except for the thrown in sex scene between Johnny and Cora. I didn't agree with that because it didn't belong in a wholesome movie like this. The set up of the diner was refreshing and it was good to see a film where everyone was struggling for paychecks and not living in mansions and driving fancy cars. I am not from New York but I got a true sense of New York life after seeing this movie. The director ( Garry Marshall) had just come off of his super hit with Pretty Woman and proved he still had the touch of gold when it came to romantic movies.

The cast was wonderful. I enjoyed Al Pacino's innocent betrayal of Johnny and he brought in a lot of himself into the character. Michelle Pfeiffer was good as well. I just wished Frankie hadn't have been so grumpy because it was hard for me to warm up to her at first. But I realized Frankie was the way she was because of the hardships in her life. This is a movie for anyone to enjoy: young, middle-aged, senior, black, white, asian. It's one of those movies that doesn't provide any culture gaps or society gaps. It's just a nice love story where anyone can relate.

Everyone has had to struggle with emotions or money and everyone has fallen in love some time or another. This film combines all those elements into a breathtaking movie. If that's not enough for you to see it, check it out for the supporting characters. Nathan Lane is a hoot. Everyone should see this film at least once. ... Read more

Reviews (272)

Another Flop From Notorious Dreamworks Pictures!
Honestly, the way I see it is that "The Haunting" was the only commendable production from Dreamworks Pictures. This feature animation, on the other hand, puts Steven Spielberg to a great deal of shame, I'm afraid; and it all the more proves how Jeffery Katzenberg can hardly survive without the expertise of the Walt Disney Company.

First of all, it is terribly non-accurate in terms of restoring a "tale" of how Moses delivered his people. And secondly, eew...imagine how the people looked! Many praised this movie for its stunning background design; I personally feel horrible-looking CGI-animated people pale in accompaniment to how "stunning" the audience opines the animation to be - either in a positive or negative way. Why, I think even Don Bluth's "Anastasia" could do many times better!

The soundtrack itself isn't all the more that fantastic, despite the several rather meaningful songs like "River Lullaby", "Through Heaven's Eyes" and "When You Believe", due to that familiar sensation from listening to scores of similar tones. I suppose this is the only portion of "The Prince of Egypt" which persuades me to only hang on to it with an unimpressive 3-star rating. Better luck next time, Dreamworks - looking forward to your much anticipated "The Iron Robot"!

AN ARTISTIC MILESTONE IN THE HISTORY OF ANIMATION!!
The Biblical story of Moses has become a spiritual cornerstone of faith for millions of people worldwide. To adapt it to an animated motion picture presented an epic challenge to Dreamworks founders Steven Spielberg and Jeffery Katzenberg, which they have triumphed over very successfully. Disney's somewhat disappointing Hercules made movie fans look for a different angle of story-telling as it was becoming clear that they were tiring of the tried and true Disney hit formula. .

After the Oscar-winning Pocahontas, the studios had not been to deliver its best (though I completely agree that The Hunchback Of Notre dame is one of the most underrated animated classics). Fox's Anastasia conquered a large number of hearts with its amazing character-depth and haunting tunes, but a box-office success of a larger proportion was required to dethrone Disney's monopoly. The Prince Of Egypt is easily the best non-Disney feature ever made (followed closely by Anastasia) and in every way, it as unique a classic as Beauty And The Beast or The Lion King. It is emotional, musical, captivating, and inspirational and has a profound moral meaning and beauty.

The story remains mostly true to its Exodus origin. It varies from The Ten Commandments in exploring the relationships between the two brothers who are destined to be enemies. The strength of the movie lies in the strong emotional bonds it depicts between its characters, something which The Ten commandments failed to portray. The animation is lush and vibrant, blending both classic hand-drawn cels and Computer Generated Imagery. The backgrounds and visuals and breath-taking and even the CGI sequences such as "The Parting of The Red Sea" are to be marveled at. Dreamworks artists have adapted a new angular style of character sketching which looks refreshingly beautiful on the silver screen.

Stephen Swartz's music is melodious and meaningful; from the spine-chilling "Deliver Us" to the soul-searching "When You Believe" which won the Oscar for the Best Song in 1998. (though I must say that I love Pfeiffer and Dworsky's version much more than Mariah Carrey and Whitney Houston's pop reprise). An astoundingly deep, sensitive and piercing score almost overrides the film's music; strongly highlighting the sentimental points with its rich orchestral appeal and Ofra Haza's tantalizing choral accompaniments. Nominated for an Academy Award, it deserved the Oscar for the Best Musical Score category (though I would personally have loved to see Goldsmith win his second Oscar for his incredible score of Mulan). Warbeck's score for Shakespeare In Love which eventually won, though appealing, pales before Zimmer's work or Goldsmith's masterpiece. Then again, I have noticed that Oscars go more by popularity than by talent. David Newman's nominated score from Anastasia was most definitely the Best among the Musical scores of 1997, although the Oscar favored The Full Monty, which could not possibly win in any other field where it had been nominated (owing to Titanic) and so walked away with a very undeserving award.

The Prince Of Egypt utilizes a host of acclaimed on-screen actors and actresses; comprising the voice talents of Val Kilmer, Ralph Fiennes, Danny Glover, Michelle Pfeiffer, Jeff Goldblum, Sandra Bullock, Patrick Stewart, Martin Short, Helen Mirren and Steve Martin. It is undoubtedly the most ambitious vocal cast ever assembled for an animated movie. All the actors bring the characters to life with striking warmth and depth. Both Kilmer's as well as Fiennes' work are very praiseworthy.

The DVD offers a excellent anamorphic 1.85:1 video transfer which looks very crisp and colorful. The Dolby digital 5.1 sound makes good use of surround, nicely highlighting the score and special effects. Dreamworks has also recently released a DTS version of the DVD in April, 2003 which is an improvised version of the earlier Dolby release. The special features provide an in-depth look at the making of the movie. Also included are two trailers, "When You Believe" multi-language reel, still galleries, interviews with the cast and a "Basics of the Chariot Race" CGI explanation segment.

The Prince Of Egypt is nothing short of a masterpiece in animation history. The movie is geared more towards the mature audiences and those expecting fast pace fun-oriented stuff will not find it towards their taste. Young children may find some scenes a little disturbing, hence Dreamworks rated the movie a PG. So go enjoy Dreamworks' first animated motion picture, which is a classic to be cherished now and for generations

Excellent Animation and Story
The Prince of Egypt is an excellently animated movie from Dreamworks, with
great storytelling and characters and usually very good music. One doesn't
have to be religious to appreciate this movie (I'm not at all) -- the
emotions expressed by the characters are touching and the conflicts still
relevant.

As far as the animation in the movie goes, it is never less than excellent.
Besides the special effects sections (the parting of the Red Sea being the
most ambitious and breathtaking of all), the character animation is superb.
Each character is different and distinct, with this quality most noticable
when Moses is leading his people. Every person walking behind him, most of
whom have only seconds of screen time, is unique. As an animation
enthusiast, I appreciate this unwillingness to cut corners. Also standout
in this production is the appropriate and effective combination of computer
graphics and traditional hand-drawn animation. The dream/history sequence

that plays out in heiroglyphics on the palace wall is an effective use of
computer graphics in a 3-D setting that wouldn't work as well with
traditional animation, but the movie isn't overburdened by CG shortcuts
that just look fake.

