Reviews (168)

A great adaptation of the stage musical
Sir Andrew Lloyd Webber's and Tim Rice's musical telling of the life of Eva Peron successfully makes the leap from stage to screen. Alan Parker ably directs a fine cast, which includes Antonio Banderas as Ché, Jonathan Pryce as Juan Peron, and Madonna as Eva Peron. The acting and the voice work are very good, and Madonna surprises you with her talent.

The music is equally wonderful, keeping the rock opera feel of the original stage show. Also, the new song "You Must Love Me," written by Sir Andrew and Tim Rice, flows nicely with the original music and won a deserved Academy Award for Best Original Song.

Costumes, acting, sets, visuals and music all combine to create a great movie experience. A note of caution to some, though: this is sung through with very little spoken dialoque. I remember seeing this in the theater and listening to some people complain about it and walk out of the movie. Stick with it, and you will definitely enjoy it!!

Flawed, but still excellent, adaptation.
Watching the movie of Evita was my first real experience with the musical, and that puts it in a different light for me, I suppose, than with many others. The points I make, though, I still think are valid.

The casting of this movie was quite good...the stars of the show pulled off their roles magnificently. Antonio Banderas, in the lead as the narrator, Ché, sung surprisingly well. He also acted out the part superbly. While he's no Colm Wilkinson, there's an undeniable charm to his portrayal. Even with the abbreviated material he's given to work with, he pulls it off with style, which says something for a role with magnificent performances by Colm and by David Essex. He's not vocally better than either, but he plays the part to a T, and his songs seem HONEST. Also, he's a better Ché than Mandy Patinkin, but I suppose anybody who tried to actually play the part would be.

Madonna is the surprise of this movie. She sings quite well, and given the rock feel of the show, is fairly appropriate for the part of Eva Peron. She's also visually very similar to photographs of Eva, and looks very convincing after the scenes where she is supposed to be young. However...the point of the musical is that Eva Peron is a manipulative (rhymes with witch). Madonna scared me here by seeming VERY sympathetic to her character. Still, her performance is excellent, if not up to Antonio Banderas's. Jonathan Pryce put in an outstanding performance as Peron, too.

A caveat emptor: the musical was actually made less harsh for the movie version, so that it could be filmed in Argentina. It was very nearly worth it...not entirely, mind you, and the addition of "You Must Love Me" seemed entirely out of place in a musical about a man and a woman who mutually USE each other. Still, her "Don't Cry for Me Argentina" was manipulative to the audience just as the speech was meant to be to the crowd. And the two Ché tours de force, "Oh What a Circus" and "High Flying, Adored" are more or less in tact, and done wonderfully. The re-adaptation of "The Lady's Got Potential" was excellent, and "And the Money Kept Rolling In" was toned down a lot, but Banderas had a LOT of fun in the number.

The movie's worth seeing if you like Evita, or are thinking you might be getting into it. Don't watch for Madonna's big numbers, watch for her and Banderas performing, for once, like they really mean it.

Madonna did fine...admit it!
Don't Cry for me Argintina was the song that got me into musicals and so I have always loved Evita. In my opinion Madonna did quite an excellent job playing Eva. Most of you have a problem with her because she is Madonna. I am not a fan of what she does outside this movie, but I will defend her performance in this movie. She was not off-key at all and I have never heard Elaine Paige or anyone else sing "Don't Cry for me Argintina" with such emotion and clearness. She was Eva standing up singing that song. "You must Love Me" was another beautiful song that I have never heard been done better. When I heard Elaine Paige wailing these two songs on PBS I had to shut it off, she wasn't bad and she is a good singer, but when it comes to Evita no one can top Madonna. This movie was unfotunately hammered by critics and got a bad wrap.

Don't Cry For Us at the Ocars
Now first let me state that this one of my favorite movies. I have also researched into the life of Eva Peron. The movie is about 95% true. Madonna stars in movie as the title role of Evita. This movie is the story of Argentina's former first lady, Eva Peron. This film starts from the end and then goes from beginning to end. It shows how she went to Buenos Aires with a tango singer. It shows hows Eva took on lovers to get jobs, and even helped her husband, who is played by Jonathan Pryce, get the presidency for 2 terms. She and her husband did have 2 weddings, one was in a church and one was a civil ceremony. Eva also traveled while she was first lady. She got woman the right to vote. She also did start a foundation. She did help build houses, hopitals, and schools. When her husband went for his 2nd term as president, the people rallied for her to be vice-president. Eva Peron did had many Christain Dior, over 100 furs, and a jewelry collection comparable to Cleopatra's. Sadly, Evita died when she was just 33, of uterine cancer. This movie won some Acadmeny awards and a gloden globe, I believe

Wonderful to watch but unfulfilling
One of the interesting sidelights to this movie is the fact that Oliver Stone wrote part of the screenplay. While watching it I kept wondering what part? Stone, whose edgy, over the top indictments of oppression, corruption and especially military stupidity, wouldn't seem to be one to celebrate the elevation of Eva Peron to something close to sainthood, which is what this movie does. Maybe all his work ended up on the cutting room floor. Or maybe it was obscured by Andrew Lloyd Webber's music. Certainly we do not see the decamisados (Peron's version of his friend Mussolini's Blackshirts) torturing anyone, and although the "disappeared" are mentioned in passing, there is no retrospective that allows us to see just how widespread and horrific were the murders committed by the Peronists.

Anyway, Madonna, who certainly fits the part like a glove, stars as Evita, and she gives the performance of her life. Yet somehow it is unconvincing, or I should say, somehow the film doesn't really get to the essence of the woman who rose from poverty to the pinnacle of power in Argentina, a woman extravagantly loved by the common people of Argentina even while she was a party to the fascist oppression. I don't think this is Madonna's fault. Her voice is good, not great, of course, but her dramatic skills are very much in evidence, skills that have always been underrated, although I'm not sure why. If you watch her in this and in Desperately Seeking Susan (1985) you can see that she has a range easily exceeding that of most actresses. I think that ironically it is the very quality of common origin and common appeal that the Argentines so loved in Evita that the critics hold against Madonna.

Antonio Banderas plays Che, who narrates and attempts to objectify the events while symbolizing both Evita's alter-ego and the man who would really be her proper mate were it not for her rapacious political appetite. Che's character and his dramatic role (from the play by Tim Rice) is perhaps the most important artistic achievement of the musical after Webber's beautiful and inspiring music. Banderas is winning and enormously vivid in the part, and he sings well and expressively.

Jonathan Pryce plays Peron with more dignity and humanity than history might allow. His sensitivity as an actor combined with a modest demeanor seemed to me so unrealistic as to be almost a miscasting. Yet he is perhaps as compelling as anyone on the screen and he certainly looked the part. Interesting is Jimmy Nail as the cabaret singer Magaldi. He combines sleazy good looks with a kind of vulnerable persona that seems exactly right.

