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Strife-torn America wanted a meat-and-potatoes romance in the late '60s, and the country embraced Erich Segal's slim, generic-sounding novel in a big way. It did so again for the film adaptation in 1970, starring Ryan O'Neal as a law student who defies his rich and powerful father (Ray Milland) on every issue, including the former's love for a music student (Ali MacGraw). The two marry, start life together...and then the Grim Reaper turns up at the door. Directed by Arthur Hiller (The In-Laws), the film ends up lacking the kind of stylistic boost that might have made it a must-see for the ages. But its faithfulness to the book's uncomplicated and, yes, moving intentions is pretty solid. O'Neal is convincing as a nice guy who's as bullheaded in his own way as his steely father (a nice job by Milland), and MacGraw has a way of getting under one's skin. A viewer just has to try not laughing at the refrain, "Love means never having to say you're sorry." --Tom Keogh ... Read more

Reviews (54)

MY ALL TIME FAVORITE MOVIE!
I've seen this video countless times. More times, than any other movie. And every time I watch it, it moves me to tears. To experience a love so true and so deep is a miracle and to lose it... it's beyond me. But to even experience it and see a glimpse of it (from this movie) is a wonder enough. The love story between rich Harvard hockey-player Oliver Barrett IV (played by Ryan O'Neal) and smart-mouthed Radcliffe gal Jennifer Cavilleri (played by Ali McGraw) is one of those once-in-a-lifetime love stories... captured on film. These two star-crossed lovers who are from the opposite ends of the socio-economic ladder overcome all obstacles (disapproving parents, near poverty and Harvard Law School) to make their love work. The only thing going for them was their love and devotion to each other. And just when things were finally looking up... tragedy strikes.

The book written by Eric Segal is even more moving but to see the movie, is just as a great experience. It's not just a tearjerker! It's truly a masterpiece! I LOVE THIS MOVIE! It's my ALL TIME favorite movie.

Does anyone know if they plan to release this on DVD?

Something You Should Spend Some Time On It.
The major reason makes me interest in this book and DVD was my Dad. This movie
was shot before I was born. When I was a little girl, I saw Dad watching this movie every time when it was shown on TV. My Dad is kinds of the action movie type. I was surprised why he loved watching this movie. So, when I was in the video store one day, I decided to rent the DVD to see what made my Dad to watch a love drama. Just like my father. I am totally devoted to the movie. I bought both "Oliver's Story" and "Love Story" and finished reading in one afternoon. For me, I like the Love Story more than Oliver's Story. The 3/4 part of the Love Story was a pleasant story. Both of them loved each other very much and would like to sacrifice for each other. For Oliver's story, it's all sad and how Oliver couldn't forget Jenny. Love Story is very well written. I highly recommend you to read it.

That was really a nice one
After reading the book "Love Story" and sobbing about the ending of the of the book when Jenny dies, I wasn't quite normal for a few days, the story just stuck in my mind. I knew that there was a movie based on the book out there and about a month after reading the book I saw the movie. To be brutally honest the movie didn't have the punch and the emotion that the book had had on me. It just seemed kind of choppy, like somebody was going scissor happy in the editing room in 1970. I am not going to say anything about the acting because who am I to give acting directions. I just want to say that we should feel that way the actors portraying the characters feel, and obviously I did because I felt totally disconnected with the characters.{okay, after seeing th movie I found out that Erich Segal had actually written the screen play before actually writing the book} I don't feel that it would be an insult to say that there should be a remake of the movie "Love Story" because with the technology and the acting skills of today's actors, producers and directors and what not, it could be great. I watched "Love Story" because my dad said it was his favorite movie of all time and that it's the only movie he's ever went to the theatre to watch twice, so I thought that it really had to be a good movie. I did like "Love Story," even though I wouldn't call it one of my favorite movies of all time....I'm more the action, sci-fi, comedy, and horror movie type.
"Love Story" is good because it seems realistic, just like two normal people who are real different from each other might act in a real life relationship. Ryan O'Neal and Ali MacGraw brought their acting skills and used them in this love story of a movie. If you like love stories, I recommend purchasing "Love Story."

To be honest, it could have been better
After reading the book "Love Story" and sobbing about the ending of the of the book when Jenny dies, I wasn't quite normal for a few days, the story just stuck in my mind. I knew that there was a movie based on the book out there and about a month after reading the book I saw the movie. To be brutally honest the movie didn't have the punch and the emotion that the book had had on me. It just seemed kind of choppy, like somebody was going scissor happy in the editing room in 1970. I am not going to say anything about the acting because who am I to give acting directions. I just want to say that we should feel that way the actors portraying the characters feel, and obviously I did because I felt totally disconnected with the characters.{okay, after seeing th movie I found out that Erich Segal had actually written the screen play before actually writing the book} I don't feel that it would be an insult to say that there should be a remake of the movie "Love Story" because with the technology and the acting skills of today's actors, producers and directors and what not, it could be great.

A sad film. 4th may 2004.
Most sad films make me cry, this didn't really. Although it was sad when jenny died. It might not be everyone's type of film but for me i quite liked it. I wouldn't say it was excellent to keep watching over and over again, but it was still a good film. The music at the end was sad too, can't remember how it goes but every time i hear it it makes you feel sad. He had known her and he was going to marry her until she found out that she had got cancer and then she died, Heartbreaking story. ... Read more

Reviews (6)

A Fawcett triumph
The small screen treatment of author Ann Rule's best-seller is all the more gut-wrenching because this really happened, a self-absorbed mother whose horrific act of violence against her own children (all for a boyfriend who, it turned out, couldn't wait to unload her?) commanded overdue attention to the threat to children in their own homes. For anyone still unconvinced by "The Burning Bed" that Farrah Fawcett can act better than she can jiggle, they won't be with this one. Fawcett is superlative in getting across the pathological selfishness of Diane Downs and how her children paid for it. The performance was, for Fawcett, a richly earned Emmy nomination. Despite more than ample supporting acting by the likes of John Shea, et al, Fawcett carries this production and highlights it with an indelible emotional wallop. This is an important social piece, much as is "The Burning Bed" remains, and forces us to examine our childrens' safety in a new light. Read Rule's book for background to appreciate the production's faithfulness to its subject matter. Despite that wrenching subject matter, the film gives us some comfort in knowing that the justice system worked this time.