The storytelling is also very well done. I have read reviews that say it
changed the Bible story too much, but the movie flows well and has a good
sense of pacing. Although I've never read the Bible story, the key points
I've heard of are included, and it seems the spirit of the story is intact.

The music, for the most part, is very good as well. "River Lullabye" and
"Through Heaven's Eyes" are beautiful in that they have a more
middle-eastern feel to them, with a broader range of instruments than the
hit "When you believe", which in the ending credits is sung by divas Mariah
Carey and Whitney Houston.

One complaint: The Steve Martin/Martin Short scene is bad, bad, bad. The
characters seem borrowed from too many Disney movies: as snide, snooty
henchmen with no character development, they are also way too modernized to
fit the theme of the story. And their "Playing With the Big Boys" song is
terrible -- I just want to fast-forward through it. That scene
notwithstanding, I think the movie is worth watching, for both children and
adults.

not very good
I know many rated it very high, but this movie was very disapointing. The graphics are not great, the songs are below average at best, the story "more or less" follows the biblical accounts, but worse, the characters are not attractive. I found Moses a reluctant participant, The Pharaoh a good guy and God a little sadistic (perhaps the authors should have emphasised what really went on with slavery, but then this is a film for kids). I shook my head a few times, wondering how such a wonderful and powerful historical account like Exodus could be rendered as lifeless and sadly my kids were just turned off by the story (as was I). My son's comment was "it is so much better when you read it from the Bible" and I have to agree.

I am still waiting for a good account of the Exodus to show up on film. Perhaps (instead of using their imagination to fill in the gaps) the writers should just follow the biblical text when making their movie... It has lasted and will last longer than their films will anyway.

Was the movie a good biblical account? Not bad, but not good either. The author took alot of his own inspiration when making the film. Is the movie good for kids? Perhaps some will like it... But most of the ones I know left the room before the end of the movie.

A Wonderful Movie!!
When I first saw it when I was like 8 or so, I liked it... and now, many years later, I still do! The songs are breathtaking and original, and match the scences. The characters, storyline, colour... oh, the list goes on! It's a fabulous movie! ... Read more

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This "To Ma'am with Love" is much more an escapist popcorn movie than the inner-city document its marketing suggested. Michelle Pfeiffer plays real-life former Marine Louanne Johnson, a high school English teacher who meets resistance from kids and administration alike at a tough urban school in Northern California. Pfeiffer is good, and her character's overall development even survives various post-production story cuts. (A romance with Andy Garcia's character was completely eliminated before release; Garcia is nowhere in sight.) The actors who play Johnson's students are also fine, and the whole film becomes the latest in a long tradition of sentimental movies about teachers who change the lives of kids. --Tom Keogh ... Read more

Reviews (31)

True story of hope.
While about the only inner city experience I had was working in Buffalo for a couple of months, I did enjoy this movie. If you didn't catch it in the opening, it is based on a true story, and that in and of itself is an awesome testimony of hope. I think that Louanne Johnson would ask for no sympathy being a former Marine. I remember seeing this movie the year after I graduated and enjoying the song, "Gangsta's Paradise" by rapper, Coolio. It was a major status symbol that made this movie great. That was almost 10 years ago. Today, I find myself having a major problem with that song. Listen to the lyrics closely enough, and it appears that Coolio is plain feeling sorry for himself, bathing himself in self pity. That, in my opinion, contradicts the movie by saying, "I am nothing more than a victim of circumstances." Boo-hoo-hoo!! I don't know how many jobs I've been fired from, only to dust myself off and get another one. You are only a victim if you make yourself a victim.

Michelle Pfeiffer played an awesome role, the encourager. You take a close look at the role of Courtney Vance as the principal, the one who wants you to knock before entering and you can't help but ask a simple question, "Is he a prick, or a piller of society?" He almost falls into a neutral category for me because of who he is, and his definition of tough love is not something everyone agrees with. It isn't everyday I'd give a movie of this nature a 5 star, but it is an exception.

THESE MINDS AREN'T DANGEROUS THEIR JUST NOT AT ALL APPEALING
Michelle Pfeiffer who is very talented and very beautiful failed to move me here as an ex-marine who becomes an English Teacher at an tough inner-city school where she confronts freaks and viloent students who don't want to learn. The message here is the fact that kids who are mouthy and think that they are tough have a right to do what they want, kind of stupid to see this film now and think it would actually make an impact on today's youth, with it's bland and unbelivable wish fullfilment. I don't see how poetry can tame tough,restive delinquents. Half hour into the film you will feel dissallusined on why you rented this video, and by the end you will throw the VCR or DVD out the window with the movie follwing behind it. Now that's a dangerous mind.

DANGEROUSLY INSPIRING
Definitely a must see movie. "rage rage against the dying of the light" WOW. Every black and latino person must see this movie and understand how the ghetto life is affecting us and adapt some skills to make it a better place. I absorbed the lessons in the movie.

Wonderful
Michelle Pfeiffer stars in this wondrful movie about a ex-marine who desperatly wants to teach, so takes on the job of teaching a group of troubled teenagers. As time progresses, the teacher starts to learn that the only way to get the children to understand what she wants them to, is to reward them after they do what she asks.

GREAT Movie
This movies is so good that everybody should at least watch it once or twice. ... Read more

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Imagine a work by Shakespeare reduced to one of those pretty, glossy coffee-table picture books that have only a dollop of text alongside its sumptuous photographs, and you might have Michael Hoffman's adaptation of A Midsummer Night's Dream. This all-star version of Shakespeare's comedy is gorgeously shot in Tuscany, complete with a magical forest, breathtaking landscapes, beautiful villas, picturesque villages, stunning period costumes--oh wait, there's supposed to be a story here, too!Hoffman hijacks Shakespeare's basic premise but doesn't instill it with much more than surface shine and transplants it to turn-of-the-century Italy.Ergo, it's left up to the actors to find the heart and soul of this classic play, in which the fairies of the forest play mix and match with four young lovers, courtesy of a magical love potion. Hoffman couldn't ask for better (or better looking) actors to play Shakespeare's dreamlike love games--Michelle Pfeiffer, Rupert Everett, Calista Flockhart, Christian Bale, Stanley Tucci, Kevin Kline, Anna Friel, Dominic West, the list goes on and on--but he sure as heck doesn't know what to do with them, aside from putting them in various states of undress. Only Flockhart (as the lovestruck Helena), Tucci (a sprightly Puck), Pfeiffer (dazzling and funny as the queen of the fairies), and especially the sublime Kline (as weaver-turned-donkey Bottom) seem to connect with their characters in ways that make this adaptation occasionally soar; the rest are inexplicably left to flounder. Hoffman does seem to set himself right with the film's climax, when Bottom's amateur acting troupe hilariously enacts the tale of Pyramus and Thisbe (it helps that the troupe includes Roger Rees, Sam Rockwell, and Bill Irwin). Those searching for a more in-depth exploration of Shakespeare's farce might do better to look elsewhere, but if it's gorgeous actors and scenery you're in the mood for (along with an evocative opera soundtrack), and an all's-well-that-ends-well ending, this Midsummer Night will give you pleasant if weightless dreams. --Mark Englehart ... Read more