Well, what can be said about the music except that it is one of Webber's great triumphs and so very typical of his work. It is beautiful, stirring, moving, enchanting and memorable. Who can forget the haunting, plaintive refrain of "Don't Cry for Me, Argentina" or the gorgeous simplicity of "You Must Love Me"? While Madonna's voice would not fill up a concert hall or take her by itself to the Broadway stage, she does an outstanding job with Webber's songs. A natural performer (Madonna's key talent), her expressive interpretations range from the ordinary to the transfixing. I very much enjoyed her efforts and predict that critics in the future will be kinder to her than today's critics.

The ending seemed too drawn out and then when the screen faded to black and the credits began to run it seemed almost abrupt and without resolution. I also did not like the way that Madonna (38 at the time) seemed no younger in the earlier scenes with her hair dyed pitch black. I think director Alan Parker should have given us more of an illusion of youth, perhaps spared her some of the closeups and fuzzed out the lines under her eyes. Strange how the golden blonde hair and exquisitely applied makeup in the remainder of the film made her look younger. All directors should know what Madonna learned many years ago: blonde hair usually makes a woman look younger because those with naturally light-colored hair are their blondest as children. Like big eyes and relatively big heads, blonde hair is a signal of youth that arrests our eyes.

Despite the flaws this is an engrossing cinematic experience, and for Madonna fans, Banderas fans, and in particular fans of Andrew Lloyd Webber, it is a film not to be missed. ... Read more

Reviews (15)

Another example of a great 80's horror film
The first Howling film was meant to be a serious, scary horror film, and that it was. I think however, the sequals were just meant to be wild and outlandish werewolf movies and this one really is. It has nothing to do with the original plot but that dosen't matter anyway because the other sequals don't either. This movie has a really cheesey plot, and the acting is horrible in it (except for Christopher Lee), but I love it because of it's extreme 80's horror film charisma. The special effects are really good in it to.

Howling II: Your Sister Is a Werewolf
I really don't know why everyone trashes this movie so much.This is definetly not the worst sequel made.I admit the special effects suck and the gore is way overboard.The dialogue is cheesy and the acting sucks.But the thing that matters the most; the plot is very interesting.The characters are also pretty cool.I don't care if anyone says I'm crazy because I had a good time watching it.I liked the score and one song they played alot during the movie.The werewolfs are much better looking in this one then the 3rd one.I also liked some of the mythology they added to the werewolf genre.Any lover of the genre will like this.If your an average viewer you may not be as impressed, but you might want to check this one out when you have the time.Convinced that his sister has been victim of a brutal murderer, Ben, an out-of-town law officer is determined to bring her killer to justice. Ben is approached by an expert on the occult who believes his sister has been the victim of a werewolf cult.To put an end to the evil perpetrated by the werewolves, Ben and his sister's best friend travel to the "Dark Country"-Transylvania- to a decaying palace where torture, death, chaos, and destruction reign supreme.(6/10)

Bottom line: This is not a a scary film
While The Howling II has elments of a horror film, the truth is, its graphic sex scenes and multiple orgies make the horror element mere trappings for what it really is: soft core. Not even a b movie, really. I'll never forget seeing this film at a friend's sleepover birthday party when I was in junior high. We were a bunch of girls who wanted to be scared, and get a good adrenalin rush or two. It started out promising enough, with a woman in a black dress who turns out to be a werewolf who you think is going to be taken advantage of by a couple of sleezebags. We were impressed by that, and the architecture -- but one can only take landscape and architecture so far in this context. Instead we blushed and made jokes about the sex scenes. The idea of summoning the Queen of the Werewolves was good, but they didn't look like werewolves -- they looked like even hairier versions of Big Foot. And that's neither attractive or enthralling to watch in any way.
We didn't even finish watching it. If hormonal pre-teens who are looking for an adrenalin rush didn't go for this movie, I have to say watch out. We couldn't go back to the video store so we ended up watching Pee Wee Herman's big adventure a couple of times -- that was much scarier than the Howling II!

Watching brings headaches...
First off this film is total garbage...(Sorry Christopher Lee) I love horror films and Mr. Lee's are some of my favorites, but even Peter Cushing couldn't have saved this with the help of Vincent Price. Note....this film has been cut to pieces, a late night version came on skina-max several years back (at least 10) and it was unrated.(a must for Sybil Danning fans)It contained a much more sex driven version of the film. If that version was released on DVD I would at least consider it for rental. I have a very old version on VHS, probably a original video release copy....and even that one is rated R. (want werewolves check out Dog Soldiers...awesome)

Poor sequel to the Howling
Doesn't have anything to do with the original.Very slow and very boring. ... Read more

Reviews (46)

great cast in a fun film about a 70s-band reunion
This movie is quite entertaining. It has a great cast and none of the performers are wasted: Stephen Rea is the sweet guy who wants the band to take advantage of a reunion and achieve the success that internal bickering and problems cost them years ago; Billy Connolly is a hoot as the band's pragmatic roadie; Bill Nighy captures dim-witted preening lead singer Ray without making him unsympathetic; Timothy Spall brings laughs as the drummer still living in the past ('If women are from Venus and men are from Mars, drummers are from Pluto'); Jimmy Nail is the guitarist with grudges, regrets and a nice voice; and Juliet Aubrey is engaging as the woman who was a fan/runner and steps in as manager for the group. Though the two younger supporting roles aren't given much to do, that leaves more screen time for the adult characters, each of whom is three-dimensional, sympathetic and interesting. Billy Connolly's voiceovers are well-written and fun, and while not every joke works, there are many one-liners that you will make you laugh the next day.

You can see bits of your favorite 70s bands paid tribute, from Pink Floyd to Deep Purple, with insight and affection and the songs, written by veterans of Foreigner and Squeeze, are quite good. The film is very funny for the first half and then takes a few missteps as the drama quotient is elevated, but it finds its way again before the close. All in all, a lot of fun from a fine cast and talented crew, just the ticket for music fans with a sense of humor.

DVD features include: English, Spanish or Portuguese sound and English, Spanish, Portuguese, Chinese, Korean or Thai subtitles; a short making-of featurette; a trailer; and filmographies for director Gibson and some of the cast members.

Nostalgia Has Never Been So Humourous!
This movie is tremendous for uplifting the Spirits.

To begin, the soundtrack is unbelievable. Mick Jones (Foreigner) and Chris Difford (Squeeze) penned the songs, making Strange Fruit the best thing that ever hit today's music scene.

Unfortunately, Strange Fruit are a strictly fictitional band of the late 1960's to early 1970's. To complicate matters, they were never a hit to begin with, due to drug use and inner fighting. One wonders what might have been, while listening to their fanatastic music play throughout.

The Fruit draw inspiration from The Rolling Stones, Deep Purple, David Bowie, and The Who.

Each member of Fruit are quite memorable.

Stephen Rea stars as down-and-dead-broke Tony Costello, who is asked by a festival promoter to reunite his band for a reunion tour, with hopes of reaping monetary benefits. Costello haply approaches ex-roadie Karen Knowles, played by Juliet Aubrey, to help him rekindle the flame of a dream long past.

Juliet gathers up the bitter rhythm guitarist Jimmy Nail (Les Wickes), blundering Timothy Spall (David 'Beano' Baggot), and the extravagantly glamouresque lead singer Ray Simms (Bill Nighy). Tumbling in is another ex-roadie, the hippy-toker-jokester Hughie (Billy Connolly), who never let the flame burn out.