a true story
This TVM directed by David Greene is based on the book by Anne Rule and the teleplay adapted by Joyce Eliason. The female contribution accounts for the stance taken on Diane Downs, an Oregon postal worker who in 1983 was accused of murdering her own children to free herself for a lover who "just don't wanna be a Daddy". The crime outrages the male DA's assistant and presecutor with it's seemingly Medea brutality, their suspicion of Diane raised, in spite of her claim of a "bushy haired stranger" being responsible for the shootings, based on her "weird" behaviour. This behaviour is said to include a lack of emotion, inopportune humour, and a taste for the Duran Duran song Hungry Like the Wolf. (Greene's attempt to make Diane the wolf via her car headlights as eyes is a bit much). The DA's office takes months to form their case against Downs, and in their frustration, resent Diane's use of the media to gain sympathy, though we hear someone comment that "the camera loves her", implying that she possesses an unnatural empathy. At one point the audience becomes the TV camera with Diane talking to us subjectively. Given the nature of the context, it's easy for Downs to be more sympathetic than the police who wish to do her harm, but this perceived unbalance in the light of their feeling about the crime isn't helped by Greene's casting of John Shea as the DA's assistant and prosecutor, who specialises in a wooden stare. Eliason's teleplay reduces Downs by having someone say "She doesn't love. She devours" and gives her a memory monologue that she inexplicably delivers to Shea where she confesses that she hates men. There is also a court opportunity for Shea to project all his bile, and a queasy plot point of Shea's interest in Diane's children, overstepping his professionalism and getting way too personally involved. Greene uses similar cutaways of a crowd outside the courtroom during the trial, and stages a court re-enactment of the shootings in a model car for the camera with projected crosscuts, that the jury is unable to see.
As Downs, Farrah Fawcett has some delicious moments. Although an actress whose effort is always obvious, she captures Diane's recklessness and beauty, as she walks down a hallway talking and passing Shea, and as the camera circles her when a psychiatrist gives an evaluation of her personality. If she says and does things that appear to deliberately make herself look bad in the eyes of others, she still retains tube empathy so that we don't want to see her be found guilty, perhaps because only seeing her doing the shooting through the eyes of the prosecutor, helps it remain unreal. The casting of Ryan O'Neal as her former lover allows her to be uninhibited with him, though funny because of his resistance. There is also a perversity in the casting since it represents them at a time when they were a real life couple, but his stock was falling as hers was rising.
This TVM originally ran at 186 mins which is the version I saw, but ironically the length works against the treatment. In spite of it being truthful to the length of time the real events took, the inbalance of empathy becomes even stronger, and while we wait and wait with the police for Down's surviving daughter to regain her speech so she can stand as a witness against her mother, Fawcett's achievements become Greene's own small sacrifices.

As good as the book!
Movies based upon books are usually not much good, but "Small Sacrifices" is the exception to the rule. Farrah Fawcett delivers a stellar performance as Diane Downs, an Oregon mother who was convicted in mid 1984 for the May 1983 slaying of one of her children and the attempted murders of the other two, all because she was trying to win back the affections of her married lover, who had broken off their affair because he didn't want to be a daddy. Fawcett absolutely excels as Diane Downs because she brings to life Downs's coldness, self absorption, disregard for her children, and psychopathology in an extremely compelling and realistic fashion. John Shea is also commanding as the intense prosecutor, who, convinced of Downs's guilt from the very beginning, relentlessly seeks justice, and not because he feels he has only a legal obligation to do so. Joyce Eliason based her fabulous screenplay on Ann's Rule's bestselling book of the same name. This is an emotional movie, vey tough to watch, and will leave you drained at the end, simply because it is such a hard hitting, spellbinding story about the awful crime committed by a cold blooded woman who never should have been blessed with the gift of children.

Blood For Love
Small Sacrifices, a novel-turned-television-movie, is based on an incredibly true story about a women who tries to kill her three children to keep her lover. My first reaction to this movie was a sick feeling in my stomach that any mother could do such a thing. What also struck me was how convincingly Farrah Fawcett portrayed the cold Diane Downs. I was pleasantly stunned at the intensity each character showed and found that there were no lags or boring lulls in the story line. The devastating story prompted me to read the book by Ann Rule, and I fell in love with the story all over again. I wholeheartedly recommend this movie to anyone who is as fascinated by true crime as I am.

STUNNING PERFORMANCE!
Farrah Fawcett's interpretation of child killer Diane Downs stays with you forever. A multi-faceted banquet of film-making brilliance, this made-for-Tv adaptation of a real life event is haunting, seductive, and lacrimate. Chameleon-like Diane Downs is "Hungry Like The Wolf", and doesn't want any "kinks" in her social life. Her kids are the "kinks" that prevent her from pursuing a relationship with a clearly confused married man who up and moved hundreds of miles in a futile attempt to hide from the classique femme fatale. heartless maximus. ... Read more

Amazon.com essential video

This massive 1977 adaptation by director Richard Attenborough (Gandhi) of Cornelius Ryan's novel features an all-star cast in an epic rendering of a daring but ultimately disastrous raid behind enemy lines in Holland during the Second World War. A lengthy and exhaustive look at the mechanics of warfare and the price and futility of war, the film is almost too large for its aims but manages to be both picaresque and affecting, particularly in the performance of James Caan. The impressive cast includes Robert Redford, Gene Hackman, Anthony Hopkins, Laurence Olivier, Dirk Bogarde, Sean Connery, and Liv Ullmann among others. While not a classic war film, it nevertheless manages to be a consistently interesting and exciting adventure. --Robert Lane ... Read more

Reviews (136)

Excellent Film -- Historically Accurate.
In my opinion, the best war movie ever made -- a notch better than "Saving Private Ryan," which contains certain historical inaccuracies. "A Bridge Too Far" masterfully adapts Cornelius Ryan's meticulously-researched book of the same title. More importantly, with the exception of the German tanks and armored personnel carriers depicted in the failed attempt to capture the northern end of the Arnhem bridge, the uniforms, machine guns, rifles, tanks, landscape, etc. depicted in the film are accurate -- unlike the vast majority of war films that cut corners, film off location, fail to research key facts, etc. The "second Omaha Beach" crossing of the Waal River by the 504th Parachute Infantry Regiment of the 82nd Airborne Division -- filmed on loaction -- is the most riveting scene in the movie. Also spectacular is the reenactment of the dropping of hundreds of paratroopers over Holland from C-47 Dakotas. The only negative is that the movie can be quite confusing to one who is not familiar with the intricacies of Operation Market Garden. I urge anyone considering viewing the film to first read "Arnhem 1944" by Martin Middlebrook or Cornelius Ryan's above-mentioned book. Some research will help put this complicated military operation into perspective. After you've seen the movie, and if you have the time, money and inclination, take a battlefield tour of Nijmegen and Arnhem (both just an hour-or-so drive from Amsterdam) so you can truly appreciate the sacrifices made by the British, American, and Polish paratroopers depicted in the film nearly 55 years ago.

Gripping account of Operation Market Garden
A Bridge Too Far is one of my favorite war movies, and books of all time. The book is a classic, which you should read if you have not done so before watching the film.

The film is long (almost 3 hours), but well worth it. I have seen it more than a few times, and always enjoy watching it. I particularly like the Airborne drop and combat scenes. All which leave me wondering how they actually filmed some of them. The cast is full of all-stars with the likes of Anthony Hopkins, Robert Redford, Sean Connery, James Caan. The list of great actors just goes on and on.

The film does a good job of telling the tragic tale of Operation Market Garden, the largest Airborne operation ever. The plan is bold, which is a surprise in itself since General Montgomery was considered to be one of the more conservative well known commanders from WWII. As you watch the movie, you start to wonder how could they have been so wrong. Of course, hindsight is 20/20, and you have to realize that this operation was to be the final punch to put Germany out of the war. Unfortunately, things did not go as planned. And, in the end, the goal of reaching the Arnhem bridge is never achieved, and the British Airborne Division pays the ultimate price for the plan's failure.

The book does a better job telling the stories of individual soldiers involved in the battle. But, the movie does an excellnet job of keeping the viewer in the action, and aware of what happened when, during the fight. Especially considering, the action took place at three different areas all at the same time.

I highly recommend this movie to anyone interested in WWII, war movies, combat leadership, or airborne operations. I also recommend watching the movie on a large screen TV if you can.

Great Battles, Dialogue, Characters Make A Great Movie.
I liked this film very much. It's not overly patriotic like Saving Private Ryan. It doesn't go for the happy, crowd pleasing ending. It doesn't pick out heros & bad guys for easy watching and it doesn't oversimplify.