Reviews (110)

Cast better than inept direction
While I don't have a problem with new interpretations of Shakespeare, I didn't find this all that new, just confused. Updating Shakespeare is also fine, if it serves a purpose, or at least doesn't interfere with the story, but those bicycles were ridiculous, and simply not funny. There was no point of reference, no reason for them to be there, no punchline. Likewise with Helena and Hermia's little mudbath...generally, the direction was absolutely horrible. The film is quite entertaining though, thanks to some very hard work from some of the cast. And that does not mean Calista Flockhart and Michelle Pfieffer (C.F. is grating, and M.P. obviously not comfortable with the text). It means Kevin Kline, Stanley Tucci, and Rupert Everett among the stars, but especially to some of the secondary characters: Anna Friel as a grounded Hermia (mud bath excepted) Sophie Marceau as an actually likeable Hyppolyta, and the great Roger Rees, as the most memorable Peter Quince I've ever seen. The music is gorgeous, and the scenery is nice, although having actually taken the trouble to go to Tuscany, Hoffman decides to film the magical forest on a really horrible, cheesy, creaking sound stage. Watch it for the cast.

Ah the Tuscan Hills!
Wow, what a great movie! But of course if you're a traditionalist closed to new interpretations, lock yourself back in your room with your Turner Classic movies. And if you've never had an English class where you liked Shakespeare or if you've never read and enjoyed an Elizabethan comedy and/or tragedy, forget about this movie. The language will just confuse you too much.

But if you can get past your conservative views and are open to the language, then watch A Midsummer Night's Dream.

I think that after five hundred years, it's amazing that these plays are still around and can generate such mainstream attention. I also feel that after that long, a fresh adaptation is more than welcome, especially if you've been subjected to the less than glamorous BBC version.

I felt that the setting (the Italian Athens you've never heard of) and anachronistic props (bikes with lights) actually lend to the farcical quality of this movie. It is a comedy and it is supposed to be funny, so lighten up and enjoy the fantastic performances of Michelle Pfeiffer (my FAVORITE Fairy Queen), Rupert Everett (fairy king--pun intended?), Kevin Kline as Bottom (he makes an Ass of himself--heehaw), and the myriad of other wonderful actors and actresses that breathe life into an old play.

And before you take offense to a director's interpretations, you might inquire as to the reasons for them before you denounce his movie. And if you really want the Bard's opinion, Joseph Fiennes could probably give it to you.

All good things, JOE

Not perfect, but certainly worth watching
To make Shakespeare accessible, you have to make it entertaining. Not just entertaining to those who already know and love his work, but entertaining to those who have never picked up a Folger edition of anything in their lives.

I teach English to teenagers. Teenagers, who gasp in horror at the mention of Shakespeare. Teenagers, with their 30 second attention spans, faulty grasp of the modern English they supposedly speak, and affection for the physical comedy of the likes of "Jackass."

So, how do we make teenagers like Shakespeare? We edit. So, naturally, some of the best speeches are missing or drastically shortened (remember, 30 second attention spans); the physical, often silly humor is accented; and the women mud wrestle. So what?

This movie is entertaining. At times, it is enchanting. It is fast-paced, visually interesting, and funny. The emphasis is shifted away from the complexities of the language because it is the language, the very thing we love about Shakespeare, that makes these plays inaccessible to the majority of the American movie audience.

I use this film because it is easy to understand. The actors have faces my students recognize, and it gets them excited about Shakespeare.

What this film does is to put the content of the play within the grasp of its modern audience. Shakespeare himself would have done no less.

An occasional dream
One of Shakespeare's most beloved works finally gets a modern cinematic makeover, good news for all of those who'd rather not see Mickey Rooney's Puck again. Unfortunately the latest retelling leaves much to be desired. Though mostly enjoyable, this film could use a good shot of fairy dust.

The story concerns three sets of lovers - Hermia and Lysander, Helena and Demetrius, and fairy royalty Titania and Oberon. The first pair loves each other but cannot marry because Hermia is betrothed to Demetrius, the object of Helena's desperate affection. When Hermia and Lysander steal away, the second couple makes chase and all four end up lost in the woods where our third pair, the quarreling fairy king and queen, reside. Oberon, dissatisfied with all about him, enlists his servant, Puck, to make amends. Puck is to place a spell on Demetrius so that he will fall in love with Helena, but a case of mistaken identity causes Lysander to become smitten with her. Meanwhile, a traveling actors troupe, led by Nick Bottom, stumbles into the woods for a late-night rehearsal. They prepare a play for the Duke's wedding and soon become the object of the fairies' mischief.

With the shell of Shakespeare's original, this movie pulls of adequate amounts of wit and humor; clearly the script is better than most. Despite Puck's much abbreviated role, it remains a light comedy and surreal and magical in every sense. The costuming, makeup, and Italian backdrop add to the enchantment and are some of the most enjoyable aspects of an aesthetically pleasing film. I loved the energy of Monte Athena in turn-of-the-century Italy (punctuated by a soundtrack of renowned operatic talent), although it added little to the understanding of the story or the updated time period.

My main qualm for this otherwise fanciful retelling is the distracted acting, which ranges from inspiring to embarrassing. Shakespeare's language, archaic by our standards, depends on talented actors and directors to lift it and his beautiful stories from obscurity. Kevin Kline proves that you don't need an English accent to perform Shakespeare effectively. His Nick Bottom is the most rounded character in the film, wholly human and rich with emotions thick enough to dip your fingers through. Anna Friel's Hermia acutely defines the play's romance and innocence. Along with Kline, she seems the most comfortable in her role and possesses a grace and naturalness absent from the other female characters. Dominic West gives an amusing and (sometimes) smitten Lysander to Friel's Hermia. I also liked Roger Rees' affectionate Peter Quince. The remainder of the cast spirals downward. Calista Flockhart as Hermia and Michelle Pfieffer as Titania appear uncomfortable and rather unsure of their characters, as if they are too afraid of fouling up the Bard's work to dig deeply into it. Rupert Everett's Oberon is tired and melancholy to a point of boredom. I am still trying to figure out why David Strathrain, who lacks the nobleness of his character, was cast as the Duke. Poor Sophie Marceau should have stuck with Mel Gibson. Though I would not have picked Stanley Tucci for Puck, he provides a slightly amusing if ineffectual performance, as does Christian Bale as Demetrius.

Because of the spotty acting, the film never gels completely. An unfamiliarity with the play by certain actors interrupts otherwise fluid scenes. Those who act well in this film make it worth watching; the others leave us wanting more.