As Juliet searches for the last member of their motley band, the elusive lead guitarist-songwriter Brian Lovell (played by the brooding Bruce Robinson), the reunited members squabble, just like old times, fighting over long lost memories.

The band is then given the chance to do a small Dutch tour, to prepare for their promised festival. With young Hendrix-like Luke Shand (Hans Matheson) taking the place of Lovell, the crew hits the road. The sparks fly as their memories flame forward, threatening to burn their unfinished goals...

Be prepared to laugh, sing, cheer, and cry, as these memorable characters etch themselves into your hearts...

"And the flame still burns
It's there in my soul for that unfinished goal
And the flame still burns
From a glimmer and then, it lights up again
In my life"

A surprisingly good film
We rented this on impulse because it had Billy Connolly. The description reminded us of This Is Spinal Tap (which we love) and we greatly enjoyed the movie. Bill Nighy's clueless Ray was really wonderful and Stephen Rea as keyboardist Tony Costello was enjoyable to watch but the scene-stealer was Timothy Spall's Bilbo Baggot, the drummer. I just about fell off my seat when he finds out that his most vivid memory of touring is when the Fruit played the Hollywood Bowl--only to hear they never played there. And Billy Connolly is always a treat to watch, whatever he does.

I`m Not Too Crazy About It
This british movie about a 70`s rock band named "Strange Fruit" that makes a comeback isn`t funny enough to be a sucessful comedy neither deep enough to qualify as a drama. It`s a competent, at times moving picture, not too memorable but mildly enjoyable. The acting is fine, but the plot, that focuses the band members effort to became famous again, isn`t very absorbing or grabbing.
What we end up having here is a little movie about the music business, showing how those who had sucess in their youth react when they aren`t so stellar today and have to deal with their aging process. Mildly interesting, even if it`s another movie to watch once and be done with it. I`m not sorry I watched it, but I don`t feel the need to watch it again.

Still Crazy
wow! much too short, quite inspiring, and altogether wonderful! don't miss it, and stick with it to the very end of the titles. ... Read more

Amazon.com

Swing is the good-natured tale of a Liverpudlian ex-con whodecides to make a new life for himself as the leader of a swing band. When weare first introduced to Martin (The Full Monty's Hugo Speer), he is beingreleased from the slammer, where he did time out of loyalty to his waywardbrother, Liam. His cellmate, Jack, a sweatsuit-wearing, dreadlocked sax playerwho looks suspiciously likeClarence Clemons (becausehe is), inspired Martin to make swing his vocation and serves as his consciencethroughout the film. This is a good thing, because nobody else seems to think hecan pull it off, including his ex-girlfriend, Joan (Lisa Stansfield), nowmarried to the cop that put him away, and his own parents (nicely played byveteran British actors Rita Tushingham and Tom Bell). Joan has missed singing,however, and eventually decides to join Martin's band, along with a soccer- loving bass player, skinhead drummer, and horn section of Orange Brigades led byThe Young Ones' Alexei Sayle.

Speer isn't the most dynamic actor, but he generates the appropriate degree ofsympathy and works well withpop vocalist Stansfield,who acquits herself nicely in her feature film debut. She also sings severalnumbers, including "Mack the Knife" and "Baby, I Need Your Loving," both ofwhich can be found on the motionpicture soundtrack. If Swing does not hit the heights of The BluesBrothers or The Commitments, it keeps the beat more often than not.--Kathleen C. Fennessy ... Read more

Reviews (9)

A thoroughly enjoyable movie!
Lisa Stansfield, besides having a great voice, does a nice job in this film, and Clarence Clemons, of Bruce Springsteen's band, also does a nice job. Romantic, charming, funny film!I highly recommend it!

Lisa Stansfield can & does (sing) SWING!!!
This movie is not only great as a musical, but it has superb acting by Lisa Stansfield and an interesting story. No doubt that the music is the best thing about it. The British slang/lingo will keep you on your toes when it come to listening to the dialog.

It's got music, romance, good plot, credible acting, well-paced direction and an all around feelgood, overcoming obstacles vibe.

Considering that studios will release just about anything on DVD, I sure hope they will put this hidden gem on the little shiny video disk, and also include some extras.

If you buy this movie - you will enjoy it!

A Peculiar Pleasure
An astonishingly wise/sweet funny movie to find among the endless variations on emptily cool/cruel/hip now dominantly littering both the commercial & critical marketplaces. Like tripping over a ripe melon while traversing a lunar (or polar) landscape? Vastly sager on mean cop mentality than the arrested punk norm. Reminds us that permitting character growth can succeed, that connecting with our own cultural history may yield more than trying too hard to invent something dazzlingly new, that love need not be misrepresented as an obvious death force, that blind stupid loyalty has its up/down aspects. Beyond that, Lisa Stansfield CAN sing, is an honest-to-goodness white soul/swing diva, even better than Dusty Springfield in Dusty's prime. She can also act, expresses exasperation/pleasure gracefully, appears to find/release her voice as she goes.

The sensibility behind the effort is NOT completely different from the sensibility driving the current international cinema vogue, but everything, instead of little or nothing, is ventured/risked/revealed. Street lingo is employed as liberally as in trendier Pretentious Young Brit films, but leads elsewhere. "Swing" is NOT another celebration of pathetic punkiness, is gently punk-tolerant but never argues for punk rights, punk beauty/dignity, punk irresponsibility, punk permanence. Stansfield plays a strictly decent, if shaggable (under the right circumstances, with maternal nudging?), wench/diva, torchily erotic with her shirt on. Spooky physical resemblence to Nicola Walker, Robson Green's mate/foil in the extraordinary BBC/PBS series "Touching Evil", but can Nicola sing? Not like Lisa. Hugo Speer does fine as an idly criminal youth who encounters a sax, a mentor, & a great notion while doing his [brother's] time. Alexie Sayle, as stern leader of an Irish Orange horn section, riffs very well on what is worth remembering from "The Blues Brothers". Rita Tushingham makes an excellent hardscrabble mother/doorwoman. Tom Bell is convincingly blocked/taciturn as a working class Dad. Clarence Clemons handles his rasta/shaman role nicely. All of the players had genuine fun playing? One feels so, smiles.

"Swing" owes something to "The Full Monty" (in which Speer appeared), "The Blues Brothers", classic American comedies of the 30s/40s/50s... Perfectly smartly/appropriately? But it's also plenty rude in its way. Innocently neglecting to pander to prevailing tastes raises the practical ante, insults the smartset heavily, doubles the force of a gently expressed point about finding a vocation, risking the kinds of peculiar efforts involved in exiting endless loops. Music is a complex discipline these players learn/love/respect, not a trumped up wisechild brattiness? When a movie this much better than the run of pop production can't find American distribution/production/audience, what? BUY the video, & BUY a Lisa Stansfield CD or three too. Earns its title. DOES mean something. Deeply generous/charming.