This is well-paced, collage-style film about human fallibility and what happens when large wartime operations break down.

The dialogue is superb. There are 10+ characters interlocked in various relationships at all levels inside the army. These were the top actors in the world at the time, each with a role to play and an independent fate in the battle. All these guys are in their 60's now and seeing them so young is a surprise. Look for John Ratzenberger (Cliff Claven of Cheers) in Robert Redford's paratrooper platoon.

The production values were also excellent, on par with the best of WWII movies. There were many very realistic battle scenes and all the scenery and soldiers, equipment, etc. one could imagine. To the untrained eye it was 100% authentic.

This is not a happy movie or much fun. It's more real than that. Unfortunately it's also not especially harrowing - you know that things are not going to work out. It's just thoughtful and well-paced and very watcheable. If you like WWII movies this one is certainly worthwhile.

You need the Australian 2-disc set!
Personally I found this so-called classic a total bore. But if you're one of those dusty old f*rts who collects war memorabillia and gets off on these true-to-life war epics, get yourself a multizone player and buy the Region 4 Two-disc set which also includes: "Heroes From The Sky" featurette, "A Distant Battle: Memories of Operation Market Garden" featurette, "Richard Attenborough: A Filmmaker Remembers" featurette, (These featurettes are quite long...some go for nearly an hour) Photo Gallery, Trailer, Audio Commentary and Trivia Track. This is the way classic movies on DVD should be presented. Tons of information and a great price. Ezydvd.com

Excellent Adaptation of a Classic War Book
The movie version of Cornelius Ryan's book A Bridge Too Far is a fully faithful adaptation of a war classic. As such, it is a classic in its own right. The movie includes the planning and execution of the flawed Operation Market Garden, the largest Allied airborne operation of World War II. It also includes several of the human interest vignettes from Ryan's book. The movie is consistently interesting throughout and is never boring.

A true classic. ... Read more

Description

A computer expert moonlights as a successful jewel thief. ... Read more

Reviews (1)

Warren Oates chases jewel thief O'Neal with amusing results.
Ryan O'neal plays a computer programmer who after a divorce decides he is tired of his programmed life and becomes a cat burgler, leaving chess moves at each robbery as his calling card. Warren Oates plays the insurance investigator obscessed with bringing him in. Jacqueline Bisset plays the love interest who tumbles to Ryans life of crime but loves him anyway. This film has aspirations of being in the same league as To Catch A Thief and How To Steal a Million but doesnt quite make it. However this film isn't without it's fair share of charm. Especially in the interplay of cat and mouse between O'Neal and Oates. But just which one is the cat, and which is the mouse? ... Read more

Amazon.com essential video

Director Peter Bogdanovich(The Last Picture Show) tipped his hat to the classic screwball comedies of the 1930s, and especially the most glorious of them all, Howard Hawks'Bringing Up Baby. Barbra Streisand plays a charming flake who distracts a self-absorbed musicologist (Ryan O'Neal). He's engaged to be married, but soon Streisand's character has him chasing after stolen jewelry and getting into one madcap fix after another.Bogdanovich, who is also a film critic, understands the engine of the screwball genre, and his loving revival of the form brings a smile, though it is not quite consistently inspired or funny. There are plenty of great moments, however, including a slap at O'Neal's own star-making vehicle,Love Story. --Tom Keogh ... Read more

Reviews (93)

As comfortable as cashmere...
When a comedy is done right on screen, it often has a very long life beyond its initial release. Such is the case with this wonderful movie. From the moment at the beginning when Streisand hums and sighs and launches into a blazing version of Cole Porter's "You're the Top", the film is a funny, frenetic, comfortable delight that is as cozy as a pair of flannel pajamas. Everyone here is working at the top of their form, and the fact that it looks effortless shows just how accomplished and talented they all are. Barbra looks slim, tan, loose, and very sexy; Ryan O'Neal is perfect as Cary Grant in "Bringing Up Baby", and Madeline Kahn is just perfect. There are so many moments that are memorable, it's hard to name them all. Peter Bogdanovich brought it all together so beautifully, with such style, verve, and loud-out-loud humor, you'll be in heaven for 90 minutes. Hollywood romantic comedy doesn't get any better than this. The DVD picture is bright, crisp, and letterboxed. What a treat for us all!

A gem of a film!!
I remember seeing "What's Up, Doc?" as a kid in a drive-in theatre and laughing uproariously. Later, as an adult, I bought the video and wore it out; the movie still hasn't lost it's charm. I've also introduced many of my friends to the film, but one consequence of that is that my tape is now faded and fuzzy. God bless whoever got this movie onto DVD!!

If you've somehow missed this film ... stop reading, turn off your computer, go to the store and buy it. (Don't rent it; you'll want to watch it more than once.) I mean it. Go now!

I'm not a Streisand fan, but I sure make an exception in this film. She's fantastic! Her zany energy just pours off the screen, her timing and delivery are top notch, and her chemistry with Ryan O'Neal is simply unbelievable. And O'Neal ... is awesome. You might not think of him as an actor who could so ably take on the role of the boring, distracted, absent-minded professor, but man! he owns the role. From his opening shot straight through to the end of the film, he's simply wonderful. And if Streisand's cheerful nuttiness and O'Neal's goofy, sweet seriousness aren't enough for you, there's the inimitable Madeline Kahn in her first role, owning every scene she's in ... 'til Liam Dunn shows up as the judge at the end, that is.

The dialogue sparkles; why aren't more people writing dialogue like this these days? There should be a law. The comedic timing is impeccable. The story is lunacy, but it's sold whole-heartedly ... and the lack of a score (other than Streisand's rendition of "You're the Top" to open and close the film, along with a brief snippet of "As Time Goes By" during the film) makes the whole thing seem almost believable, somehow.

This movie is a gem; I can watch it over and over. The DVD is crisp and clean, looking like it was filmed last week ... a rarity for some early '70's films. The sound quality is excellent; nuances that were lost on my video tape are restored here. Streisand's commentary is generally unilluminating, but Bogdanovich provides some wonderful thoughts and behind-the-scenes anecdotes. All in all, an excellent release.

One minor, tiny little flaw: at the very end of the film, with Howard and Judy on the plane, my VHS version shows Judy batting her eyes, then a cut to Howard ... a cut back to Judy for a lovely pregnant pause ... and finally the return to Howard, who delivers his deadly comeback. The timing on that, as with the rest of the movie, is perfection. But in my DVD, Judy batts her eyes, and we cut to Howard ... who delivers his line after only a short pause. There's a missing bit there in the middle. YES, it's a terribly minor quibble ... but when you monkey with a classic and throw off the comedic timing, a guy has to wonder who would do such a thing.

That's really my only quibble. 5 stars anyway. (Have you bought this DVD yet?! Get going!!)

Great Fireballs of Screwiness, Doc!
Genuine screwball comedy may be one of the toughest cinematic feats to pull off. Alot of directors, including Speilberg, have tried and screwed up, but very few have achieved genuine anarchic, screwball style; Bogdanovich does it ecstatically with Doc. Perhaps one of the reasons films of the seventies are considered so extraordinary is that titles such as Godfather, Exorcist and Chinatown, etc, achieved the high water mark for their respective genres. So it can be said of What's Up, Doc, which not only holds up beautifully but seems even funnier with the passage of years. Do we dare say classic? Yup.