Kline and Flockhart shine!!!
3.5 stars. This is a moderately enjoyable Shakespearean comedy with only two stand-out performances. Calista Flockhart, of "Ally McBeal" fame, shows here that her range and understanding of the poetic language of Shakespear is both impressive and fluent. She steals every scene she is in. Speaking of scene-stealing, Kevin Kline, a veteran of the stage and Shakespearean theater, has the best performance here. He hams up the goofyness of his character and makes him ultimately hilarious and endearing. Many of the other actors are merely okay. Michelle Pfeiffer, often a great actress, seems to struggle here. She sounds like she understands iambic pentameter well, but fails to emote any feeling behind the words; except for her scenes with Kevin Kline, she is simply mediocre. Also, the character of Puck, played by Stanley Tucci, is traditionally portrayed as more mischievous and problem-causing than the lap-dog of Oberon as he is portrayed here. All in all, this is certainly above par, with great costumes and fine sets and scenery. It just doesn't come together as a whole. This film is fun in moments, but eventually feels incomplete. ... Read more

Reviews (193)

Talent In Top Form, Or Exploitation Of The Heart?
Films that depict the life struggles of persons with mental or physical disabilities almost automatically tug on the heartstrings of any sensitive viewer. I AM SAM does no less, and it does so with the masterful talents of Sean Penn and Michelle Pfieffer and an amazingly talented little girl named Dakota Fanning (she has deep, incandescent blue eyes that evoke a talent far beyond her years).

Sean Penn stars as Sam, a mentally-challenged Starbucks clerk who excitedly clings to the role of father when the homeless woman he gets pregnant skips out on him. Somehow (the movie never tells), he manages to display the skills to bring Lucy up to seven years old (when the narrative of the film swings into full play).

The incredibly lovely Michelle Pfieffer does an admirable job pouring life into a vastly underwritten role. As a jetset lawyer, she's torn between her job, her role as a wife, and her role as a mother ... all of which she, arguably, is failing at. However, Ms. Pfeiffer manages to give her character, Rita Harrison, a sense of reality and a sense of history that lifts an otherwise secondary role into a more interesting person, one that the viewer wants to get to know. Sadly, the scenes of development with her husband and her son were either never written, never filmed, or left on the cutting room floor.

Dakota Fanning, as Lucy, is simply marvelous. A true talent in the making, she manages to steal every scene she's in without a touch of mirth to her performance.

Laura Dern pops up in the obligatory cameo-sized role, and, when her mother-wannabe sentiments forces her to face the bittersweet reality of choosing between breaks, the viewer feels her pain.

All in all, I AM SAM is not a great picture, as it feels more like a big budget Lifetime or perhaps HBO-cable movie, but it's passable entertainment with some acting heavyweights showing their stuff.

You will either go with your heart or your head on this film
How you end up feeling about "I Am Sam" is going to come down to which wins out, your heart or your head, because those two parts are not going to agree. In this 2001 film from director Jessie Nelson a mentally retarded man, Sam Dawson (Sean Penn) has to fight for custody of his bright 7-year-old daughter, Lucy Diamond Dawson (Dakota Fanning), with help from a cold-hearted lawyer, Rita Harrison (Michelle Pfeiffer). The state of California, represented by Richard Schiff as Turner, is concerned because Lucy is now smarter than her father and needs smarter parents (this seems a dangerous precedent to me, but you know what California law is like).

This film knows how to manipulate the heartstrings big time, starting when young Lucy asks her daddy why he is different from the other daddies and refuses to read any book that her father cannot read. Then we get to the point where the System, in its infinite wisdom, takes the little girl away from her father. When that happens we do not hear her screams, just the music turned up load, which reminded me of the extreme pathos of that same scene in Chaplin's "The Kid," where not hearing Jackie Coogan scream for his dad did not matter. Meanwhile, there is the whole bit as Sam wears down super lawyer Rita and gets her to remember that family might be as important as work. In the beginning Rita is basically shamed into taking on Sam's case, but in the end she is emotionally involved in the case and the life of her client. All that matters is reuniting father and daughter.

But the brain keeps asking some key questions about what is happening here. First, why did the State wait until this point to question Sam's parenting? The concern here is never about Lucy's safety with her father, but her desire to keep learning now that she is smarter than Sam. Second, if Lucy had been of average intelligence and not a cute little blonde kid if the State would have found her a wonderful foster home with Randy (Laura Dern) and her husband? I am inclined to think probably not. Third, why are the Department of Children and Family Services lawyers portrayed as villains? Every thing Turner says is true and he repeatedly makes it clear that his intention is the welfare of the child. He is talking practical realities and not abstract ideals.

Twice in "I Am Sam" the film echoes the famous child custody film "Kramer vs. Kramer." The first time the moment sneaks up on the audience, as well as most of the characters, and it signals a reversal in Sam's fortunes. In fact, the next time I am reminded of the other film it again signals a reversal in Sam's fortunes, and that was the point at which the head shoved the heart aside and rendered its final verdict on this film. I was not all that impressed with the rabbit coming out of the hat the first time around, and even less so the second time.

As for Penn's performance, I can see why he was nominated for an Academy Award given the propensity to give the Oscar to actors portraying handicapped individuals (Cliff Robertson in "Charly," Hoffman in "Rain Man," Geoffrey Rush in "Shine"). But I have to admit that such mannered performances next strike me as being as finally nuanced as other great acting performance. Still, he is good, and the scenes between him and Fanning sparkle.

Half the film is scored to covers of Beatles songs by Sarah McLachlan, Eddie Vedder and others, which makes for an interesting soundtrack album. Ultimately, I decided to split the difference between the ranks given by the head and the heart on this one because I did enjoy it, even as I complained bitterly about all the problems I saw in "I Am Sam." I embrace my contradictions, even in print and for public consumption. You are lucky; I was about to launch into "Heart Five, Head Three" inspired by "A Chorus Line."

WHY NO OSCAR FOR PENN??!!
In my opinion, this is easily Sean Penn's best performance and he has had many great ones.I was just starting a nasty custody case when I saw this movie for the first time and I was moved in so many ways. I could watch this movie over and over again, the music (all Beatles covers) was done perfectly, and Penn's performance was done so well he had a certain innocence about him that was just heart wrenching at times because of how bad he was being treated by the system and he just kept doing what he thought was right and the one point in the movie when he was on the stand and sounded like he was making perfect sense and it ended up he was just quoting something he heard from someone else saying(other people's names included),it really makes you feel for him and you just wish that they would give him his daughter back. Eventually things turn out in his favor, which I wish would happen for me but unfortunatly, I live in the real world! GREAT MOVIE, GREAT PERFORMANCES,GREAT STORY, GREAT MUSIC, GREAT, GREAT, GREAT!!

"Slow" dad fights court order to give up his child
Sean Penn as a devoted father (Sam) who despite mental challenges, fights for the right to raise his child is convincing in a complete departure from his usual "bad guy" characters. Michelle Pfeiffer plays his reluctant "pro bono" elite lawyer, who eventually puts 110% into this case.
The love between Sam and his 7 year old daughter is evident in many sweet scenes (got Kleenex?), best described by a reclusive neighbor (wonderfully played by Dianne Wiest), who overcomes her hermit-like condition long enough to testify in Sam's behalf. Even the social workers who insisted on doing everything to "help the child" appear to be fighting emotions over this unusual case.

The "support system", which includes several equally challenged "buddies", a very supportive employer, and many other people in the community gives evidence of our changing society, fostering inclusion and tolerance. Eventually even the prospective adoptive parents of Sam's daughter can't go on fighting against this exemplary father.

