Description

Confronted with life-changing news, a middle-aged architect seizes the opportunity to begin living life on his own terms as he builds the house of his dreams, and winds up rebuilding the world around him in the process ... Read more

Reviews (182)

certainly memorable
Life as a house is a brilliant movie. There is never a dull moment. Although it does not have war planes crashing at every second, it still keeps your attention. The story is about a divorced man (Kevin Kline)who has drifted from his family and from his son espcially. His son visits him on certain weekends and doesn't like it too much. Then the dad finds out he is going too die soon so he wants to do the things in his life that he has put off for so long, like rebuilding his beach shack and reconnecting with his lost son, Sam (Hayden Christensen). Hayden Christensen turned in a beautiful performance and he really makes you feel what the character was feeling. Sam is somewhat of a case. Certainly not the kind of kid your parents wanted you hanging around. It will surely be a long time before I forget this film, not only because of the wonderful story line and intense drama, but for the wonderful Oscar deserving performances also. Espcially by newcomer Hayden Christensen(Anakin Skywalker in upcoming Episode 2). He really portrayed his character, Sam, perfectly. He is an outstanding actor; not just for a newcomer. He really gets your attention.
Life As A House is one of the best films I have ever seen. It was certainly a memorable film.

A good movie that might have been great
Have you ever watched a movie, totally engrossed, walked out of the theater satisfied that your hard-earned money was well spent, went to sleep, and then woke up the next morning with the sneaking suspicion that someone had pulled a fast one on you? This was my reaction to Life as a House.

Wonderful, engaging performances by Kevin Kline, Kirsten Scott-Thomas and Hayden Christensen make it an enjoyable experience despite the overcrowded, mediocre screenplay, which often resorts to cheap and unnecessary tricks and clichés to tug on our emotions. An early scene involving George (Kline's character) and a compassionate nurse is one example. Another involves an awkward subplot with an angry neighbor and a building inspector. Like many things that happen in Life as a House, it adds nothing to the story, and detracts from the characterizations and struggles of the main players. And the final scene! Well, please. Don't get me started.

Still, despite the flaws, the movie is sweet and enjoyable. After all is said and done, a good movie that might have been great with a better screenplay.

Wonderful
A person walks away from this movie thinking how lucky he or she is to just be alive! Bravo! Kevin Kline's best performance except for "Sophie's Choice."

Life is a house, not American Beauty
First of all, Life As A House is pretty much like American Beauty, only better. Hayden, from Star Wars 2, portrays the teenager in a very dysfunctional family, while Kevin Kline plays his father. Like American Beauty, it seems like the whole block is dysfunctional, and they pretty much are. Yet, when Kevin Kline is diagnosed with cancer he decides to build the house he has always dreamed of, and in doing so try to reconnect with his son. I personally feel that although this is a very typical picture of teen angst and family dysfunction it is shown in a fresh new way, and one that actually connects with the audience.

good movie
this overall was a very good movie. hayden christensen was excellent in it, as was kevin kline. i would have given it the full 5 stars, but some parts were a bit melodramatic. besides that, this movie was both funny and sad, put together with a great cast to produce a very good movie. i would probably give it 4 1/2 stars but thats not really an option. ... Read more

Reviews (12)

Wonderful adaptation of the Chaim Potok novel.
This movie version of the famous novel about the friendship that develops between an Hasidic boy and an Orthodox Jewish boy remains faithful to the book in all important respects. The cast, headed by Rod Steiger and Maxmillian Schell, is excellent. Robby Benson and Barry Miller play the two boys, and are so wonderful in their roles that it's difficult to imagine anyone else doing them. Rod Steiger as Reb Saunders is perfect in every respect- right down to the Yiddish accent. His dance at the wedding of a couple in his congregation is one of the most expressive moments I've ever seen in motion pictures. The dignity, the extreme sorrow, and the great joy of being alive and human are all there. The only weakness in the film, if you can call it that, is the choice of Maximillian Schell to play Reuven's father, Professor Malter. He gives a fine performance, but there is no way anyone would believe he was a Jew. It's distracting, given that Professor Malter becomes a dedicated Zionist in the face of the decimation of the Jews in Europe. I am far from saying that Max is a Nazi, looks like one or talks like one- only that we can tell that he is German but it's hard to see any Jewishness in his performance at all. However, the movie is over-all excellent, if a bit talky, and belongs in the collection of any Jew or literary cognoscenti.