You'll be rolling up the carpets...
A definite feel-good film, if ever there was. Chances are, you'll be rolling up the living room carpet to jive and jitterbug as the band swings its thing. Hugo Speer is banged up with...er Clarence Clemons...who teaches him the sax. On his release (Clarence remains inside, presumably for playing with Springsteen for so long), Hugo forms a swing band with a National Front drummer and the horn section from the local Orange Lodge (having made a Faustian pact with his uncle). You'd better work our the rest yourself. Lisa Stansfield is brilliant as the (now married) ex-girlfriend who becomes the band's singer. If you can imagine The Full Monty meeting The Committments with a dash of The Blues Brothers you're better than me, but you'll probably like Swing. We did - and the carpet's staying up.

It's the music
My wife and I found this on the shelves of our local video rental store, and we decided to take a chance on it. This is certainly not one which will be studied in film schools for years into the future. While the acting is adequate, there is little in the way of a story and even less of plot. But it is the music which is the star of this show. Since swing music has found its revival in the past few years, there have been many British bands at the forefront of the movement. This movie is a fine demonstration of why this is so. Lisa Stansfield has made the transition into swing as if she were born to do so. (She does her own singing here, not like some other movies where someone else's voice is dubbed in.) The band really digs into the charts, although I suspect that the instrumentation actually used for recording the sound differed from that shown on film. Would I buy the tape? No, far better to await the DVD version, all the easier to skip the dull parts between those outstanding music numbers. In the meantime, there is a soundtrack album available (which I've got to include in my next Amazon.com order). One thing else I ought to mention. In a couple of scenes, Ms. Stansfield's character speaks to her mother in Italian, with English subtitles. It would be more appropriate in the NTSC edition, distributed mainly in America, for most of the English dialog also to be subtitled, so we could understand what the heck they're saying. ... Read more

Amazon.com

After more than a decade of false starts and several potential directors, the popular Andrew Lloyd Webber-Tim Rice musical finally made it to the big screen with Alan Parker (The Commitments) at the helm and Madonna in the coveted title role of Argentina's first lady, Eva Perón. A triumph of production design, costuming, cinematography, and epic-scale pageantry, the film follows the rise of Eva Perón to the level of supreme social and political celebrity in the 1940s.Like Madonna, Perón was a material girl (she was only 33 when she died); she was instrumental in the political success of her husband, Juan Perón (Jonathan Pryce). But Eva was also a supremely tragic figure whose life was essentially hollow at its core despite the lavish benefits of her nearly goddess-like status. The film has a similar quality--it's visually astonishing but emotionally distant, and benefits greatly from the singing commentary of Ché (Antonia Banderas), who serves as a passionate chorus to guide the viewer through the elaborate parade of history. --Jeff Shannon ... Read more

Reviews (168)

A great adaptation of the stage musical
Sir Andrew Lloyd Webber's and Tim Rice's musical telling of the life of Eva Peron successfully makes the leap from stage to screen. Alan Parker ably directs a fine cast, which includes Antonio Banderas as Ché, Jonathan Pryce as Juan Peron, and Madonna as Eva Peron. The acting and the voice work are very good, and Madonna surprises you with her talent.

The music is equally wonderful, keeping the rock opera feel of the original stage show. Also, the new song "You Must Love Me," written by Sir Andrew and Tim Rice, flows nicely with the original music and won a deserved Academy Award for Best Original Song.

Costumes, acting, sets, visuals and music all combine to create a great movie experience. A note of caution to some, though: this is sung through with very little spoken dialoque. I remember seeing this in the theater and listening to some people complain about it and walk out of the movie. Stick with it, and you will definitely enjoy it!!

Flawed, but still excellent, adaptation.
Watching the movie of Evita was my first real experience with the musical, and that puts it in a different light for me, I suppose, than with many others. The points I make, though, I still think are valid.

The casting of this movie was quite good...the stars of the show pulled off their roles magnificently. Antonio Banderas, in the lead as the narrator, Ché, sung surprisingly well. He also acted out the part superbly. While he's no Colm Wilkinson, there's an undeniable charm to his portrayal. Even with the abbreviated material he's given to work with, he pulls it off with style, which says something for a role with magnificent performances by Colm and by David Essex. He's not vocally better than either, but he plays the part to a T, and his songs seem HONEST. Also, he's a better Ché than Mandy Patinkin, but I suppose anybody who tried to actually play the part would be.

Madonna is the surprise of this movie. She sings quite well, and given the rock feel of the show, is fairly appropriate for the part of Eva Peron. She's also visually very similar to photographs of Eva, and looks very convincing after the scenes where she is supposed to be young. However...the point of the musical is that Eva Peron is a manipulative (rhymes with witch). Madonna scared me here by seeming VERY sympathetic to her character. Still, her performance is excellent, if not up to Antonio Banderas's. Jonathan Pryce put in an outstanding performance as Peron, too.

A caveat emptor: the musical was actually made less harsh for the movie version, so that it could be filmed in Argentina. It was very nearly worth it...not entirely, mind you, and the addition of "You Must Love Me" seemed entirely out of place in a musical about a man and a woman who mutually USE each other. Still, her "Don't Cry for Me Argentina" was manipulative to the audience just as the speech was meant to be to the crowd. And the two Ché tours de force, "Oh What a Circus" and "High Flying, Adored" are more or less in tact, and done wonderfully. The re-adaptation of "The Lady's Got Potential" was excellent, and "And the Money Kept Rolling In" was toned down a lot, but Banderas had a LOT of fun in the number.

The movie's worth seeing if you like Evita, or are thinking you might be getting into it. Don't watch for Madonna's big numbers, watch for her and Banderas performing, for once, like they really mean it.

Madonna did fine...admit it!
Don't Cry for me Argintina was the song that got me into musicals and so I have always loved Evita. In my opinion Madonna did quite an excellent job playing Eva. Most of you have a problem with her because she is Madonna. I am not a fan of what she does outside this movie, but I will defend her performance in this movie. She was not off-key at all and I have never heard Elaine Paige or anyone else sing "Don't Cry for me Argintina" with such emotion and clearness. She was Eva standing up singing that song. "You must Love Me" was another beautiful song that I have never heard been done better. When I heard Elaine Paige wailing these two songs on PBS I had to shut it off, she wasn't bad and she is a good singer, but when it comes to Evita no one can top Madonna. This movie was unfotunately hammered by critics and got a bad wrap.