The girl playing Sam's daughter appears to be "gifted", at age 7 reading middle school material. Perhaps the "difference" between father & daughter's intelligence did not have to be in such an obvious extreme. The implication of a romantic involvement between Sam and his lawyer could have been avoided as well. The former is stretching it, but the latter is going too far. One can suspend her/his disbelief only so much! Since there are no "perfect" movies, I still consider this one pretty darn close! Highly recommended!****

DIABETICALLY SWEET SCHMALTZ, BUT VERY WELL DONE
"I am Sam" is replete with a jerky handheld finish, self-conscious art direction, the angst of the specially challenged, lots of opportunities to laugh and cry, terrific acting, and a marvelous Beatles-Plus soundtrack. The love that the entire cast and crew put into the project radiates from the scene and generates enough goodwill to forgive the occasionally languid pacing.

Sean Penn's nomination was absolutely well-deserved, and Dakota Fleming does a great job of Sam's daughter. Some magnificent supporting turns by Laura Dern, Diane Wiest, Stanley DeSantis, and two actually mentally handicapped actors, help carry the somewhat airy/sappy script through some of its less credible moments.

If you're a heartless scrimp by nature and want action in your movies, you may want to skip it, but everyone else should have a decent feel-good time with this stirring drama. ... Read more

Amazon.com

Too often, sequels to popular films simply rehash the original film;call it the carbon-copy syndrome. Grease 2 suffers from no such malady, having almost nothing to do with the original film. Sure, it focuses on teens at Rydell High, the imaginary school from the first film, which starred John Travolta and Olivia Newton-John. But other than a few of the teachers, all of the characters are new and so are the songs--and more's the pity. By the time Grease hit the big screen, it already had had almost a decade as a theatrical musical, more than enough time to hone its mock-rock & roll score. But this sequel, which stars among others a then-unknown Michelle Pfeiffer, Maxwell Caulfield, and Lorna Luft (Judy Garland's daughter), has music that's neither fish nor fowl, neither rock nor Broadway. Meanwhile, the plot is a reversal of the first film, in which a cool guy fell for a square girl. In this one, the square is newcomer Caulfield, who catches the eye of tough girl Pfeiffer and her Pink Lady gang. The appearance of such pseudo-stars of the '50s, like Tab Hunter, is supposed to lend a nostalgic kick, but let's just say that Grease 2 slides almost instantly into obscurity. --Marshall Fine ... Read more

Reviews (128)

Let's "DO IT" for our country!!!!
When all you had is cable and South Texas HOT sun during the summer, a cool house and the hollow, fun, cheese lyrics of grease 2 kept you entertained. As you pop this DVD into your player, you are quickly reminded why you love to hate this movie and why as much as you hate it, you still can't keep the lyrics out of your head!
The DVD transfer does a decent job in capturing the base of the singing trio in "Mr. Sandman" in the shower, "Reproduction" (Where does the pollen go?) and the bike on "Who's that guy?". The blacks in this particular scene do NOT dissapoint. The visual quality is close to "movie-like" you feel transported back to the 80's and want to solve a rubiks cube while you watch the movie.
The highs in Johnnys Song "Walk, Talk like T birds" are GREAT! You want to see Michelle Phipher stradle a ladder with a phalic tree under her or see her dance and stradle the wind, in the courtyard while everyone ignores her crazy teen ways, this DVD delivers this GREAT cheesy 80's movie and puts it into a GREAT FORMAT! C-O-O-L. . . R-I-D-E-R!

I LOVE GREASE 2!!
I think part of the reason I love this movie so much is because I grew up on this version never seeing the original Grease until after this one. I love this movie! Perhaps also because I had a big crush on Maxwell Caulfield's charactrer "Michael" so that made it all the more enjoyable for me to watch but I loved the soundtrack too, "Who's that guy" when Michael first appears at the bowling alley in his leather clothes on his new motorcycle, or "Cool Rider" the song that Michelle Pfiefer's character "Stephanie" sang to let him know he had to be a motorcycle rider before she could even give him the time of day. Or the song at the end, "We'll be together" makes me smile everytime I hear it, and I love the song "Love will turn back the hands of time" at the talent show when "Stephanie" spaces out thinking of her mystery "cool" rider who had since swept her off her feet. I think I rented this movie atleast 3 times a week from when I was 7 years old till I was 10 (back when you could only rent for a day at a time), let's just say it drove my parents crazy but I didn't want to watch anything else, finally they bought it for me when it went down in price and now I am anxious for it to be released on DVD because my VHS copy is rather played out because I watched it constantly. I always stop to watch this movie no matter what I am doing if it comes on tv and it never fails that when I just watched my VHS copy it comes on! But if anyone ever finds out it's coming out on DVD please LET ME KNOW! I think everyone should atleast give this movie a chance and pretend you had never seen Grease cause I hadn't seen it until a year after I had watched Grease 2 a hundred times and I wasn't expecting anything, I expect the first to be different since I first saw the sequel so for me, Grease is not as interesting to me, I enjoy Grease 2 far more!! Give it a try, hope you enjoy it, for those who love Grease I can see that it might not live up to what you expected but don't expect too much and give it a good playing and just enjoy it for it's comedy, high school romance, and soundtrack that some people don't like but I love it and I think a lot of the songs are highly enjoyable. thanks.

"Who's that guy?" Who cares!
Tying "Life is Beautiful" for proof of miracles through movies, it is indeed a true miracle that Michelle Pfeiffer ever found work again after starring in this mess. Featuring such catchy ditties as "Who's That Guy?" and "We're Doin' It For Our Country," this was THE movie that started the stigma: "Sequels always suck compared to the original." Of course, this movie is well beyond suck; it blows.

"Grease" is the word again!
Yes,"grease" is the word again in GREASE 2. I could tell you why the sequel to 1978's highest-grossing film was disappointing. There's an entirely new senior class,set in 1961,two years after the original Grease gang graduated from Rydell High School. That means this class were sophomores during the original Grease era,unseen of course. This was Michelle Pfeiffer's first starring film. She appears opposite Maxwell Caufield,a foreign exchange student from Australia who becomes a T-Bird. Pfeiffer,is a Pink Lady of course. Those who returned for the sequel are Didi Conn as Frenchy who had dropped out and come back to repeat the 12th grade. Eve Arden as Rydell High's principal and Sid Caesar as the phys. ed. instructor. One memorable scene is the T-Birds and the Pink Ladies at a bowling alley singing,"We're gonna score tonight!"(sorry,I don't know the song title). Pfeiffer contributes her singing vocals to the soundtrack album on COOL RIDER. Another reason why this film flopped:it didn't even feature a reprise of GREASE,the theme song from the first film,performed by Frankie Valli and written by ex-Bee Gee Barry Gibb. The soundtrack was enitirely original. Imagine John Travolta and Olivia Newton-John,the stars of the first film,paying a visit to Rydell High in this film. This film could have gotten mixed reviews by the critics if that had happened. Since this film wasn't so great,there were no more sequels.