A Touching Film About The Hassidic Lifestyle
This 1982 film, based on the novel by Chaim Potok, himself a Jew,
is a moving and detailed adaptation. Stars Robbie Benson and Rod Steiger. I saw this film on PBS channel 28. The Jewish soul of
this film shines through beautifully and sadly, effectively using Hassidic clothing and glimpses of the lifestyle, which is
oddly at variance with the rapidly modernizing New York City of the World War II Era. Robby Benson delivers a fine performance
as the American young man who befriends a Hassidic Jew and assimilates the Jewish lifestyle. Their friendship is rocky at best. His Jewish friend has been raised by a strict father who
upholds the traditonal and orthodox way of life (he's even got him engaged to another Jewish girl)ad shuns modern thinking. He is against the Zionist movement which sought to make Israel its own free state, but the Father in this film believes only God and his Messiah can deliver them. Never has a movie been more embracing of the Jewish faith and old traditions than this movie.
Hebrew music is authentically used. The overwhelming sadness and horror hits you when they feature clips from the slaughter of thousands of Jews in the Holocaust during Hitler's Nazi regime in Europe.

With a sad, reflective mood and a long run of time, this film does seem to be straight from the equally long novel. But it's a great film and I recommend anyone who is a fan of Potok or Robby Benson the actor. The relationship between the boys and the difference between their fathers- one father is old-fashioned and fiery while the other is peaceful, but modern. It's a look at the difference between the two distinct worlds. In the end, the Jewish boy who always wanted to practice psychiatry, is allowed by a father who finally consents. It's a moving and poignant film. The acting and the script, lifted from the book, is quite good. Why did'nt this get any recognition in the Oscars of 1982 ? Or did it ? This film is before my time but it's superb and I feel it's Oscar worthy material. You will see what I mean.

Very moving
I just saw The Chosen on TV. I had seen it once before but watched it again. It is a fascinating and well-acted story of the friendship between two teen-aged boys, a Chasidic Jew, and an observant, but secular Jew.

One reviewer complained that Maximilian Schell was too German to play a Jew. I found him very believable as the Zionist father of one of the boys. Rod Steiger as the Orthodox Rabbi was amazing. I didn't see the opening credits and couldn't guess that he was playing the part. Steiger usually chews the scenery, but here he is very restrained and moving as the father who sacrifices closeness with his son for the boy's own good.

This is a film with many levels that bears watching over again. I have not read the book, and others here have said it is better. Movies are a different experience, and this one is very good.

ahhhh, yes.
This movie was written with all of the feel-good kind of action that this man can muster. Robby Benson, go, go for me and eveyrone who must be subject to this kind of primordial browbashing. It throws me for a loop when I see it in action and by all means, it just makes sense.

Good Adaptation.
'The Chosen' the film is a good adaptation of the book. It brings the mood and athmosphere of that era. The best scene is when the father lets go of his son in the ending. Very touching just like the book. ... Read more

Reviews (182)

certainly memorable
Life as a house is a brilliant movie. There is never a dull moment. Although it does not have war planes crashing at every second, it still keeps your attention. The story is about a divorced man (Kevin Kline)who has drifted from his family and from his son espcially. His son visits him on certain weekends and doesn't like it too much. Then the dad finds out he is going too die soon so he wants to do the things in his life that he has put off for so long, like rebuilding his beach shack and reconnecting with his lost son, Sam (Hayden Christensen). Hayden Christensen turned in a beautiful performance and he really makes you feel what the character was feeling. Sam is somewhat of a case. Certainly not the kind of kid your parents wanted you hanging around. It will surely be a long time before I forget this film, not only because of the wonderful story line and intense drama, but for the wonderful Oscar deserving performances also. Espcially by newcomer Hayden Christensen(Anakin Skywalker in upcoming Episode 2). He really portrayed his character, Sam, perfectly. He is an outstanding actor; not just for a newcomer. He really gets your attention.
Life As A House is one of the best films I have ever seen. It was certainly a memorable film.

A good movie that might have been great
Have you ever watched a movie, totally engrossed, walked out of the theater satisfied that your hard-earned money was well spent, went to sleep, and then woke up the next morning with the sneaking suspicion that someone had pulled a fast one on you? This was my reaction to Life as a House.