Don't Cry For Us at the Ocars
Now first let me state that this one of my favorite movies. I have also researched into the life of Eva Peron. The movie is about 95% true. Madonna stars in movie as the title role of Evita. This movie is the story of Argentina's former first lady, Eva Peron. This film starts from the end and then goes from beginning to end. It shows how she went to Buenos Aires with a tango singer. It shows hows Eva took on lovers to get jobs, and even helped her husband, who is played by Jonathan Pryce, get the presidency for 2 terms. She and her husband did have 2 weddings, one was in a church and one was a civil ceremony. Eva also traveled while she was first lady. She got woman the right to vote. She also did start a foundation. She did help build houses, hopitals, and schools. When her husband went for his 2nd term as president, the people rallied for her to be vice-president. Eva Peron did had many Christain Dior, over 100 furs, and a jewelry collection comparable to Cleopatra's. Sadly, Evita died when she was just 33, of uterine cancer. This movie won some Acadmeny awards and a gloden globe, I believe

Wonderful to watch but unfulfilling
One of the interesting sidelights to this movie is the fact that Oliver Stone wrote part of the screenplay. While watching it I kept wondering what part? Stone, whose edgy, over the top indictments of oppression, corruption and especially military stupidity, wouldn't seem to be one to celebrate the elevation of Eva Peron to something close to sainthood, which is what this movie does. Maybe all his work ended up on the cutting room floor. Or maybe it was obscured by Andrew Lloyd Webber's music. Certainly we do not see the decamisados (Peron's version of his friend Mussolini's Blackshirts) torturing anyone, and although the "disappeared" are mentioned in passing, there is no retrospective that allows us to see just how widespread and horrific were the murders committed by the Peronists.

Anyway, Madonna, who certainly fits the part like a glove, stars as Evita, and she gives the performance of her life. Yet somehow it is unconvincing, or I should say, somehow the film doesn't really get to the essence of the woman who rose from poverty to the pinnacle of power in Argentina, a woman extravagantly loved by the common people of Argentina even while she was a party to the fascist oppression. I don't think this is Madonna's fault. Her voice is good, not great, of course, but her dramatic skills are very much in evidence, skills that have always been underrated, although I'm not sure why. If you watch her in this and in Desperately Seeking Susan (1985) you can see that she has a range easily exceeding that of most actresses. I think that ironically it is the very quality of common origin and common appeal that the Argentines so loved in Evita that the critics hold against Madonna.

Antonio Banderas plays Che, who narrates and attempts to objectify the events while symbolizing both Evita's alter-ego and the man who would really be her proper mate were it not for her rapacious political appetite. Che's character and his dramatic role (from the play by Tim Rice) is perhaps the most important artistic achievement of the musical after Webber's beautiful and inspiring music. Banderas is winning and enormously vivid in the part, and he sings well and expressively.

Jonathan Pryce plays Peron with more dignity and humanity than history might allow. His sensitivity as an actor combined with a modest demeanor seemed to me so unrealistic as to be almost a miscasting. Yet he is perhaps as compelling as anyone on the screen and he certainly looked the part. Interesting is Jimmy Nail as the cabaret singer Magaldi. He combines sleazy good looks with a kind of vulnerable persona that seems exactly right.

Well, what can be said about the music except that it is one of Webber's great triumphs and so very typical of his work. It is beautiful, stirring, moving, enchanting and memorable. Who can forget the haunting, plaintive refrain of "Don't Cry for Me, Argentina" or the gorgeous simplicity of "You Must Love Me"? While Madonna's voice would not fill up a concert hall or take her by itself to the Broadway stage, she does an outstanding job with Webber's songs. A natural performer (Madonna's key talent), her expressive interpretations range from the ordinary to the transfixing. I very much enjoyed her efforts and predict that critics in the future will be kinder to her than today's critics.

The ending seemed too drawn out and then when the screen faded to black and the credits began to run it seemed almost abrupt and without resolution. I also did not like the way that Madonna (38 at the time) seemed no younger in the earlier scenes with her hair dyed pitch black. I think director Alan Parker should have given us more of an illusion of youth, perhaps spared her some of the closeups and fuzzed out the lines under her eyes. Strange how the golden blonde hair and exquisitely applied makeup in the remainder of the film made her look younger. All directors should know what Madonna learned many years ago: blonde hair usually makes a woman look younger because those with naturally light-colored hair are their blondest as children. Like big eyes and relatively big heads, blonde hair is a signal of youth that arrests our eyes.

Despite the flaws this is an engrossing cinematic experience, and for Madonna fans, Banderas fans, and in particular fans of Andrew Lloyd Webber, it is a film not to be missed. ... Read more

Description

Few times in the history of Hollywood has a film been released with the scope and daring of EVITA! Now, experience this landmark achievement as entertainment megastar Madonna -- in the role of a lifetime -- joins Antonio Banderas (ASSASSINS, DESPERADO) for the year's most talked about motion picture event! Directed by award-winning filmmaker Alan Parker (MISSISSIPPI BURNING), EVITA is the riveting true-life story of Eva Peron (MADONNA), who rose above childhood poverty and a scandalous past to achieve unimaginable fortune and fame. Despite widespread controversy, her passion changed a nation forever! Winner of the coveted Academy Award(R) for Best Song (1996) and 3 Golden Globe Awards (Best Picture, Best Actress, and Best Song) -- critics nationwide hailed EVITA as a triumphant must-see masterpiece -- and so will you! ... Read more

Reviews (168)

A great adaptation of the stage musical
Sir Andrew Lloyd Webber's and Tim Rice's musical telling of the life of Eva Peron successfully makes the leap from stage to screen. Alan Parker ably directs a fine cast, which includes Antonio Banderas as Ché, Jonathan Pryce as Juan Peron, and Madonna as Eva Peron. The acting and the voice work are very good, and Madonna surprises you with her talent.

The music is equally wonderful, keeping the rock opera feel of the original stage show. Also, the new song "You Must Love Me," written by Sir Andrew and Tim Rice, flows nicely with the original music and won a deserved Academy Award for Best Original Song.

Costumes, acting, sets, visuals and music all combine to create a great movie experience. A note of caution to some, though: this is sung through with very little spoken dialoque. I remember seeing this in the theater and listening to some people complain about it and walk out of the movie. Stick with it, and you will definitely enjoy it!!

Flawed, but still excellent, adaptation.
Watching the movie of Evita was my first real experience with the musical, and that puts it in a different light for me, I suppose, than with many others. The points I make, though, I still think are valid.

The casting of this movie was quite good...the stars of the show pulled off their roles magnificently. Antonio Banderas, in the lead as the narrator, Ché, sung surprisingly well. He also acted out the part superbly. While he's no Colm Wilkinson, there's an undeniable charm to his portrayal. Even with the abbreviated material he's given to work with, he pulls it off with style, which says something for a role with magnificent performances by Colm and by David Essex. He's not vocally better than either, but he plays the part to a T, and his songs seem HONEST. Also, he's a better Ché than Mandy Patinkin, but I suppose anybody who tried to actually play the part would be.

Madonna is the surprise of this movie. She sings quite well, and given the rock feel of the show, is fairly appropriate for the part of Eva Peron. She's also visually very similar to photographs of Eva, and looks very convincing after the scenes where she is supposed to be young. However...the point of the musical is that Eva Peron is a manipulative (rhymes with witch). Madonna scared me here by seeming VERY sympathetic to her character. Still, her performance is excellent, if not up to Antonio Banderas's. Jonathan Pryce put in an outstanding performance as Peron, too.