"I can't breathe, is it possible to break a lung?"
The first screwball comedy to be a box office blockbuster since the early forties, WHAT'S UP, DOC? fills it's 94 minute runtime with so many terrific one-liners, double innuendoes, and visual puns that the average viewer will probably have to watch the film a couple of times before he or she catches all of the jokes! Apparently the film inspired repeat viewing even during it's initial release - Doc was the third-highest grossing film of 1972 (right behind THE GODFATHER and THE POSEIDON ADVENTURE). In all honesty, I think this film has a higher laugh-per-second ratio than any film before or since.

This film was the perfect (and surprising) way for director Peter Bogdanovich to follow-up his cinematic landmark THE LAST PICTURE SHOW, and he keeps the film's momentum running right at the perfect speed. He also knows how to cast a film flawlessly. Buck Henry's marvelous screenplay contains many scenes with overlapping dialogue and double reverses, and the entire cast never misses a beat. Barbra Streisand literally radiates with magnetism throughout the entire film! Anyone who still wonders why she was the highest grossing actress of the seventies definitely needs to see this film; Streisand's performance in DOC is what being a movie star is all about. Many critics complained that Ryan O'Neal was miscast when the film was originally released, and those critics obviously missed out on the joke. The fact that O'Neal was considered a heartthrob at the time was all part of the fun in seeing him cast as complete goof; and I don't think anyone can deny the fact that he throws himself into the role completely.

As most viewers already know, Madeline Kahn has her finest screen role in Doc, and steals nearly every scene she's in (and she wisely knows just how far to push the characterization without going over the edge). The rest DOC'S supporting cast also could not be improved upon, Kenneth Mars, Austin Pendlrton, and Liam Dunn give just three of the standout performances in this perfect supporting ensemble. As with most comedies, DOC was snubbed at the Academy Awards (Bogdanovich, Streisand, and Kahn all deserved nominations in the respective categories in my opinion), but time has been good to DOC and remains far more popular than many of the films that did get Oscar noms in 1972. Arguably, the best comedy of all time.

About the DVD: The picture quality is very good - a tad soft at times, but very natural and true to the film's original look. The sound is mono, but it's well-rendered. It's great to have the trailer and vintage featurette preserved on disc, and while Streisand's brief commentary isn't very illumenating, Bogdanovich's full-length track is very informative and entertaining.

Use Your Charm.....
This is unquestionably one of my all time favorite films. All of the actors are in top form. Streisand turns in a masterful comedic performance which I would describe as "understated zany". O'Neil is stoic yet endearing. Madeline Kahn (in her movie debut, which makes the film noteworthy if for NO other reason) gives a perfect performance as O'Neil's overbearing fiance. The supporting cast including Kenneth Mars, Austin Pendleton and Liam Dunn are top notch. Brilliant writing (Buck Henry, et.al.) and directing (Peter Bogdanovich) combine with the cast to make this film one of the rare Hollywood productions that appeals to young and old alike. Don't miss this one, it is truly a classic. ... Read more

Reviews (6)

Very dated for this day and age...
The movie handled this touchy topic well enough for it's time period, but now it feels very dated. There are some nice moments, such as when the straight cop finds out what it's like to be on the other end of the prejudice spectrum, from the inside. However, it really annoyed me that all the gay charactes were portrayed as complete stereotypes: drama queen or leather daddy. There seems to be nothing in between.

A killer is on the loose in the gay communty!
The movie patrners deals with two men being assigned as "Partners". Their boss needs these two men to find out about killings in the gay communty.The two partners as played by Ryan O' Neal(The Main Even) and John Hurt(Rob Roy,King Ralph).

The partners go live in the gay community to find the killer. They befriend some gays , start putting the pieces together. One of the cops(O'Neal) poses for a gay magazine and befriends the gril in charges of the magazine.This in too almost blows the two partners cover. John Hurt tells the boss but the boss tells him to not bother him. The suspense build up as the two partners find out who the killer is. The ending is sad for a comedy(one of the partners is shot and killed). In a way this movie was breaking ground for many gay mainstream movies of today such as "In and Out" and "Three to Tango". I know there's other too numerous to count!If you like John Hurt and Ryan O' Neal either buy or rent this movie tonight !It will change your POV on the gay communty and the way we humans treat others who are different than ourselfs!

Pretty Funny...
A straight cop hooks up with a gay associate and they pose as a homosexual couple to crack down the murder of a prominent gay. Offensive and quite silly at times, but provides many laughs and offbeat characterizations. Not one to miss!

Offensive? NOT!
Exactly what did Mr. Maltin find offensive in this film? A homophobic learning not to fear people different than himself and actually coming to care deeply for another human being? Or that it portrayed a homosexual loving a straight man in a non-sexual context and not changing the orientation of either character? Perhaps he thinks O'Neal's character shoul have been "outed" or Hurt's should have been "converted"? God forbid that two people with such divergent sexual orientations should ever be portrayed as being able to co-exist as just friends. I happen to think this was a very good illustration of two people coming to care for and respect one another for who and what they were.

light hearted fun movie
If you want drama, don't get this movie. If you are in the mood for a laugh and don't want to work hard at watching something, this is it. Enjoyed it, kept me entertained, didn't have any slow parts, all this and I didn't have to think hard about it. Have fun with this movie...and don't take yourselves too seriously. ... Read more

Reviews (6)

Ignore any bad reviews for "Irreconcilable Differences"
Although slow at times Irreconcilable Differences is an involving film. It's very funny at times and also very touching too. To me it's an epic divorce movie with a knock out performance from Shelley Long. The scene when Long tells Ryan O'neal, "You look like a rat!" (while throwing a book at him).. is priceless. There are a number of scenes that are just as funny. The story is about a young girl (Drew Barrymore a few years after E. T.) that wants to divorce her very self-centered, career busy parents (Long & O'Neal). After I finished watching the movie I had the desire to see a few other Shelley Long classic's.. "Hello Again", "Troop Beverly Hills", & "The Money Pit" all came to mind. Who would have thought I'd be having a Shelley Long-athon this week? The film also stars Sharon Stone in her film debut.4 stars.

Good!
I saw this movie on cable when my parents still had HBO and though I thought it was a cute movie to watch once I'm glad I didn't go to see it when it was in the movie theaters and pay movie theater prices for it but it was enjoyable for a one time viewing and it had a great cast including Drew Barrymore when she was still a child actor and Ryan O'Neil and Shelley Long who I have always thought were both very underrated actors. The movie was for the most part enjoyable but was kind of dull in spots.

Sign of the times
Looking back on the era, this movie found a niche among those of us whose parents divorced in the late 70's and early 1980's. While the situation of the two parents(Long & O'Neal) and their subsequent divorce was definitely "Hollywood" the underlying root causes for the break-up were what many of us children in the 80's were facing as are children still to this day.

As divorce has sadly become more "mainstream" I think this movie still touches on the fact that many parents are continuously wrapped up in their own feelings and needs than those of their children. Perhaps watching "Irreconcilable Differences" should be part of a prerequisite for couples considering having or adopting children.

should be a must-see for all divorcing couples
"Irreconcilable Differences" is a small, simple film with a message. Don't pull your children into your troubles! Drew Barrymore plays Casey, a precocious nine year old who decides to divorce her self-absorbed parents after years of being used as a pawn in their bitter feuding. Casey sits on the sidelines watching her parents' love and lives deteriorate and the story is told through flashbacks during testimony in court. There are some funny moments in the film (such as a cocky young starlet's talentless singing about the Civil War), but the whole general effect is very sobering. One particularly poignant note is the parallels that can be made between the film and Drew Barrymore's own childhood. The scene where she sneakily downs a glass of champagne while sitting ignored at her father's New Year's Eve party takes on particular meaning when viewed against her own much publicized battles with youthful addiction. In the end, the film should be made required viewing at divorce cases where children are involved.

