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| 1. My Summer Story Director: Bob Clark (III) | |
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| 2. The Jerk Director: Carl Reiner | |
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Amazon.com essential video Reviews (90)
Steve plaves Navin, a white boy adopted by a large loving African-American family, who honestly believed he would turn black on his 18th birthday (which is when his family reveals to him that he is adopted, although they had hoped he would figure it out beforehand.) Determined to make his way out in the world, Navin takes on a series of unrelated jobs that turn out poorly --- gas station attendant (in which he demolishes a church), carnival employee (where he has his first carnal knowledge and his first romantic love -- with two very different women), and later becomes a billionaire through some very odd means. But at heart, he's just a simple country boy who wants to fit in back where he came from. He's not a bum, he's a jerk! All he has are his friends and a thermos. ... Read more | |
| 3. Dark Justice Director: Ramy Zada, James Cappe, David Calloway, Jeff Freilich, Tom DeSimone, Ken Wiederhorn | |
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Description Reviews (5)
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| 4. The Mosquito Coast Director: Peter Weir | |
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Description Reviews (40)
To wit- much of the dialogue used in the film has been lifted directly from the book. The storyline follows the novel with nearly exact precision. Sure, some of the detail gets left out, but it's impossible to make a feature-length film from a full-length novel without losing some of the subleties. If they're that important to you, skip the movie and stick to the book. Secondly, Harrison Ford's preformance as the self-destructive genius Allie Fox is beyond question. Author Paul Theroux was among Ford's biggest fans, once quoted as saying "He IS Allie Fox." Ford took the role after Jack Nicholson turned it down, and this is likely for the best - his performance, superlatives aside, is in fact Oscar-worthy. The rest of the cast offers standout performances - especially noteworthy are Helen Mirren and the late River Phoenix, as Mother and Charlie respectively. Perhaps this film's biggest detriment is the story itself - the psychologically dark plot can be as off-putting as it is fascinating. This film should be viewed for what it is - an excellent film version of the book and a fascinating, dark tale of self-destruction. Fans of Harrison Ford's lighter action films might not enjoy the movie because of the dark plot. This movie, however, was never intended to please all of the people all of the time; keeping that in mind, this is an excellent film.
Ford as Allie Fox is an inventor, a genius, a man too smart for the world around him. He is a mechanical engineer who takes his family to Central America in search of Utopia, as he defines it. Of course, his family does not want to leave behind civilization and all of the comforts that home brings, but no one can resist his will. Perhaps that and his abrasive irritating manner are aspects of his insanity. He does not expect to find another zealot, particularly in the form of Reverend Spellgood (Andre Gregory) who has determined to bring Christianity to the natives. Fox's goal is to bring his definition of civilization. The conflict and comparison between two very strong characters is part of what makes Paul Theroux's story work River Phoenix as Charlie, the son who comes of age, and through whose eyes we see this story, is brilliant. Helen Mirrin, recently of 'Calendar Girls,' is stunning; her portrayal of a woman in love with her family, wanting to support her husband, yet protect her family is touching. John Seale's, directory of photography, work is outstanding, and reminds me of other fascinating movies brought to life by the careful use of lights, shadows, and lush, verdant scenery. Ford's portrayal of the disintegration of a brilliant man, inventor, know-it-all, family despot is compelling, but gets lost in the slow, tedious complexities of a long journey - both mentally and the one his family travels. Yet, it has been almost twenty years since I saw the theatrical release, and I remember this film. I still think about it, wonder about motives and actions - and that is what makes this an excellent film, in my opinion. This is one of the most difficult films to rate because it was overly long and somewhat wearisome, but it is also powerful. However, when actors, a story, and cinematography linger in my imagination and analysis processes since 1986, I must give it five stars. I know that some people will be bored because it is slow, but I will watch it many times to enjoy the nuances. Victoria Tarrani ... Read more | |
| 5. She's Out of Control Director: Stan Dragoti | |
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Reviews (10)
When Katie blooms into this glamorous, teen vixen overnight (with the help of her dad's girlfriend) her overprotective father is baffled and disapproving. When she first came walking down the staircase, backlit in that white eyelet dress and Frankie Avalon comes on in the background... I wanted to be that girl! Any twelve year old can appreciate this movie ;) So... if you like lighthearted movies, this is a fun coming of age story that's worth a viewing. ... Read more | |
| 6. Prizzi's Honor Director: John Huston | |
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Amazon.com essential video Reviews (23)
One is Charley Partanna (Jack Nicholson), a contract laborer for the Prizzi family headed by Don Corrado on the East Coast; the other is Irene Walker (Kathleen Turner), based on the West Coast, who accepts an assignment to kill Partanna before meeting and then falling in love with him. The romance flourishes for a time. Previously, Partanna had ended his relationship with Maerose Prizzi (Angelica Huston), the Don's beloved but volatile granddaughter. Later, Huston received an Academy Award for best performance by an actress in a supporting role. She deserved it. Although apparently quite talented in his line of work, Charley often seems somewhat dimwitted, at least when contrasted with Irene who seems highly intelligent as well as physically attractive. Watching Nicholson play a smitten, almost schoolboyish Charlie is indeed a treat. Director John Huston does a brilliant job of juxtaposing romantic comedy with mob-directed violence. Amidst all the laughter, people really do get killed. William Hickey certainly deserved his nomination for an Academy Award for best actor in a supporting role, won in 1985 by Don Ameche for his work in Cocoon. He and other members of the cast were blessed with having an immensely clever script by Richard Condon, based on his novel. Listen carefully to Hickey's reading of his lines while also paying close attention to his masterful use of body language. Don Corrado Prizzi is indeed a lovable but deadly senior citizen. Yes, this film is highly entertaining. Witty, at times zany. However, as directed by John Huston, it also has layers of subtle menace as it examines darker regions of human nature.