A caveat emptor: the musical was actually made less harsh for the movie version, so that it could be filmed in Argentina. It was very nearly worth it...not entirely, mind you, and the addition of "You Must Love Me" seemed entirely out of place in a musical about a man and a woman who mutually USE each other. Still, her "Don't Cry for Me Argentina" was manipulative to the audience just as the speech was meant to be to the crowd. And the two Ché tours de force, "Oh What a Circus" and "High Flying, Adored" are more or less in tact, and done wonderfully. The re-adaptation of "The Lady's Got Potential" was excellent, and "And the Money Kept Rolling In" was toned down a lot, but Banderas had a LOT of fun in the number.

The movie's worth seeing if you like Evita, or are thinking you might be getting into it. Don't watch for Madonna's big numbers, watch for her and Banderas performing, for once, like they really mean it.

Madonna did fine...admit it!
Don't Cry for me Argintina was the song that got me into musicals and so I have always loved Evita. In my opinion Madonna did quite an excellent job playing Eva. Most of you have a problem with her because she is Madonna. I am not a fan of what she does outside this movie, but I will defend her performance in this movie. She was not off-key at all and I have never heard Elaine Paige or anyone else sing "Don't Cry for me Argintina" with such emotion and clearness. She was Eva standing up singing that song. "You must Love Me" was another beautiful song that I have never heard been done better. When I heard Elaine Paige wailing these two songs on PBS I had to shut it off, she wasn't bad and she is a good singer, but when it comes to Evita no one can top Madonna. This movie was unfotunately hammered by critics and got a bad wrap.

Don't Cry For Us at the Ocars
Now first let me state that this one of my favorite movies. I have also researched into the life of Eva Peron. The movie is about 95% true. Madonna stars in movie as the title role of Evita. This movie is the story of Argentina's former first lady, Eva Peron. This film starts from the end and then goes from beginning to end. It shows how she went to Buenos Aires with a tango singer. It shows hows Eva took on lovers to get jobs, and even helped her husband, who is played by Jonathan Pryce, get the presidency for 2 terms. She and her husband did have 2 weddings, one was in a church and one was a civil ceremony. Eva also traveled while she was first lady. She got woman the right to vote. She also did start a foundation. She did help build houses, hopitals, and schools. When her husband went for his 2nd term as president, the people rallied for her to be vice-president. Eva Peron did had many Christain Dior, over 100 furs, and a jewelry collection comparable to Cleopatra's. Sadly, Evita died when she was just 33, of uterine cancer. This movie won some Acadmeny awards and a gloden globe, I believe

Wonderful to watch but unfulfilling
One of the interesting sidelights to this movie is the fact that Oliver Stone wrote part of the screenplay. While watching it I kept wondering what part? Stone, whose edgy, over the top indictments of oppression, corruption and especially military stupidity, wouldn't seem to be one to celebrate the elevation of Eva Peron to something close to sainthood, which is what this movie does. Maybe all his work ended up on the cutting room floor. Or maybe it was obscured by Andrew Lloyd Webber's music. Certainly we do not see the decamisados (Peron's version of his friend Mussolini's Blackshirts) torturing anyone, and although the "disappeared" are mentioned in passing, there is no retrospective that allows us to see just how widespread and horrific were the murders committed by the Peronists.

Anyway, Madonna, who certainly fits the part like a glove, stars as Evita, and she gives the performance of her life. Yet somehow it is unconvincing, or I should say, somehow the film doesn't really get to the essence of the woman who rose from poverty to the pinnacle of power in Argentina, a woman extravagantly loved by the common people of Argentina even while she was a party to the fascist oppression. I don't think this is Madonna's fault. Her voice is good, not great, of course, but her dramatic skills are very much in evidence, skills that have always been underrated, although I'm not sure why. If you watch her in this and in Desperately Seeking Susan (1985) you can see that she has a range easily exceeding that of most actresses. I think that ironically it is the very quality of common origin and common appeal that the Argentines so loved in Evita that the critics hold against Madonna.

Antonio Banderas plays Che, who narrates and attempts to objectify the events while symbolizing both Evita's alter-ego and the man who would really be her proper mate were it not for her rapacious political appetite. Che's character and his dramatic role (from the play by Tim Rice) is perhaps the most important artistic achievement of the musical after Webber's beautiful and inspiring music. Banderas is winning and enormously vivid in the part, and he sings well and expressively.

Jonathan Pryce plays Peron with more dignity and humanity than history might allow. His sensitivity as an actor combined with a modest demeanor seemed to me so unrealistic as to be almost a miscasting. Yet he is perhaps as compelling as anyone on the screen and he certainly looked the part. Interesting is Jimmy Nail as the cabaret singer Magaldi. He combines sleazy good looks with a kind of vulnerable persona that seems exactly right.

Well, what can be said about the music except that it is one of Webber's great triumphs and so very typical of his work. It is beautiful, stirring, moving, enchanting and memorable. Who can forget the haunting, plaintive refrain of "Don't Cry for Me, Argentina" or the gorgeous simplicity of "You Must Love Me"? While Madonna's voice would not fill up a concert hall or take her by itself to the Broadway stage, she does an outstanding job with Webber's songs. A natural performer (Madonna's key talent), her expressive interpretations range from the ordinary to the transfixing. I very much enjoyed her efforts and predict that critics in the future will be kinder to her than today's critics.

The ending seemed too drawn out and then when the screen faded to black and the credits began to run it seemed almost abrupt and without resolution. I also did not like the way that Madonna (38 at the time) seemed no younger in the earlier scenes with her hair dyed pitch black. I think director Alan Parker should have given us more of an illusion of youth, perhaps spared her some of the closeups and fuzzed out the lines under her eyes. Strange how the golden blonde hair and exquisitely applied makeup in the remainder of the film made her look younger. All directors should know what Madonna learned many years ago: blonde hair usually makes a woman look younger because those with naturally light-colored hair are their blondest as children. Like big eyes and relatively big heads, blonde hair is a signal of youth that arrests our eyes.

Despite the flaws this is an engrossing cinematic experience, and for Madonna fans, Banderas fans, and in particular fans of Andrew Lloyd Webber, it is a film not to be missed. ... Read more

Reviews (2)

The silent message of Crusoe
I loved the movie Crusoe, starring Aiden Quinn, much more than the more recent Robinson Crusoe starring Pierce Brosnan. The latter film tends to spoon feed the premise and meaning of the story to the viewer. Crusoe lets the viewer make the final decision. Crusoe is a very lonely yet hauntingly beautiful film. The music reflects the adventure and immerses the viewer in the natural wonder of the island and environment of the castaway.

The silence and loneliness of the film reflects the reality of what a castaway would really go through. Crusoe is not a typical Survivoresque film, overdramatized and overdone. Crusoe is about learning through nature where all people are equal. The message of the powerful learning experience in which Crusoe undergoes is displayed for the viewer without words but in action. To me that is much more powerful than the wordiness of the more recent Robinson Crusoe film with Pierce Brosnon.