Boring!
I have always been a fan of Drew Barrymore and I have liked all of her movies that I have seen but I didn't like Irreconcilable Differences, the movie definitely had potential but I found it instead to be boring and it wasted the talents of Drew Barrymore, Shelley Long, Ryan O'Neal and Sharon Stone, and the sight of Sharon Stone's character with her hairy armpits is enough to make you want to hurl! This is definitely a movie I don't want to see again or have in my video or DVD collection! ... Read more

Amazon.com

A sweet and subtle gem of a movie. Newly orphaned Addie (Tatum O'Neal) falls into the care of small-time con artist Moses Pray (Ryan O'Neal, Tatum's real-life father) and turns out to be better at grifting than he is. Set in Depression-era Kansas, Paper Moon is a miracle of unity. The set design and cinematography combine to give both the flavor of documentary photos and the visual quality of movies from the period, and every performance meshes with the overall tone of sincerity, earnest optimism, and creeping desperation. The rapport between Addie and Moses is phenomenal--and being father and daughter doesn't make that a sure thing. Ryan O'Neal gives a truly great performance (perhaps the only one of his career) and Tatum won an Oscar for Best Supporting Actress (she's the youngest winner in history). Madeline Kahn was also nominated for her wonderfully funny and sad turn as an exotic dancer named Trixie Delight. Paper Moon has a miraculous combination of outrageous sentimentality and pragmatic cynicism; the result is genuinely touching. One of director Peter Bogdanovich's best films, and kind of a comic companion piece to The Last Picture Show. --Bret Fetzer ... Read more

Reviews (40)

It's Only A Paper Moon Sailing Over A Cardboard Sea...
Adapted from the matchless novel "Addie Pray" by Joe David Brown, Paper Moon is set in the Midwest/dustbowl during the Great Depression/Roosevelt era. One-of-a-kind directing by Peter Bogdanovich, beautiful black & white cinematography, a great musical score with snippets of old time radio shows like Fibber McGee & Molly, Jack Benny and a host of others.

Real-life father & daughter duo, Ryan & Tatum O'Neil team up in this gem of a movie.

Ryan plays Moses Pray. A slick, sliver-tongued, gold toothed, travelling huckster & who always has a new con to turn up his sleeve such as door to door Bible selling to recently widowed women, bootlegging, short changing, and a "car swappin' wrasslin' match" between Moses and a very young Randy Quaid. Tatum plays Addie and garnered the coveted Oscar for her performance at the tender age of 10. Addie decides to get in on many of the cons and becomes quite a prolific short change artist. Addie decides on her own to take Moses' last name and travel with him under the guise as his daughter. In one of the best scenes in the movie they deal with whether or not Addie is Moses' illegitimate daughter. That scene is set in a diner while drinking NeHi's and eating Coney Islands. Addie is sure that Moses is, indeed, her father as she states, "We got the SAME jaw!" Moses responds and says, "I know a lady who has the jaw of a bullfrog but that doesn't mean that she's the damn things mother!" Addie asks Moses, "You meet my mamma in a barroom?" (implying that her mamma was a prostitute). Moses comes right back asking Addie, "You think that just because a man meets a woman in a barroom means that they get a baby?" Ryan and Tatum's bantering repartee is natural, hilarious and touching all at the same time.

The Prays fall "prey" to a con played on them (well, Moses anyway) as the film progesses, by a hootchie-cootchie sideshow carnival dancer/prostitute named Miss Trixie Delight, adeptly played by Madelyn Kahn who was also nominated for an Oscar. The sneaky and a little jealous Addie deals with Miss Trixie in her own time and also helps out Miss Trixie's maid, Imogene and gives her money to return back to her family.

This is a great family movie with a touching father/daughter story to share. No nudity, few "cuss" words, and an all-around crowd pleaser whether you are 6 or 106. I don't mind telling you that this is my favorite movie of all time and I have viewed it upwards of 100 times. I still laugh, cry, and go through a multitude of emotions no matter how many times a watch the film. Certainly, a hallmark of a great cinematic masterpiece! Happy Watching!

A perfect movie?
It is hard to find any fault in this movie. Filmed in black-and-white, is uses great depth of field so everything, including the Kansas landscape and people in the deep background, is in focus. Many scenes are in one shot, and go for minutes without a cut.

Tatum O'Neal earned her best supporting actress Oscar as a "mature" youngster who ends up on an adventurous road trip to a relative's house, driven by a cheap con-man played by Tatum's father, Ryan O'Neal.

A few other notable actors make an appearance - namely Randy Quaid (briefly) and John Hillerman (several key scenes). Madeline Kahn was nominated for best supporting actress as well.

The DVD has a great picture quality, some nice behind-the-scenes stuff, and a commentary by director Peter Bogdanovich.

It's rated PG for some (funny) language.

It's not my favorite all-time movie, but could be in my top-10.

An easy 5 stars.

Quiet, subtle, excellent and funny
What a great and fun movie! Tatum O'Neal steals the show here; she definitely deserved the Oscar for her great portrayal of the way-too street smart for her age orphan (maybe) Addie Pray (Loggins). Adults and kids can enjoy this together without much fear of the admittedly seedy subject matter -- con artistry, prostitution, racial exploitation, the corruption of youth, etc. You can't help but root for Addie all the while knowing that Moses will never be a good father, role model or successful "businessman."

The black and white cinematography recalls classic Margaret Bourke-White Depression-era photos as well as "The Grapes of Wrath," but without the need for Prozac or counseling. The soundtrack is comprised of Thirties pop radio standards that fit perfectly without calling too much attention to themselves.

Madeline Kahn is a scream as Miss Trixie Delight, John Hillerman excels in two roles: a sheriff and his brother, a local bootleggar, and P.J. Johnson is great as Trixie's maid, Imogene.

I loved it when I first saw it as a 12-year-old. I still love it now. So will you.

How could anyone not love this movie?
Paper Moon is without a doubt Ryan O'Neal's best performance. His daughter Tatum absolutely STEALS the show. The Academy Award says it all. Back then the Oscar meant something, now the whole thing's become a joke. But Paper Moon will always be one of my favorites. You really get the feel of the Depression era Midwest. All the sets, costumes, and music authenticate this. I've never gotten that "Grapes of Wrath" feel from any other movie that's been produced since the forties, and that's not just because it's shot in B&W. This movie also will keep you in stitches as Moses (O'Neal) slowly discovers how clever a little con artist Addie (Tatum) really is. Her wit and sarcasm would make this movie equally entertaining if you turned off the picture and merely LISTENED to it. It's that good. I also adore Madeline Khan and Trixie Delight IS a delight. This movie is in my top twenty and I recommend it as a "must own."

tatum oneal as addie
ive read a few people comment on how tatum isnt a great actress but you have to keep in mind that tatum oneal was very young in this movie.
in all this movies been one of my top 3 movies since i was a small child. if your a big fan of Paper Moon id suggest seeing matchstick men. it just came out.. ... Read more

Reviews (11)