A musical with no good music..
This movie is not so far below the original on a dramatic level. And the dance sequences often surpass those in the original film for complexity and ambition, especially the opening one. Yes, it's a contrived Juvie D. romance about a straight-laced character trying to connect with a rougher edged hipster, but so was the original. Yes, the 'comedy' seems forced and added on, but that was true in the original too. Simply put, the original was a pretty weak, contrived lightweight of a movie. That is, when nobody was singing. The sequel -call it Grease 2: The Next Class, or Frenchy Gets a Two Picture Deal - is even more contrived and weighs less, despite a knowing, sharp edged performance by Michelle Pfeiffer (the only reason this thing still exists on video). But success or failure for any musical depends on ... drum roll ... THE MUSIC! Even the second rank stuff in the first picture (eg. Stranded at the Drive-in) is pretty tuneful and memorable. The songs in the sequel are so bad ("...Let's Bowl, Let's Bowl, Let's Rock and Roll!..." that they are improved by watching with the sound off. Even the show-stopper at the end sung by Michelle is pretty worthless, and it is the only number other than the opener that can be heard without suffering intelligence loss. The original was a huge hit and the sequel bombed. The soundtrack from the original was a huge hit spawning several top 40 radio hits. Nobody bought and no radio station played ANYTHING from the sequel. See a pattern? ... Read more

Reviews (28)

They cast a spell on me..
This film has an ensmble cast to end all ensemble casts.. what more could you ask for.. Jack nicholson as the devil.. Cher, Susan Sarandon, and (the impeccable) Michelle Pfiefer as three sultry sexy witches.. Darrel Van Horn comes to the town of Eastwick when he is summoned by three witches who have been scorned or hurt by the men they loved.. Cher Plays Alex, whose husband died and left her to raise a daughter by herself.. Michelle plays Suki, a newspaper journalist whose husband abandoned her because she got preganant all the time.. and Susan plays Jane, the divorced elemntary school music teacher.. Van Horn moves into each of their lives his own way and shows them the potential they always felt was there.. once the girls realize what is really going on, they exact their revenge.. A great, fun and Witty movie.. a must see..

whimsical comedy
THE WITCHES OF EASTWICK is a whimsical "what if?" story centering on three lonely New England women. Starring the triple-threat trio of Michelle Pfeiffer, Cher and Susan Sarandon, and based on the bestseller by John Updike, the film is an enjoyable little adventure.

When your average "horny little devil" - Daryl van Horne (Jack Nicholson) - moves to the sleepy town of Eastwick, it is no accident. He has come to fulfill the sexual and emotional needs of three best friends: Jane, a struggling musician (Susan Sarandon); Sukie, a single mother (Michelle Pfeiffer); and Alex (Cher), a talented sculptor.

At first, the situation seems idyllic, and then things turn sour. Eastwick's self-proclaimed morality pariah Felicia (Veronica Cartwright - THE BIRDS, SCARY MOVIE 2) slides into fits of paranoia, induced by Daryl's dastardly deeds. When Jane, Alex and Sukie all become pregnant, they decide to get their own back on Daryl...by turning his powers against him.

A rather slow-moving start is more than compensated by the film's fast-paced, special effects-laden finale. John Williams' quirky score suits the mood of the film perfectly.

The DVD includes both widescreen and fullscreen versions of the film as well as production notes and the trailer. (Double-sided, single-layer disc).

The Witches Of Eastwick (1987)
Cher has spent most of the 80s by starring in a string of films, rather than spending the 80s in the recording studio. She has released a few albums in the 80s, which were 'I Paralyze' in 1982, 'Cher' in 1987 (her second album that was self-titled), and 'Heart Of Stone' in 1989. In 1987, Cher has starred in three movies back to back, which were 'Suspect', where she played Kathleen Riley, 'Moonstruck', where she played Loretta Castorini, and 'The Witches Of Eastwick', where she played Alexandra Medford. The Witches Of Eastwick is a comedy-thriller, containing elements of comedy, fantasy, love, desire, and a little touch of horror.

Taking place in the small town of Eastwick, where nothing really exciting happens, three girlfriends Alexandra 'Alex' Medford (played by Cher), Jane Spfford (played by Susan Sarandon), and Sukie Ridgemont (played by Michelle Pfeiffer) are in desperate need of men who will give them the love they are longing for. All three were married, but they each suffered the three D's: Death, Desertion, Divorce. Alex's husband has passed on: Death. Sukie's husband has left her: Desertion. And Jane's husband had divorced her: Divorce. On a rainy Thursday night, Sukie and Jane drive up to Alex's house to have a girls night out. While drinking martini's and discussing how much they need men in their lives, they start describing what they really want in a man. That literally draws a stranger to Eastwick. He has just bought the Lenox mansion, an old mansion that was owned by Mr. Lenox before he died. Jane is a cello player, and while giving a performance, with all of Eastwick watching, they all meet the stranger. Everyone is interested him, but they all do not know his name. Sukie works for the Eastwick paper and has been asked to interview the stranger, but cannot remember his name.. Alex and Sukie see Jane holding a boque of flowers. Jane says they are from the stranger, but on the card is just the initial D. Sukie suddenly remembers that his name started with a D, and then remembers that there is also an R in the name, as well as an L. She finally remembers his full name: Daryl Van Horne (played by Jack Nicholson). Daryl meets the three women individually, starting with Alex. He invites her to lunch and shows the personalities that Alex has hated in every man she has ever met, but as much as she wants to hate him for his personalities, she can't help but want him in every sexual way. And that, Daryl proves when the two spend the night together. He then meets Jane. He is enthused by Jane's cellist playing. But tells her that her bowing sucks. As he teaches her to let the passion out, Jane becomes more than turned on and spends the night with Daryl. Alex and Sukie go on up to the mansion, where the find Jane there as well. Alex and Jane, still very much turned on, and somewhat in love, find Daryl turning on the charm when he finally meets Sukie. The four go for a tennis match, leading them to take a swim in Daryl's in-door pool, where Sukie and Daryl spend the night together. Three become Daryl's latest flames. But as they continue to have a good time with Daryl, evil things around Eastwick begin happening, such as the death of Felicia Alden (played by Veronica Cartwright), the annoying wife of Sukie's boss, Clyde Alden (played by Richard Jenkins). The three of them decide to cut off Daryl, for they realize that Daryl is not a man, but the Devil Himself...literally. How can they send Daryl howling back to Hell? Watch this fun-filled comedy and find out.

One of the Fifty Worst Films of All Time...
Utterly unwatchable nonsense. This is a film that looks like it was put together in the Bizzaro world, like a split-level home built from clapboard, milk cartons and used furniture crates.

Nicholson reprises his role in "The Shining" by portraying a certifiable looney, as he has in about 99% of his roles. It's probably become a routine for him... Boy, talk about being typecast.

This film is based on a book by John Updike, but whatever Updike originally wanted to say about the difference between the sexes is upstaged by the hammy Nicholson, who should have been relegated to being the caterer for the shooting location. It's difficult to believe that the talented Cher, the same person who made "Moonstruck" such a great film, would have had anything to do with this mess.

"The Witches of Eastwick" bombed at the box office after word of mouth killed it. It's not a film that will be dredged up from time to time because it was once popular; it wasn't. However, it is a film that will probably appeal to worshipers of Cher or Nicholson, or some obscure Hollywood mutual admiration society.

At this point, a used VHS edition of "The Witches of Eastwick" is selling for about $1.50 on amazon, but even that's too much to pay for this dog.