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| 7. Ellen Foster Director: John Erman | |
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Reviews (15)
It opens up where she claims she lays in bed and thinks up ways to kill her daddy. He is such a mean person, especially when he's drunk. Ellen's mother is very sick, but he insists she have a clean house and supper cooked by the time he gets home from work. Ellen does the best she can to help her mother, whom she loves dearly, so her dad won't be so mad. But it doesn't matter, the poor woman works so hard that she dies and leaves Ellen alone with nowhere to go. Sometimes her dad goes off for days at a time and leaves the little girl by herself. Ellen's grandmother doesn't want her because the grandmother hated the daddy and thought Ellen would be like him. Same with Ellen's aunt. And Ellen's girl cousin was a jealous little girl and a mama's girl. She did everything she could to get Ellen in trouble until Ellen finally ran away to find her own family. This movie ended good, just the way I would have ended it, with Ellen finding a home. But don't take my word for it. Get the video Ellen Foster and see for yourself what a wonderful movie it is.
Jena Malone conveyed a child's depression from her situation and rising beyond the hopelessness by doing something about it. Her subtle gestures and myriad facial expressions equals the performance of an Academy Award winner. The best part of the movie is the way her face shows sudden shifts in her emotions, the inner conflicts, the fear of rejection and a child's hope, all this in one scene near the end (a rather lame ending, too pat, but then, don't we all need endings like this after such a heart-wrenching movie?) as she talks to Mrs. Montrose. I hope she is able to get work like this in her future, work that will show her mastery of her craft and her range. So far, I've seen her in supporting roles in big budget movies, but when she gets the starring role and an equally good script, the movie world better watch out!
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| 8. Comeback Kid Director: Peter Levin | |
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Reviews (2)
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| 9. MacArthur, The Rebel General Director: Joseph Sargent | |
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I think where the movie fell short was that it seemed too jumpy. The scenes of his battles (both military and political) seemed short. There didn't seem to be closure on the battles other than jumping to the next battle to be fought. I've never seen the uncut version, so I don't know if that's addressed there. It seems like this movie would have been better served with another hour at least. I would have to say my favorite aspect of the movie was his warning as he was fired. Namely that you should never tell the military to fight a war of half measures. Also, that Congress shouldn't shirk its responsibility by not declaring war.