BOOOORING!!!!!!
This film had no depth, very little story, and didn't even stick to the book.The movie is rated PG-13 but it has no action of any sort to gain this rating, it only shows some helpless native captives have their throats cut in a very graphic and disturbing manner. This movie is also racist towards white people, it portrays all whites as greedy, selfish, and cruel.Crusoe is a slave trader in this movie and he is, in a very confusing scenerio, apparently made the slave of a black tribesman or something, you can never tell what's going on with this film it's SOOOOO confusing. My quick advice, don't buy it, don't even rent it... ... Read more

Reviews (5)

I would recommend the A&E or Lifetime videos instead
I was very disappointed with this video. First, it seemed very short. Second, there is no footage on this video that is not available on the A&E and Lifetime documentaries about Evita, and those are far superior videos as they include interviews with people who knew Evita and worked with her. There are no interviews with anyone who knew Evita on this video. The only interview is with Madonna - and it is a very short interview and was not done specifically for this video, rather is it stock footage that has been made available to all EVITA promotional events.

I was very disappointed with this video. And, as I recall, this video is recorded in the worst possible mode - EP/SLP. Which means the quality is very very poor.

Excellent movie rich in history and truth
I felt sadness and sorrow for Eva Peron as I watched the movie. It was so interesting I watched it 3 times straight through in a row.

exciting, passionate, exotic, and musically superb
As soon as the movie began, I found myself swept up in an exotic musical adventure. Madonna is the perfect choice to play Eva Peron. Her acting and singing are top notch. Banderas is equally good, and I like the way he sings with "attitude"!

The enunciation is this movie is excellent which allows you to totally immerse yourself in the movie and enjoy the characters to the fullest. And the songs are sensational. My personal favourite is "I'd be surprisingly good for you", sung by Madonna with such passion and tenderness.

Evita is, in my opinion, a top notch movie which everyone should experience!

Bad, Bad, Bad!!
This bored me like none other. I couldn't even finish it!

Evita: The real story of Eva Peron
Evita: The Story of Eva Peron, is the real account of the life and times of Eva Peron. The telling of this quintessential heroine is spellbindingly interwoven with exclusive interveiws about modern day superstar Madonna. Both Eva and Madonna have much in common. Both are revered and maligned by their vast audiences. But, through their determination and innovation, they forged brave new worlds in thier respective countries. Capturing the drama and sweep of Eva Peron's rags to riches rise to power in Argentina, Evita brings you into this great world leaders life. No other person is more suited to play Evita than Madonna, a perfect blend of femininity, magnetism and steel. Evita will leave an indelible impression of the indomitability of the human spirt! Long after the movie is over, her abition, compassionn and vision will stay with you. END ... Read more

Reviews (15)

Another example of a great 80's horror film
The first Howling film was meant to be a serious, scary horror film, and that it was. I think however, the sequals were just meant to be wild and outlandish werewolf movies and this one really is. It has nothing to do with the original plot but that dosen't matter anyway because the other sequals don't either. This movie has a really cheesey plot, and the acting is horrible in it (except for Christopher Lee), but I love it because of it's extreme 80's horror film charisma. The special effects are really good in it to.

Howling II: Your Sister Is a Werewolf
I really don't know why everyone trashes this movie so much.This is definetly not the worst sequel made.I admit the special effects suck and the gore is way overboard.The dialogue is cheesy and the acting sucks.But the thing that matters the most; the plot is very interesting.The characters are also pretty cool.I don't care if anyone says I'm crazy because I had a good time watching it.I liked the score and one song they played alot during the movie.The werewolfs are much better looking in this one then the 3rd one.I also liked some of the mythology they added to the werewolf genre.Any lover of the genre will like this.If your an average viewer you may not be as impressed, but you might want to check this one out when you have the time.Convinced that his sister has been victim of a brutal murderer, Ben, an out-of-town law officer is determined to bring her killer to justice. Ben is approached by an expert on the occult who believes his sister has been the victim of a werewolf cult.To put an end to the evil perpetrated by the werewolves, Ben and his sister's best friend travel to the "Dark Country"-Transylvania- to a decaying palace where torture, death, chaos, and destruction reign supreme.(6/10)

Bottom line: This is not a a scary film
While The Howling II has elments of a horror film, the truth is, its graphic sex scenes and multiple orgies make the horror element mere trappings for what it really is: soft core. Not even a b movie, really. I'll never forget seeing this film at a friend's sleepover birthday party when I was in junior high. We were a bunch of girls who wanted to be scared, and get a good adrenalin rush or two. It started out promising enough, with a woman in a black dress who turns out to be a werewolf who you think is going to be taken advantage of by a couple of sleezebags. We were impressed by that, and the architecture -- but one can only take landscape and architecture so far in this context. Instead we blushed and made jokes about the sex scenes. The idea of summoning the Queen of the Werewolves was good, but they didn't look like werewolves -- they looked like even hairier versions of Big Foot. And that's neither attractive or enthralling to watch in any way.
We didn't even finish watching it. If hormonal pre-teens who are looking for an adrenalin rush didn't go for this movie, I have to say watch out. We couldn't go back to the video store so we ended up watching Pee Wee Herman's big adventure a couple of times -- that was much scarier than the Howling II!

Watching brings headaches...
First off this film is total garbage...(Sorry Christopher Lee) I love horror films and Mr. Lee's are some of my favorites, but even Peter Cushing couldn't have saved this with the help of Vincent Price. Note....this film has been cut to pieces, a late night version came on skina-max several years back (at least 10) and it was unrated.(a must for Sybil Danning fans)It contained a much more sex driven version of the film. If that version was released on DVD I would at least consider it for rental. I have a very old version on VHS, probably a original video release copy....and even that one is rated R. (want werewolves check out Dog Soldiers...awesome)

Poor sequel to the Howling
Doesn't have anything to do with the original.Very slow and very boring. ... Read more

Amazon.com

A trio of very dense aliens abandons their equally dimwitted pal Bernard(coscripter Mel Smith) and crashes their rented spacecraft in England, wherethey become pop media icons under the guiding hand of a disgruntled televisionemployee (coscripter Griff Rhys Jones). Bernard eventually finds his way toAmerica, where his claims of interplanetary pedigree land him in an asylum. Thissatire of science fiction and societal quirks from British television comicsSmith and Jones and director Mike Hodges (Croupier) generates its biggestlaughs early, when the hapless trio is pitted against the British and Americanmilitary (James B. Sikking appears briefly as a trigger-happy Yank officer). Theremainder quickly dissipates into generic slapstick and feeble pokes at mediahype, though Smith and fellow U.K. performer Jimmy Nail (as beer-guzzlingspaceman Dez) have some strong individual moments. Smith later directed suchfilms as Bean (1997) and High Heels and Low Lifes(2001). --Paul Gaita ... Read more

Reviews (8)

Pretty weak
Was looking forward to seeing this with two of my favorite British comedians (Smith and Jones), but this was VERY weak....maybe one genuine laugh throughout. Mostly lackluster comedy will be forgotten minutes after viewing.

Stupid, silly, plotless, yet good.
Who needs acting, plot, or great editing in a comedy. Obviously this film doesn't, all it needs is jokes. This is probably to silly for the movie critic, but for all the normal people out there who aren't stuck up about the movies they see, this is a ral treat. A trio of very dense aliens abandons their equally dimwitted pal Bernard and crashes their rented spacecraft in England, where they become pop media icons under the guiding hand of a disgruntled television employee. Bernard eventually finds his way to America, where his claims of interplanetary pedigree land him in an asylum. This satire of science fiction and societal quirks from British television comics Smith and Jones and director Mike Hodges brings us a hilarious yet silly movie that is quite enjoyable. See it!