Wonderful, engaging performances by Kevin Kline, Kirsten Scott-Thomas and Hayden Christensen make it an enjoyable experience despite the overcrowded, mediocre screenplay, which often resorts to cheap and unnecessary tricks and clichés to tug on our emotions. An early scene involving George (Kline's character) and a compassionate nurse is one example. Another involves an awkward subplot with an angry neighbor and a building inspector. Like many things that happen in Life as a House, it adds nothing to the story, and detracts from the characterizations and struggles of the main players. And the final scene! Well, please. Don't get me started.

Still, despite the flaws, the movie is sweet and enjoyable. After all is said and done, a good movie that might have been great with a better screenplay.

Wonderful
A person walks away from this movie thinking how lucky he or she is to just be alive! Bravo! Kevin Kline's best performance except for "Sophie's Choice."

Life is a house, not American Beauty
First of all, Life As A House is pretty much like American Beauty, only better. Hayden, from Star Wars 2, portrays the teenager in a very dysfunctional family, while Kevin Kline plays his father. Like American Beauty, it seems like the whole block is dysfunctional, and they pretty much are. Yet, when Kevin Kline is diagnosed with cancer he decides to build the house he has always dreamed of, and in doing so try to reconnect with his son. I personally feel that although this is a very typical picture of teen angst and family dysfunction it is shown in a fresh new way, and one that actually connects with the audience.

good movie
this overall was a very good movie. hayden christensen was excellent in it, as was kevin kline. i would have given it the full 5 stars, but some parts were a bit melodramatic. besides that, this movie was both funny and sad, put together with a great cast to produce a very good movie. i would probably give it 4 1/2 stars but thats not really an option. ... Read more

Amazon.com

Quite possibly the nadir of Steven Spielberg's career as a producer, this piece of sentimental junk from 1987 concerns five little spacecraft which arrive on Earth just in time to help out some New Yorkers getting kicked out of a tenement. The script's goo just sticks to the viewer, and the cast looks silly by trying not to be silly. You get the feeling that Spielberg's Amblin Entertainment was pretty much throwing stuff at the wall to see what would hang there, and they came up with this ridiculous thing. --Tom Keogh ... Read more

Reviews (33)

Critics? HA!
Go figure..if you pay attention to "editorial reviews" for this little movie, a person would never waste a dime to see it.....but this is AMERICA and we ignore critics!!!! (Read the other customer reviews, they couldn't be any more opposite the opinion of our "critics". Hundreds of times they've hated a movie and it's been terrific, whether at the box office or when it hit video)

Perhaps there's not enough here for these two to bite into, but Mr. Maltin and Mr. Keogh should be less nasty and critical of this film and criticize something else....Patton, Full Metal Jacket, Platoon, whatever....you can leave this little movie alone...It's for kids, guys. Amusing, while not too heavy except some violence regarding the apartment building with some smashing and burning, which of course is repaired by the "little guys". Small flying saucers, "little guys" as Jessica refers to them, zoom all over New York secretly repairing "stuff" that's not perfect......silly yes, but who cares? It's a fantasy..... Go with it for goodness sake. Hume Cronyn (Frank Riley) and real life wife, Jessica Tandy (Faye Riley) act together in too few a number of films (Cocoon and its sequel, are a couple). Each character in the movie has his/her problems, each prays for a little help and gets it in this most curious way, feeling God answered them in this way.

It's a fantasy....don't be expecting oscar performances from anyone. Jessica thinks the local fire bombing hood, Carlos, is her deceased son, who was in a car wreck years before. She suffers from altzheimers and so doesn't remember he's dead. Referring to Carlos, as Bobby; all the while he's trying to burn their building to ashes. Elizabeth Pena, (Marissa) is a very pregnant, single female trying to exist day to day with hoodlums harassing her every coming and going at the building. She finds her knight in shining armor, Mason, a not too productive resident painter, and he ends up with our lonely Marissa. It's predictable, but OK.

Frank McRae, ex-boxer, has been punched one too many times while professionally boxing, yet somehow manages to title the movie during one of his only speaking lines.....figure that one, but that's how the movie got its name, they planned it that way!

This film may not one win any oscars, but 95% of the movies I'd bother to review, I own; this is one of them and I like a good feeling when I finish a movie.

Cute Film
When you think about it, there aren't too many movies with a premise like this one. I mean, robot aliens who resemble UFOs that can procreate, raise families, and repair anything at super speed? Pretty unusual.

Something else unusual is that the plot doesn't focus on the robots but the humans who are each trying to hang on to their little piece of home. The robots offer assistance to the main characters and add some comic relief, but the story centers on the human element. The story is well-told and unfolds at the right pace. I thought the acting was also pretty good.