An American Classic
This film makes GONE IN 60 SECONDS seem like a movie for 8 year olds. Although sold as a "car chase movie" there is a lot more to this film than that especially its tight plot, taut direction, mis en scene, and fun. It's a thriller whose cross and double cross shenanigans are a pure delight and recall the best of the likes of Howard Hawks in the film noir forties. It rivals Jean-Pierre Melville and if Walter Hill's name was Jean-Pierre Hill from Paris it would be thought of as a classic. Hill's crime is that he's American. Culturally snobbery at work again I believe. Forget the cars for a minute, dear viewer, and let's consider the four main actors and what they do. Ryan O'Neal plays incommunicative, lonely, cold, precise, and good to look at perfectly. Isabelle Adjani plays incommunicative, lonely, cold, precise and good to look at perfectly. Which leaves the screen to one of cinema's greatest actors - Bruce Dern - to really go for it. And go for it he does. He is at his brilliant, scene-stealing, word chewing best, and is frankly rivetting and incredible fun to watch. With O'Neal and Adjani walking through po-faced throughout, Dern has a field day and is very ably helped by his cop buddy Ronee Blakly. To top the movie off, there are some of the best car chase sequences on film, as good as BULLITT. This in my view is WALTER HILL's masterpiece (he also wrote the screenplay for SAM PECKINPAH's GETAWAY in 1972). It is absolutely horrifying to me to see that Video Hound's Golden Movie Retriever 2000 give this film one and half bones which makes me nervous about many of their other reviews. I've seen this film about 15 times. It holds up. Don't deny it to yourself if you love cinema.

Gives new meaning to the term "slam bang"
Walter Hill is the doyen of American action films, hands down. 1978's The Driver is one of his best; the focus here is on momentum, pure and simple. There are great car chases and the slam-bang stuff is there in buckets--especially a great scene inside a parking garage in which the title character played by Ryan O'Neal demolishes a vermilion Mercedes Benz by screeching around corners all over the place, showing just how good a driver he is to skeptical crooks who need him as their getaway man.

A laconic flick to be sure, The Driver gives nobody names. Bruce Dern is the snartass cop who's after the driver and even recruits bank robbers to nab him. Natch, that doesn't work. You could even say this is the quintessential Hill flick (although I am very partial to Trespass), since dialogue is overshadowed by car chases and all the other stuff manipulative people (cops and criminals both) do to make their place in the world. What dialogue there is wastes no words, just like the plot wastes no time on what could be a possible romance (O'Neal and French lovely Isabelle Adjani), instead having the two of them partner up for a lot of dough--knowing glances, yeah, but no gooey stuff.

Ronee Blakley is also here in a smaller role as another great looking go-between for the driver, but she's not on screen a lot, and there's never even the faintest hint of any hanky-panky between them.

This is not only one of the best Hill flicks, but without question one of the best American action films ever made. The recent drivel, I mean, Driven, with Stallone deserves to crash and burn, while The Driver--tight as a drum and slick as greased lightning--is a red hot roadster of a film.

See it when you need a serious revving up.

Drive, he said
It's too bad director Walter Hill will likely be remembered more for providing Eddie Murphy with his first big screen showcase (in "48 Hours") than for his overall contribution to the American action film genre. Hill's tough-as-nails 1978 noir "The Driver" is arguably both his least-known and best work. Ryan O'Neal is quite effective as a dour, sociopathic "wheelman" who hires himself out as a getaway driver for assorted criminal enterprises. Bruce Dern is at his sleazy best as the cynical but driven cop on his trail. O'Neal and Dern play this classic cat-and-mouse noir scneario to the hilt (similar to Pacino and DeNiro's relationsip in 1995's "Heat"). Isabelle Adjani's icy beauty well suits her role as O'Neal's fatalistic girlfriend. It's ironic that Ryan O'Neal's best films seem to be the ones where he doesn't have to recite much dialogue ("Barry Lyndon"). Supposedly the word count for O'Neal's lines in "The Driver" totals a scant 350 (!) according to a "factoid" that prefaced a recent cable airing. Well worth seeking out.

Post-Noir Pseudo-Existentialism With Great Car Chases
It gets three stars for (mostly) the car chases and the quality of menace that O'Neal manages to put into the two unaccented words "Go Home".

You know you're in for someone's ego-trip attempt at The Great American Existentialist Film when the characters have no names, just labels -- "The Driver", "The Player", "The Cop", etc.

It becomes more obvious when every other bit of dialog is a dry, "clever" bit of cynicism.

And it's right there in your face when the major plot revelation in the film is that people don't always do what they "always do".

It's far from awful -- Hill is a decent if overrated writer/director. I mean, he's working the same vein as Leone, Peckinpah and Siegel, just not in as rich a part of the ore.

Well worth seeing for the transitory fun of the story and the incredible driving sequences -- comparable to the original "Gone in 60 Seconds" or "Vanishing Point" and superior to, say "Bullitt". But most people i've known who have kept the tape, kept it they can watch that Mercedes in the garage, the chase inside the warehouse or the other driving sequences, not to revel in the story.

Somber and Engrossing, Classic Noir with a 70s Groove!
This is a true piece of american noir. It seems like a diverting little car chase movie the first time you see it, but O'Neil's stoic, nihilistic getaway driver has a way of bringing you back for more viewings. It's interesting that Ian Muldoon mentions the similarity to a Jean-Pierre Melville film in his review, because I think this movie owes a lot to Melville's LE SAMOURAI (on which John Woo's THE KILLER was also based). Just like Melville's hit man Jeff kills without conscience or reflection, yet still abides by an unbending code of honor, O'Neil's Driver is, ironically, more moral in his way than the obsessed, power-mad cop (Bruce Dern) who pursues him.

Walter Hill no frills, straight-to-the-gut style really works here. The costumes, sets, and cinematography are dark, understated, and really engrossing, especially on repeated viewings. I believe that this is a movie that grad-school film students will be watching 100 years from now. ... Read more

Reviews (2)

One of the best westerns ever
MY RATING- 7.6

I've just watched this one last night, and it's quite an impresssive western from Blake Edwards, the king of Pink Phanter.
Spite the vulgar screenplay, the characters view is fascinating, specially William Holden, without his usual and cynical presence. We really care for that middle aged cowboy and his tender friendship with the young man Ryan O'Neal. Together, they pass throw challenges after robbing a bank, including a scene with a dog, and most important the slowmotion use in the horse scene.
The curious thing is that we see two different points of view: from the main characters and from the law men chasing them leaded by Karl Malden. In fact, Malden with his wife seems to be a person a bit far away from the story of the mov.
The mov also stars younger Tom Skeritt and Joe Don Baker, Moses Gunn and a yelling Rachel Roberts.
Pretty good western, and I'm not a western fan.

A Real Western
Much like "Unforgiven" , this western falls more in the reality of the wild west than the "typical western". The characters; such as Karl Malden as the hard rancher patriarch, William Holden's happy go lucky cowboy, Tom Skerrit and Joe Don Baker as the two sons who live in their father's (Maldin) shadow are real character's that develop and grow. This movie stays away from thin stale western stereotypes. Very humorous bantering between Holden and O'neal adds a nice touch to the movie, but the humor is never used to soften the violence or emotional impact of the movie. There are no "good guys" and "bad guys" either. Much like the real world everyone in this picture has an angle on the truth and whats right. The director leaves it to the viewer to decide whats right instead of spoon feeding it to you with "black-hat/white-hat" simplicity. Wonderful movie particularly for the western fan. ... Read more

Description

A college professor is abruptly abducted by a loan shark and ordered to take over his father's failing dress business. After a zany accident, he perfects a new peekaboo design for denim blue jeans. ... Read more

Reviews (6)

So funny
Peekaboo jeans and Richard Kiel...what's not to love? I rented this movie a long time ago, and I've never forgotten it. I wonder how this brilliant marketing strategy would work in real life? I guess (?) we'll never know...