The contrast between the two is probably best captured in two scenes involving Major General Jonathan M. Wainwright (Sandy Kenyon), who was left behind in command of the Philippines when FDR ordered MacArthur to get to safety in Australia. Even though he promises MacArthur he "will be here or I'll be dead," Wainwright is ultimately forced to surrender and MacArthur goes off the deep end, insisting that Wainwright has gone insane and heaping invective on the man's name. Later in the film, on the day the Japanese signed the articles of surrender on the U.S.S. "Missouri," Wainwright arrives, a gaunt figure after years of captivity in a Japanese prison. MacArthur embraces Wainwright warmly, brushing away all apologies and assuring the man he can have his Corps back as soon as he says the word. MacArthur remains the same man, unconcerned by the obvious contradictions of his nature. Director Joseph Sargent frames this biopic with MacArthur's famous speech to the cadets of West Point, where he extols the virtues of "Duty," "Honor," "Country." Beyond a brief look back at his early life and military career, the story of the film begins with the general and his besieged forces in the Philippines. But throughout the film we are supposed to hear those words "Duty," "Honor," "Country" resonating. MacArthur is forced to leave the Philippines, but he vows to return, and he does. The UN forces are almost forced off the Korean peninsula, but MacArthur retakes it all before the Chinese get involved. MacArthur is able to force FDR to go with his plans, but finds Harry Truman unwilling to go along, thereby ending a distinguished military career of over half-a-century. Which sides comes out ahead? The ways Sargent tries to balance the two sides gets pretty interesting. Both Roosevelt (Dan O'Herlihy) and Truman (Ed Flanders) have their pokes at MacArthur, while it is a pair of his Japanese adversaries who speak to his military ability (scenes that are reminiscent of the Germans doing the same thing in "Patton"). The Presidents give the general credit for his military endeavors, but those accolades are buried beneath the verbal ripostes; on the political side the rebuttal comes from actual film footage of Republican Senators (e.g., Nixon of California) supporting MacArthur and blasting Truman. Even stranger, MacArthur's aides are forced to play it both ways. On the one hand they are doing everything they can for the general's public relations, but then there are also times when they basically roll their eyes at what is coming out of MacArthur's mouth. In the end, MacArthur is not only redeemed by Peck's performance, but by having the final two scenes of the film be the famous pair of speeches MacArthur delivered when he returned to the United States. The first was the "The Old Soldiers" speech given to the Joint Session of Congress and the other the speech to the cadets. When you have a character who has been saying some pretty stupid things from time to time throughout the film and then allow him to reach such flights of oratorical elegance, it is hard not to end on his side of the ledger. "MacArthur" is not enough to allow anyone to make a reasoned judgment on the man and his career, but it should be enough to inspire those who are interested to go read some books that can provide you better evidence for really making up your mind.
Gregory Peck gives a monumental portrayal of MacArthur; it is nuanced and brilliant, and from the old film clips I have seen of General MacArthur, subtly captures his posture and movement, with his many different pipes. This film is one of Peck's best, and it's sad it did not have more critical acclaim, as I feel it certainly deserved it. An excellent score by Jerry Goldsmith and cinematography by Mario Tosi complements the well-paced direction by Joseph Sargent. If it has a flaw, I feel the film makes too much of the publicity loving aspect of MacArthur's personality. Yes, he liked to use the media to his advantage, and most people who make history feel the same way no doubt...otherwise it is a fairly balanced depiction of one of the great men of the 20th century. It is interesting to speculate what would have happened had General MacArthur been able to do what he thought was right, and not the "capitulation" and "immoral compromise with evil" he felt he was forced to accept. Perhaps over time millions of lives would have been saved, but I'm sure many would argue otherwise.
In my opinion the film is flawed because it goes out of its way to portray MacArthur in an unfavorable light. It ridicules his skillful use of public relations, and presents MacArthur as a demagogue and as a somewhat shallow, manipulative, and downright political General. The troops' dislike of MacArthur is overplayed--other great generals were not always popular with their men, but the fact is that MacArthur and his strategy of bypassing Japanese strong points ("island hopping") worked, and saved countless American and Allied lives. While there is perhaps some truth to the notion that MacArthur was obsessed with his image to the American people, the fact is that the country needed heros in the dark days following Pearl Harbor, Roosevelt knew it and served up Patton and MacArthur, and MacArthur knew it too. In the early days of American involvement in the war, guts and morale were about all the country had going for it. The movie deserves praise for its portrayal of MacArthur's handling of the Korean War. I don't recall ever seeing a more insightful or accurate dramatic portrayal of what happened in this underexamined war, and the movie gives MacArthur credit for his boldness and genius, and at the same time, in a fair and evenhanded way, the film explains why President Truman saw fit to relieve MacArthur. This action was appropriate although unfortunate, and the film handles this episode fairly, in my opinion. The movie "Patton" is probably the model for how a movie should portray the life story of a great American general. compared against "Patton" this film does not measure up. Nevertheless, this film is well worth seeing and owning despite its flaws. ... Read more | |
| 10. My Summer Story Director: Bob Clark (III) | |
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| 11. Posse Director: Kirk Douglas | |
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| 12. The Taking of Pelham One Two Three Director: Joseph Sargent | |
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Amazon.com essential video Reviews (47)