AWESOME MOVIE!!!!!!!!
This movie is so great. It is about a man named Daryl Van Horn and these three girls named Alex, Sucky, and Jane. These three girls wanted a man to love and all that other stuff. Well this man came to them. After he came many strange things began to happen like many accidents and one death. These girls don't know at first that he is a warlock. Later the girls find out they are witches also. Watch the movie and you will be sure to love it!!! ... Read more

Amazon.com

Jessica Lange and Michelle Pfeiffer are quietly dazzling in thisunderrated adaptation ofJane Smiley's best-sellingmodern version of King Lear. The two play sisters of a stubborn, alcoholic Iowa farmer (Jason Robards), who decides to leave his fertile farm to them and their youngest sister (Jennifer Jason Leigh). It is a decision that rends the family, setting siblings against one another and forcing long-held secrets out of their guilty closets. The family dynamics become ever more destructive, and the refuge of sanity the two older sisters have created may be their only salvation. It's a tragedy not quite on a Shakespearean scale, but anyone who appreciates the difficulties of a dysfunctional family will relate to the heartbreak--and the promise of redemption. Pfeiffer especially is breathtaking as the good housewife Rose, whose rage at her father and her husband is never far from her placid surface. --Anne Hurley ... Read more

Reviews (24)

excellent cast performs beautifully despite mediocre script
The dramatization of Jane Smiley's "A Thousand Acres" is dissapointing in that not only does it come from an excellent novel, but also because of the dream cast involved.
The story is loosly based on Shakespeare's "King Lear," in only that the father in the modern version is an evil villain, while the two daughters are alleged martyrs. The issues involved in the film are important and though-provoking--incest, sexual abuse, breast cancer, Alzheimer's disease, dysfunctional families--too bad the writers handled these noteworthy subjects so messily. The calamities piled upon the characters happen in an episodic way, that makes the film feel like a miniseries without commercial breaks. With each new mini-drama, you feel as if you should watch this movie in installments. The script is also full of cliched dialogue, and characters without motivation.
Despite all these flaws, the film is still worth watching if just for the cast. Jessica Lange, Michelle Pfeiffer, and Jason Robards prove themselves brilliant performers in this film--each actor gives more than the shallow script deserves.
Lange plays Ginny Cook, the shy and docile oldest daughter, who accepts her lot in life without complaint, and manages to live a relatively happy life. Her character is the most appealing, and Lange gives nuances and shadings to the character that weren't written in. Ginny described herself in the film as a "ninny" and she is written as so--Lange gives her so much more, and it is amazing to watch her create a true three-dimensional character.
Jason Robards is Larry Cook, a dragon of a father. He like Lange is given an essentially cardboard character, and his performance gives Larry a sense of pity and pathos, that the script did not allow. The writer wanted him to be simply evil, and Robards chose, wisely, to instead, elevate Larry out from the cartoonishly evil lines he was given, and make him a complex human being.
Michelle Pfeiffer gives the most provoking performance of the three main stars, because hers seems to be an mixture of Robards and Lange's. Her role is also quite underwritten, but she manages to breath life (not just fire) into her character, the angry and resentful, Rose. The part is written as dour and bitter--completely unlikable, and even as the story moves on (slowly) and you realize the sacrifices Rose has made, she is still written in a completely shrewish way. Pfeiffer gives her vulnerability sorely needed, and manages to steal the film (not an easy thing to do, considering her costars).
Jennifer Jason Leigh has a smaller role as Caroline, the youngest daughter. Her role is underwritten on the lines of Robards' and Pfeiffer's characters, yet unlike the two, she fails to bring any depth to the essentially pouty and boring person she is portraying.
All in all, a good movie to watch to witness the beautiful chemistry between two of America's finest actresses.

good performances despite some script flaws
The actors save this sparse script in this film.

"Daddy, dearest?"
A good film driven by a rather creepy performance by Robards. Memorable.

Recommended.

Shakespeare it isn't!
This film definitely has merit as well as an all-star cast. It may well be an updated version of King Lear, but I found the topic less than entertaining...and I was not thrilled with the ending. As for Colin Firth's performance as an American drifter... he successfully portrays a Mr. Wickham from his P&P days. He is charming, available, and easy to like ~ except he is definitely not going to be around for the duration. And what sort of cad sleeps with sisters of the same family...simultaneously?

When Majesty Doth Stoop To Folly
I saw this when it came out on televison and I must say I thought it was just awful. How can anyone win any literary prize for something that is little more than Shakespeare...? While this is a majestic production with great acting, direction, and cinematography I confess I found it much too predictable as it seemed to follow Shakespeare's KING LEAR almost act for act and scene for scene. The only persons missing were Kent, Glouster, Edmond, Edgar, and of course the Fool. Had the story line varied sufficiently as to be a mere suggestion of the play, I would have enjoyed it very much. It bothers me that the the author received accolades for a mere re-write! It is as Kent said "when majesty doth stoop to folly!" ... Read more

Reviews (51)

Well-cast crud
"Sinbad-Legend of the Seven Seas" is a well cast and performed forgettable fantasy. While Brad Pitt, Michelle Pfieffer, Dennis Haysbert, and Catherine Zeta-Jones loan excellent talent to the movie, there's little for them to work with. Ultimately, it's a waste of talent of actors who seem natural for the roles.

Brad Pitt shines behind the microphone as Sinbad, the charming rogue, and Michelle Pfieffer also glows black as the evil Eris, goddess of discord. (Her hair is practically a character itself.)

But, the story is formulaic and predictable, and seems to be driven on just enough for the next high speed chase. And the animation seems to poorly mesh, and often seems to be stuck 10 years behind the current technology. (And is it my imagination, or does every single Dreamworks character seem the same?)

All in all, it's not bad, but there's a lot better out there.

Absolutely Fantastic!
I had the good fortune to be invited to a premiere of this movie in New York, and it was FABULOUS! The audience was packed with people of all ages, and everyone had a great time. And how could they not? The movie has something for everyone! Fun, adventure, phenomenal graphic artistry, romance, humor, and a bouyant spirit! The characters are also brilliantly brought to life by the actors. I never would have thought of Brad Pitt as Sinbad, but he gives such a goregeous rough-voiced humor to this pirate that you can't help but love him. Catherine Zeta-Jones is perfect as the fiercely passionate Marina, Joseph Fiennes gives a heroic nobility to Prince Proteus, and Michelle Pheiffer is deliciously wicked as the goddess of chaos, Eris. The crew is also fantastically lovable and deserves high praise. Go see this film! You won't be disappointed! I can't wait to see it again!

Marvelous effects can't salvage a waterlogged script!
An exciting battle at sea with a monstrous "crab-octopus", an awesome excursion through siren-infested waters, and a rollicking (if overlong) encounter with a snow eagle are three of the major scenes involving the melding of traditional animation with CGI effects. These are marvelously executed and show the technicians' craft to the best of their abilities.

That said, the script isn't very thrilling, concerning a voyage to retrieve a valued book and restore Sinbad's credibility, as well as save his friend from execution.

Brad Pitt, Catherine Zeta-Jones, and Michelle Pfieffer do as best to be expected with the lines that they must deliver. And poor Dennis Haysbert gets to voice the stereotypical "bulging muscled black" crewman.