"You must be taking gorgeous pills."
In the comedy, "So Fine" mild mannered English professor, Bobby Fine (Ryan O'Neal) is busy groveling trying to get tenure. Meanwhile, his clothing-manufacturing father, Jack Fine, (Jack Warden) is going bankrupt. Jack Fine's business hits rock bottom, and he's resorted to sleeping with buyers and stalking women while hawking his wares in clothing shops. Jack Fine borrows from loan shark, the gigantic Eddie (played by Richard Kiel who also played Jaws in "The Spy Who Loved Me"). Eddie insists that Bobby gets involved with the business, and Bobby leaves the halls of academe somewhat reluctantly at Eddie's insistence.

Bobby accidentally creates an outrageous new article of clothing which takes the fashion world by storm, and the orders are suddenly rolling in. With his father's company back on track, Bobby is free to return to the lecture hall. Unfortunately, a mad affair with Eddie's luscious Italian opera singing wife, Lira complicates matters.

This is a very, very funny film. Too bad it's out-of-print. This is the best role I have ever seen Ryan O'Neal play. I'm not a fan of his, but he really pulled off the low-key role of Professor Fine perfectly. Bobby Fine is out of his depth for the entire length of the film. His rivals in the department are sneakier than him, and he's hopeless at clothing design, but he's lucky, and that's where the humour lies. The film makes lots of sly statements about the fashion industry (note the modified 'thong' idea), the insanity of pack mentality, and also brilliantly portrays the nastiness of university departmental politics. Another reason this film works so well is the character of Eddie--he's such an animal, and the script really cashes in on every possible aspect of Eddie's unpleasant behaviour. The opera scene was a very clever idea, but it just went on for a bit too long. All in all, this is a laugh-out-loud film, and well worth watching if you come across a copy--displacedhuman

Formularized and Uneven...yet hilarious!
English professor O'Neal teams with his dad (Warden), a clothing designer, to save his failing business and unintentionally comes up with the latest fad: see-through jeans! If that's not enough for you, there's also a love interest between O'Neal and the wife of big Eddie (Kiel, the giant who played Jaws in several James Bond films)! Though the story is uneven and derivative, it still manages to be a hilarious, slick, superbly cast comedy. O'Neal is charming as usual, Kiel is ferociously funny, and Warden is a total knockout. Not for those seeking originality or real depth. Yet despite that, you'll have a great time. Guaranteed.

One of the funniest movies of all time
This is a true gem. Written and directed by the fabulously talented Andrew Bergman (writer-director of Fletch, The Freshman, Honeymoon in Vegas, writer of The In-Laws, co-writer of Blazing Saddles), it is wild, literate and hilarious. Wonderfully written, cast and staged, it contains side-splittingly insightful send-ups of provincial state college English departments (first-rate performance by Fred Gwynne as the pompous and pedantic head of the department, Chairman Lincoln), the garment business (one of Jack Warden's best performances as Jack Fine, the owner of a perennially struggling dress business, Fine Fashions), gangsters (Richard Kiel is hilarious as the monosyllabic Mr. Eddie), romantic entanglements (Ryan O'Neal as Bobby Fine, witless associate English professor at Chippenango State College (and son of Jack Fine) and the wonderful Mariangela Melato (Swept Away, Love and Anarchy) as Lira, Mr. Eddie's wife) and grand opera (an incredible climactic scene takes place during a performance of Verdi's Otello). Full of passionate humor, Bergman is audaciously funny; he has the nerve to have Warden, upset with his son Ryan O'Neal over his having become romantically involved with gangster Richard Kiel's wife, tell O'Neal, "You gotta leave the country! Israel! You can go to Israel! You got a cousin there." With a marvelous score by Ennio Morricone. I can't wait for a DVD of this masterpiece.

You have to see this movie
This is a hilarious movie. I don't know shy funny movies like this and "Used Cars" stay hidden. The plot culminates in a hilarous Opera scene, you just have to see it. Highly recommended. ... Read more

Description

The story of a wealthy woman who teams up for revenge with the hitman her husband has hired to kill her. ... Read more

Reviews (12)

"FAITHLESS"
THIS IS THE ONLY CHER MOVIE THAT I ONLY SAW ONCE. CERTAINLY,NOT HER BEST. SHE LOOKED LIKE SHE WAS SLEEPWALKING THROUGH THE ROLE & THE MATERIAL WAS LACKLUSTER. I REALLY DIDN'T WANT TO SEE HER SITTING IN A CHAIR THROUGH THE WHOLE MOVIE. SHE NEEDS A WIDE ARENA TO SHINE & THIS MOVIE DIDN'T PROVIDE IT.

FAITHLESS? NO! FAITHFULLY ENJOYABLE
I would love to rate this 5 stars but I'm an equal opportunity Cher fan. To begin with as other reviewers have remarked, this film - originally produced off Broadway by Palmienteri (who at the time was hot from "The Usual Suspects") does not translate as well to the screen. The wordy script, however, gives Cher some great lines and she really carries the film. It is a very interestingly written screenplay (it varies drastically from the original show) and once again there were rumours of trouble on the set between Cher and Mazursky, the director. The ending and last shot is so obviously stapled on - something Cher was so angry about you can actually see her seething in the scene while she is in the car. And she has good reason - the film reaches a crescendo and then BOOM just falls flat. Cher's performance is wonderful and emotive; unfortunately her recently "touched up lips" shall I say - are hard to ignore in many scenes. (I don't know what she did, however I rode up in an elevator with her back in February and she looked amazing). Ryan O'Neal, as well, is bloated - so there is a desperation of the aging Hollywood actor feel about the film. However, in an odd sense that all actually works very well with the theme of "out with the old" that is O'Neal's character's motivation and Cher's character's desperation as well. A very enjoyable and underrated film.

it can keep you laughing,it's enjoyable movie
from the beggining this movie has a great soundtrack and a beautiful suburb.as for chazz palminteri who played a hired mafia,is such a brilliant actor together with cher.the two actors makes this movie looks like a comedy at times and it can keep you laughing always.this is an enjoyable movie and a must see for all.

A Broken Heart Treat!
Unlike the other reviewers, this under rated and overlooked film put Cher in fine form. She adequately went through the paces of a depressed and suicidal wife to an assertive and in-control woman by the films end.

Anyone who has ever been in a long term relationship will find that their thoughts have been placed in full view on the screen.This was superbly written and acted by Chaz Palmitari who enhanced Cher's performance.

It seemed odd to cast Ryan O'Neal as the slimy husband, but he did manage to pull it off with the accurate yuppie whining headset that the role demanded.

If your heart has been broken or is currently in the throes of a disintegrating relationship, this film is a MUST see! Many introspective ideas will come to the forefront that you may not have considered before.

Rent it if you must, but it is certainly one of those films worthy of a purchase as well as repeat viewings.