The film has been released on DVD, and I am absolutely overjoyed, as it is one of my all-time favorites. Theatrically released in 1974, The Taking Of Pelham 123 is about a group of four armed men (three of them played by the great actors-the late Robert Shaw, the late Martin Balsman and Hector Elizondo) whom hijack a New York City subway train on an otherwise uneventful afternoon, and hold 18 of its passengers hostage. The ransom: One Meeeeeeeellion dollars. Ooops...that's another movie. The ransom IS indeed one million dollars (Hey, it was shot in 1974) to be paid by the City Of New York. There are two catches. Catch #1: The city has only one hour to pay up. For very minute that the city is late, the hijackers will execute one hostage. It is up to Lieutenant Zachary Garber (the late, legendary Walter Matthau) to stop, or at least outsmart them before they kill one. High drama, considering it takes the city FOREVER to do ANYTHING. I know...I live in New York. Catch #2: The hijackers are underground. IF they get their money...how do they plan on getting away? Great performances all around from a great mix of big name actors, and fine character actors. People such as Jerry Stiller, Kenneth McMillan, Dick O'Neill, Julius Harris and Tony Roberts, who plays the Deputy Mayor. But the film belongs to Walter Matthau and Robert Shaw. Matthau, in a departure from his usual comedic roles, displays a tough, yet somewhat humorous demeanor as he "matches wits" with Robert Shaw (whom one year later would play his most celebrated role as Quint in "Jaws"). Shaw's performance is properly understated...which serves his character well, as he is supposed to be cold and calculating. It's a simple story, and simple to follow...yet The Taking Of Pelham 123 is a totally engrossing thriller. And unlike "Money Train" (Woody Harrelson and Wesley Snipes), Pelham is fairly accurate with details about the subway and how it works (including the dead man's feature-absolutely accurate). Money Train had me scratching my head in amazement with all the inaccuracies presented in the technical details about a subway train and how it works. Don't even get me started with that movie-but I digress. Pelham crackles with excitement and humor. And the ending is %$*&@ great! The musical score by David Shire will only enhance the drama on the screen. The main title theme alone is an overlooked crime drama classic. Urgent, yet kind of funky. Yes, this film is outdated...but don't let that stop you. This would definetly be one of my "desert island" movies. In a review here on Amazon.com, I read where someone said that this film "plays like an old friend". I concur wholeheartedly. By the way. There was an updated TV version of this movie starring Edward James Olmos and Lorraine Bracco. STAY AWAY FROM AT ALL COSTS!!!
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| 13. House Calls Director: Howard Zieff | |
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| 14. Secret Life of Kathy Mccormick Director: Robert Michael Lewis | |
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| 15. The Buddy Holly Story Director: Steve Rash | |
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Amazon.com The burly, lantern-jawed Busey steps into the lankier, narrow-faced Holly's blue suede shoes and dances off with the movie. At a time when live rock albums thought little of overdubbing mistakes in the studio, director Rash honored Busey's nervy gamble in performing these songs live, singing in his own raw voice and rumbling through his own approximations of Holly's guitar work. What's lost in precise verisimilitude is more than compensated by Busey's conviction and a palpable, almost ecstatic terror as he charges through Holly's wonderful songs before indifferent roller-rink audiences. Other films have nailed the period more accurately through art direction or script, but Busey's authentic energy gives this movie an emotional veracity that's just right for this chapter in rock history. Still, for musical purposes, go straight to the source, Holly's wonderful recordings.--Sam Sutherland Reviews (27)
Instead Gary Busey has strapped on a Fender and in effect becomes Buddy Holly. The rhythm and beat, the frantic excitement, the sheer enjoyment of the music, it is all there. We actually get to experience a timeslice of a period some of us recall fondly and others would like to share. A wonderful reminder of good music for us oldies or a enjoyable introduction to a legend for others, a Rock'n'Roll legend quoted by The Beatles and a number of other major musical identities as a major influence in their music.
Instead Gary Busey has strapped on a Fender and in effect becomes Buddy Holly. The rhythm and beat, the frantic excitement, the sheer enjoyment of the music, it is all there. We actually get to experience a timeslice of a period some of us recall fondly and others would like to share. A wonderful reminder of good music for us oldies or a enjoyable introduction to a legend for others, a Rock'n'Roll legend quoted by The Beatles and a number of other major musical identities as a major influence in their music. One of the lesser known items about this film and the making thereof is that Gary Busey actually formed a band and toured up and down the west coast of the USA before the making of it to provide himself with the feel and practice of performing Buddy Holly songs before an audience. He actually played and sang the songs in the film rather than lip-sync Buddy's records to provide some authentic feel to the whole thing - good on yer Gary !
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| 16. Passion Flower Director: Joseph Sargent | |
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| 17. Turk 182 Director: Bob Clark (III) | |
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-Charlie
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| 18. The Front Page Director: Billy Wilder | |
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This is a 1920s comedy, directed by Billy Wilder, about the ruthless editor of a Chicago newspaper (Matthau) whose immediate problem is covering a hanging. His number one reporter (Lemmon) is about to quit on him and get married, leaving newspaper life forever. The plot is complicated by a blundering sheriff (Vincent Gardenia) and a venal mayor who try to hide the fact that the convict who is scheduled to be executed the next day has been pardoned by the governor who has gone fishing, but who is not REALLY fishing--he's with a girl friend and is incommunicado, a fact which they are trying to cover up for political reasons, This is a thoroughly enjoyable fil, with a great cast, including Carol Burnette. Joseph (Joe) Pierre
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| 19. House Calls Director: Howard Zieff | |
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