"HIGHLY INTELLIGENT!?"
I laugh all the way to the end of this possible cult-classic english comedy! Mel Smith plays the alien who was left behind and falls into earth. There's a hilarious part occur with him and a trash barrel which he think it's a earthling. The other aliens fall into other mishaps and enjoy "LOOB" beer! and remember it's a pen "P......E....... uhhh....n..n!..

Hilarious
I love this film.
I actually saw it by accident because the video carried on recording all night after I recorded something else and I thought I might as well watch it, after all, the title was pretty amusing. It turns out that so is the rest of the film.
I can't remember a single minute where I was bored, it had me laughing all the way through, especially the moron's reactions when the door falls off their spaceship. Desmond's line then had me giggling all night. It's hilarious when they 'play' chess too.
It's probably not the sort of thing that appeals to everyone, but if you like crazy comedies about beer guzzling morons from another planet then this is the film for you. It's definitely British comedy though, which is different to American comedy and I think funnier, but in a different way.
I'd recommend this to anyone who's looking for a good night in with a few mates and a lot of laughs, but it you're after something in any way serious and thought provoking, look somewhere else. On course if that's what your looking for you wouldn't even be reading up op a film with that title, I hope.

Was that Morons or Macaroons?
Very original and a "reel" pleasant surprise. Most movies of this type are awful in poor taste and boring but this one rates right up there with the "Green Slime" and "The Monster that Challenged the World," as camp "B" movie hits go. Imagine what they might do in a sequel---perhaps "Macaroons From Outer Space"? ... Read more

Reviews (1)

Danny the Champion of the World
This is one of the most delightful of the many adaptations of Roald Dahl stories. It stars Jeremy Irons, with his own son Samuel playing his film son, and Samuuel's grandfather Cyril Cusack also in the film.

The story is about poaching; although the original book suggests whole hearted approval for this, the film shifts the emphasis more to a general conservation theme, and in so doing, really improves on the book.

Beautifully filmed and superbly acted, this one is a treat. It is criminal that it is not available on DVD. ... Read more

Reviews (46)

great cast in a fun film about a 70s-band reunion
This movie is quite entertaining. It has a great cast and none of the performers are wasted: Stephen Rea is the sweet guy who wants the band to take advantage of a reunion and achieve the success that internal bickering and problems cost them years ago; Billy Connolly is a hoot as the band's pragmatic roadie; Bill Nighy captures dim-witted preening lead singer Ray without making him unsympathetic; Timothy Spall brings laughs as the drummer still living in the past ('If women are from Venus and men are from Mars, drummers are from Pluto'); Jimmy Nail is the guitarist with grudges, regrets and a nice voice; and Juliet Aubrey is engaging as the woman who was a fan/runner and steps in as manager for the group. Though the two younger supporting roles aren't given much to do, that leaves more screen time for the adult characters, each of whom is three-dimensional, sympathetic and interesting. Billy Connolly's voiceovers are well-written and fun, and while not every joke works, there are many one-liners that you will make you laugh the next day.

You can see bits of your favorite 70s bands paid tribute, from Pink Floyd to Deep Purple, with insight and affection and the songs, written by veterans of Foreigner and Squeeze, are quite good. The film is very funny for the first half and then takes a few missteps as the drama quotient is elevated, but it finds its way again before the close. All in all, a lot of fun from a fine cast and talented crew, just the ticket for music fans with a sense of humor.

DVD features include: English, Spanish or Portuguese sound and English, Spanish, Portuguese, Chinese, Korean or Thai subtitles; a short making-of featurette; a trailer; and filmographies for director Gibson and some of the cast members.

Nostalgia Has Never Been So Humourous!
This movie is tremendous for uplifting the Spirits.

To begin, the soundtrack is unbelievable. Mick Jones (Foreigner) and Chris Difford (Squeeze) penned the songs, making Strange Fruit the best thing that ever hit today's music scene.

Unfortunately, Strange Fruit are a strictly fictitional band of the late 1960's to early 1970's. To complicate matters, they were never a hit to begin with, due to drug use and inner fighting. One wonders what might have been, while listening to their fanatastic music play throughout.

The Fruit draw inspiration from The Rolling Stones, Deep Purple, David Bowie, and The Who.

Each member of Fruit are quite memorable.

Stephen Rea stars as down-and-dead-broke Tony Costello, who is asked by a festival promoter to reunite his band for a reunion tour, with hopes of reaping monetary benefits. Costello haply approaches ex-roadie Karen Knowles, played by Juliet Aubrey, to help him rekindle the flame of a dream long past.

Juliet gathers up the bitter rhythm guitarist Jimmy Nail (Les Wickes), blundering Timothy Spall (David 'Beano' Baggot), and the extravagantly glamouresque lead singer Ray Simms (Bill Nighy). Tumbling in is another ex-roadie, the hippy-toker-jokester Hughie (Billy Connolly), who never let the flame burn out.

As Juliet searches for the last member of their motley band, the elusive lead guitarist-songwriter Brian Lovell (played by the brooding Bruce Robinson), the reunited members squabble, just like old times, fighting over long lost memories.

The band is then given the chance to do a small Dutch tour, to prepare for their promised festival. With young Hendrix-like Luke Shand (Hans Matheson) taking the place of Lovell, the crew hits the road. The sparks fly as their memories flame forward, threatening to burn their unfinished goals...

Be prepared to laugh, sing, cheer, and cry, as these memorable characters etch themselves into your hearts...

"And the flame still burns
It's there in my soul for that unfinished goal
And the flame still burns
From a glimmer and then, it lights up again
In my life"

A surprisingly good film
We rented this on impulse because it had Billy Connolly. The description reminded us of This Is Spinal Tap (which we love) and we greatly enjoyed the movie. Bill Nighy's clueless Ray was really wonderful and Stephen Rea as keyboardist Tony Costello was enjoyable to watch but the scene-stealer was Timothy Spall's Bilbo Baggot, the drummer. I just about fell off my seat when he finds out that his most vivid memory of touring is when the Fruit played the Hollywood Bowl--only to hear they never played there. And Billy Connolly is always a treat to watch, whatever he does.

I`m Not Too Crazy About It
This british movie about a 70`s rock band named "Strange Fruit" that makes a comeback isn`t funny enough to be a sucessful comedy neither deep enough to qualify as a drama. It`s a competent, at times moving picture, not too memorable but mildly enjoyable. The acting is fine, but the plot, that focuses the band members effort to became famous again, isn`t very absorbing or grabbing.
What we end up having here is a little movie about the music business, showing how those who had sucess in their youth react when they aren`t so stellar today and have to deal with their aging process. Mildly interesting, even if it`s another movie to watch once and be done with it. I`m not sorry I watched it, but I don`t feel the need to watch it again.

Still Crazy
wow! much too short, quite inspiring, and altogether wonderful! don't miss it, and stick with it to the very end of the titles. ... Read more