Ever had a ceaser salad with ranch dressing?...
...it doesn't quite work, but it's okay right? All the tools are presented to put together a pretty good movie. Paper flat direction by Paul Mazursky is the real let down with this play turned film. No sweat!! Cher and Chazz Palminteri hold things together. Palminteri's script makes many good points, but some how shoots for a degree of shock value that makes for some dialogue that can be a little more hardcore than one might of expected. Thats cool though I haven't heard Cher talk like that since "The Witches of Eastwick" (1987). Some traditional married folk may find themselves offended. This movie was often halarious and insane in it's honesty. Bottomline..for those that love Cher and expect the magic of "Moonstruck", "Mermaids", "Mask", or "Tea with Mussolini". You won't find it with "Faithful". ... Read more

Reviews (1)

so bad it's good
This is one of the worst movies to come out of the 1980s. But it's so bad that for pure laughs, it's great! Terrible dialogue, inappropriate music, and bad story line all contribute to make this a clunker.
So spring for the 50 cents if you see it at a yard sale, it's an experience! ... Read more

Amazon.com

Cybill Shepherd plays a pregnant woman whose husband is killed before their baby is born; once he gets to heaven, he begs for a chance to come back to her and his unborn child. The twist is that he returns in the form of Robert Downey Jr., boyfriend to Cybill's daughter (Mary Stuart Masterson). When the daughter brings him home from college, he gets his memory back--and starts coming on to her mom. Sounds like a Jerry Springer show--"Help! My dad has been reincarnated as my boyfriend!"--but this Emile Ardolino film actually has a passable amount of charm and wit, once it gets into gear. It gives you a sense of just how funny and charming Downey can be, given the right material. --Marshall Fine ... Read more

Reviews (16)

Favorite Movie Ever
I love this movie, it is the best movie ever. I like it so much I have become obssesed with it. I'm dying ot buy it but I don't find it anywhere because it's too old. Robert Downey Jr looks so cute in that movie I could just eat him up. I desperately need this movie in my stock. I'm totally in love with it. I've been asking my sister to get for me and she can't find it anywhere! That is so rude! I think they should sell more of the movie in shopping stores, I least they would make a lot of monw\ey with me trying to buy that movie! Well, Bye!

"Chances Are" You'll love this movie
I love this movie, I would definately reccomend this movie to any Robert Downey Jr. Fan. Robert Downey Jr.'s character is overtaken by the spirit of Sybil Shepards husban that died before their daughter was born. Robert Downey Jr. is involved with the daughter and is visiting her home when he is visited by her fathers spirit which does not leave until the end of the movie. This is a great, cute movie.

Almost Perfect
I love Robert Downey Jr. and there is no doubt that he brings such a strong presence to any movie. In Chances Are he played his character well, and the rest of the cast were pretty good too. But I was still disapointed in the end results. When you first sit down to watch it you easily adapt to the characters, and you can't wait to find out what Robert's character Louie will discover next. He dies, comes back as a new soul, but accidently is left with his former life's memories. The story is great until the end! It kind of ruined it for me. But Robert is halarious, and his chemistry with Sybill Shepherd is perfect. Go rent it and find out for yourself. Either way it goes, it's an unique story and a ton of laughs, so it's still worth the watch!

Most disturbing movie I have ever seen
This is the most disturbing movie I have ever seen.
It is even more disturbing that it is meant/produced as a very light comedy.
It is the story to be disturbing. A man dies. In heaven there is a memory-wash and souls are routinely reincarnated memory-less.
A husband is reincarnated in a baby. When he grows up to be a boy of about 20, he goes and look for his wife. Finally, after tons of difficulties, he manages to convince his wife-widow that it is truly him, the deceased husband. At that point, in heaven they figure out that they made a mistake and forgot to memory-wash him; so they just give him a last minute memory-wash. Result: he marries his own daughter. The wife says "oh well, I'll just marry someone else" and everybody lives happily ever after.
I find this very, very offensive. Basically, in this movie there is
1. Incest. Even if the guy has been memory-washed by the time he marries his own daughter (so he does not know that he is her father); still he remembered to be her father up to 5 minutes before. It still disturbs me. People trained in Philosophy, will recognize the question "but is he really her father, now that he has lost his memory?". The movie has NONE of this subtlety, it just assumes it is not anymore and does on
2. Life is treated as worthless. In heaven, they do whatever they want. If they have to rectify a mistake 20 years later, they just squash all the emotions and life-story that happened in those 20 years. All emotions, aspirations, joy and sorrow of the husband for his wife are deleted without afterthought - just an annoyance that mistakes happen.
3. The wife-widow is the most appalling character. She is finally convinced that the boy is indeed her deceased husband in reincarnated form. Nonetheless, when his memory is "miraculously" washed (and he forgets to be his husband from the previous life), she gets over it extremely quickly, and does not ask herself too many questions at all. She marries in all speed a friend of her husband she had an eye on for long, and has no qualms about the fact that the boy now marries her daughter.
Now, most of the movie is spent in scenes with the husband trying to convince the wife it is really him. If I were the wife, and I were convinced (after so much effort) he is truly my husband, and then "miraculously" he does not recall that at all anymore, (and even assuming that I could get over it pretty quickly - which I would not) I would still have HUGE qualms with him marrying my daughter.

All this is meant and is treated as the lightest of Hollywood comedies.

It definitely qualifies as the most disturbing movie I have ever seen.

briefest of thrills
this is a trifle,with nary a redeeming thing to offer. Ryan
O'Neal,Robert Downey, and Cybil try to save this thinly
plotted farce, but alas, not to be done. This dog waffles
on forever,but pays back little except Cybil in a slip,
which come to think of it,is probably worthwhile for those
of you with freezeframe. Elsewise, be forwarned:this dog
won't hunt. The premise of Chances Are, couldn't be sold
to the point of suspenion of disbelief for even a glimmer.
An acting exercise, no more.All of the principals have
done far better. ... Read more

Amazon.com

Comedic misfire from the mid-1970s in a futile attempt to bottle the same lightning that struck when Barbra Streisand teamed with Ryan O'Neal in What's Up, Doc? Here, Streisand plays a spoiled rich girl, the head of a bankrupt cosmetics company, who discovers she's lost everything--except her ownership of the contract of a washed-up boxer (O'Neal, known for his combative nature offscreen). So she tries to rally this dispirited pug into a comeback that will earn the kinds of purses that will put her back on her feet. Naturally, in the process romantic sparks are kindled. But despite a loud and energetic performance by Streisand, this Howard Zieff comedy doesn't add up to much.--Marshall Fine ... Read more

Reviews (11)

"I've got the same two words for you!"
I would actually give this film three-and-a-half stars. This film was a major hit upon release in the summer of '79, but it has since been written off by many as one of Streisand's weakest film efforts. As for myself, I could go about reviewing the film in two ways. I could say that the THE MAIN EVENT is a perfect example of a worn out premise given the by-the-book treatment, with no attempt to disguise how derivative and predictable the whole thing is. However, I could also say that THE MAIN EVENT manages to be likable, funny, and entertaining.

Both of these statements have a lot of merit, but I think I'm going to go with my second opinion. Even though we've seen the same story a thousand times before, THE MAIN EVENT is quite enjoyable while it's playing. The scenes are set up well, the one-liners are mostly funny ("I said celebrate, not fornicate!"), and Streisand and O'Neal give off a strong sexual charge between them onscreen. It may not be meaningful, or even original, but THE MAIN EVENT is a pretty good timewaster.

About the DVD: The picture quality is great, and the mono sound is fine as well. It's great to have the original trailer and the 19-minute television special, titled GETTING IN SHAPE FOR THE MAIN EVENT, preserved on disc, although Streisand's brief audio commentary is slightly disappointing.

"I've got the same two words for you!"
I would give this film three-and-a-half stars. This film was a major h