When I saw that character, I could only think of how often he appears in film from Michael Clarke Duncan in "Armageddon" to the "doctor" in Disney's animated "Atlantis, the Lost Continent" to Isaac Singleton in last year's hit "Pirates of the Caribbean".

Maybe this is more than a younger audience can detect, but, to an experienced filmgoer like myself, it's getting rather old.

Outta Sight!
This is not only one of the best recent animated films I've seen, but is actually an epic piece of cinema. The visuals are stunning, spectacular, highly imaginative, whatever adjectives one can drum up!

It's the singlemost imaginative creative endeavor onscreen that I've seen in the past five years. If you're a fan of THE ADVENTURES OF BARON MUNCHAUSEN or TIME BANDITS, you're going to love this movie. It's in the same spirit, but also employs all the state of the art CGI effects and pixel animation innovations that have brought new standards to the industry.

The story is actually involving, and the voice overs are masterfully done. The animation is full '60s Trip level. Do yourself and your family a favor and make this one a part of your permanent collection! This is truly artful animation of the highest order.

BEK

A Good Animated Feature!
"Sinbad Legend of the Seven Seas" is an animated feature that was made by the studio that made "Shrek," and more recently "Shrek 2." This is hand drawn animation while the two Shrek movies are made by computers. Sometimes the hand drawn animation can be better, because there is more talent. They have to make so many smaller drawings. "Sinbad Legend of the Seven Seas" does have a small share of computer animation, but it is mostly hand drawn. It has the voice talents of Brad Pitt, Catherine Zeta Jones, and Michelle Pheiffer, and I feel that they all did their part for these characters. Only they were able to brings these characters from the paper to the big screen. The stories of all the different gods and goddess always interest me, and that's why I liked a recent historical epic "Troy." "Troy" is from Greece, and it's about the Trojan War. "Sinbad Legend of the Seven Seas" is a little different, but it involves the same kinds of people, and the same time period.

The story involves Sinbad, who is a sailer and a thief who is going on a quest to find the Book of Peace. The book protects twelve cities and the people that live in them. He gets the book, and sails his ship with the book, but the Prince of Syracuse, Proteus, and Sinbad's old friend wants the book back. But, they are not the only two people who want the book. Eris, the Goddess of Chaos wants the book so she could make the world a much more horrible place. She makes a deal with Sinbad to get her the book or he'll die. He agrees and goes to get the book, bit Eris takes it and his shape and everybody thinks that he stole the book. Sinbad is sentenced to death, but Proteus decides to take his place. Sinbad is giving ten days by the council to get the book back or his old friend is going to die. Sinbad doesn't want to do it, and he decides to go where he wants to go because he is guessing that the king is not going to kill his only son. Proteus' fiancee doesn't like what Sinbad is planning on doing and she decides to go with him to get the Book of Peace back.

"Sinbad Legend of the Seven Seas" is a fun little animation romp. I thought that it was better than "Shrek" and probably equal to "Shrek 2," but not as good as "Finding Nemo" or "The Triplets of Belleville." But the thing is, these are all different movies with different stories. This is an action and adventure animation, and I feel that it'll appeal to all audiences. It has a really good story as well, and those who are fans of myths and things related will like this. The animation is stunning, and art fans should give this a look. It also has great acting, even though it is animated. Without acting, the voice talents cannot bring emotions to these people. I thought that Brad Pitt did good as the voice of Sinbad. I don't really like him, and I felt that he ruined "Troy" and "Oceans 11." I couldn't really think of anybody else to provide the voice of Sinbad, because I could see alot of Pitt in this character. The stunning Catherine Zeta Jones provided the voice of Marina, and she was good for that character. Phiffer plays Eris, and she was the one who wasn't that great. Her voice didn't really match the character, and I didn't see the evilness based on her voice. A person that I could see voicing the character is Charlize Theron. She could make he voice sound evil as she proved in "Monster."

"Sinbad Legend of the Seven Seas" is not a perfect film, but it is a good one. It is perfect for fans of animation and people who enjoy watching action and adventure stories. It is a fun movie, and it has some moments that are funny, some moments that are touching, and some moments that could have people gripping onto the edge of their seats. I missed the movie in the theatres, but if I saw it there, I would have felt that it was well worth it.

ENJOY!

Rated PG for adventure action, some mild sensuality and brief language. ... Read more

Amazon.com essential video

Martin Scorsese does not sound like the logical choice to direct an adaptation of Edith Wharton's novel about manners and morals in New York society in the 1870s. But these are mean streets, too, and the psychological violence inflicted between characters is at least as damaging as the physical violence perpetrated by Scorsese's usual gangsters. At the center of the tale is Newland Archer (Daniel Day-Lewis), a somewhat diffident young man engaged to marry the very respectable May Welland (Winona Ryder). But Archer is distracted by May's cousin, the Countess Olenska (a radiant Michelle Pfeiffer), recently returned from Europe. As a married woman seeking a divorce, the countess is an embarrassment to all of New York society. But Archer is fascinated by her quick intelligence and worldly ways. Scorsese closely observes the tiny details of this world and this impossible situation; this is a movie in which the shift of someone's eyes can be as significant as the firing of a gun. The director's sense of color has never been keener, and his work with the actors is subtle. That's Joanne Woodward narrating, telling us only as much as we need to know--which is one reason why the climax comes as such a surprise.--Robert Horton ... Read more

Reviews (71)

An Extraordinary Film
Martin Scorsese is a genius. Even his worst films are far superior than almost everyone else's and The Age of Innocence is definitely one of his best. He brilliantly captures the spirit of Edith Wharton's novel without ever falling into melodrama and creates a claustrophobic society preordained by an endless set of rules, a world of seething passions beneath a calm and decorous surface where rebellion of any sort is inconceivable, social and familial considerations are paramount and a veneer of respectability must be maintained at all costs. This is a story about human passions clashing with the artificial rules imposed by society and the characters move in an environment so fragile that "it could be shattered by a whisper".

Martin Scorsese's direction recreates the affluent and extremely oppressive atmosphere of 19th century New York society in remarkable detail. A subtle and perceptive script, brilliant performances by Michelle Pfeiffer, Daniel Day-Lewis, Winona Ryder and the rest of the cast (Richard E. Grant, Mary Beth Hurt, Alec McCowen and the excellent Miriam Margolyes are especially good), and fabulous costumes and production design contribute to make this extraordinary film one of the best of its genre. Joanne Woodward's narration is excellent (she gets most of the best lines without ever appearing on screen) and Michael Ballhaus's cinematography is simply stunning - innovative, atmospheric and richly textured. Crisp yet seamless editing, amazing camerawork and beautiful music round off this absolutely brilliant, almost perfect film.

Beautiful!
This is quite possibly one of the most visually stunning period pieces ever filmed. From the gorgeous opening credits to the final, perfectly-composed shot, it is an aesthetic feast for any fan of the genre.

"The Age Of Innocence" is one of my personal favorites. The film stays remarkably true to the Wharton novel, fleshing out details and bringing the permeating emotion and atmosphere to life with exquisite cinematography, directing, and acting. Michelle Pfeiffer is superb as the free-spirited but (unknowingly) scandalous Ellen Olenska