There's one last thing worth mentioning. I notice that the video quality has an odd fuzziness to it. It's barely noticeable and not terribly distracting but potential viewers should be made aware of it. Personally it did nothing to detract from my enjoyment of the movie.

This film was made in 1987 so don't expect the special effects to be impressive by today's standards. Remember that, suspend disbelief, and you'll find *Batteries Not Included to be an entertaining experience.

Not Enough Batteries Could Power This Lame Film
Another film produced by Spielberg in the vain of "Disney-esque" family fare (i.e. HARRY AND THE HENDERSONS, GOONIES). "Close Encounters" is shrunk down to cute little "tonka toys". The gimmick in *BATTERIES NOT INCLUDED is that the aliens' spaceships (of various shapes for degree of personality) are the characters. You don't see the aliens inside controlling the flying saucers (just like you couldn't see the truck driver in Spielbergs' DUEL). The plot is as old as an OUR GANG short. An evil landlord is about to evict a diverse group of stereotypical poor residences from his tenement slum and the mini-aliens arrive in time to save the day to fight the landlord and his evil henchmen. The actors are then directed to act bewildered, angry, awe-inspired, laugh, cry, and hug each other, around the special effects-laden-E.T. spaceships...(yaaawwwnnn...zzz...zzz!). The title of this movie should be renamed to *ORIGINALITY NOT INCLUDED...or...*ACTING NOT INCLUDED...or...*DIRECTION NOT INCLUDED...or...*BRAINS NOT INCLUDED..or...!

Belongs in every children's collection
... whether or not you have kids. It has some moments that might make a four-year-old cling to an adult, but every kid I know likes it. No guns, no bloody fights, no chases, and it still holds their interest.

There's plenty here for an adult - "dotty grandma" isn't a completely comic character here. She's not just a tragic figure of senility, either, though she's some of both. Mostly, she's just making her way through each day the best she can, and better than people seem willing to believe. Most of the other characters are similarly on the edge but muddling by well enough, with a little help from their friends.

I honestly can't call this a science fiction movie, despite its SF elements. It's sweet (almost sappy) and funny, the poor-but-honest folk win out over the thugs and evil corporations, and they all live happily ever after. Well, for now, at least.

If there's ever a list of "most under-rated movies", this one gets my vote. I like it.

A sentimental little beauty from Spielberg
This 1987 little sentimental ditty was utterly irresistible to the public, even as critics panned it as too schmaltzy. It concerns a squadron of little UFOs who arrive on the room of a NY apartment building, one which is about to be razed as soon as the owners can manage to evict the quirky bunch of tenants. The tenants include Hume Cronin and Jessica Tandy (always and forever a winning pair) as well as a guy who plays a mentally (or emotionally - or maybe both) disabled man who speaks only in set phrases from commercials or TV jingles or product tags, such as that of the title: Batteries Not Included. As the tenants band together to save the lives of the little aliens, including a spine-tingling scene in which one gives birth, the aliens come to the rescue of the folks in danger of eviction - and the tenants, previously a disparate bunch, come together to form a community.
Heartwarming. Great family entertainment ... Read more

Book Description

Mystery?! Well, it shouldn't be, but Connie and Dylan have gotten caught up in a mystery movie and suddenly every visitor to Whit's End looks suspicious to them.There are laughs and chills galore as Eugene tries to temper things with reason, while Connie and Dylan are positive that a stranger stranded by a storm is actually an escapee from a nearby prison!It's all downhill from there as the misguided trio learns a valuable lesson about the power of things we put into our minds.

Reviews (18)

Ignore the plot, watch for the details
Ok, so I feel a little silly giving this movie four stars. Melanie Griffith portraying a hardened New York detective? Uh, no. The romance? Silly. The killer's identity? Not exactly a shocker. And yet I really enjoyed this movie because someone did their research. This is really a sensitive, non-prejudiced introduction to the world of Hasidim, a small, ultra-Orthodox segment of the Jewish population.

The story revolves around a murder in the Hasidic community of jewelers in New York. Emily Eden (Griffith) is dispatched to investigate and ends up going undercover within the community. The film has wonderful details about Hasidic life and customs, the role of the Rebbe, the antagonism from the mainstream Jewish community, and addresses the unfortunate sheet rumor which I won't go into here. As I said, Griffith's miscasting makes Angie Dickinson's work on Police Woman appear the height of feminist role models. Mia Sara fares better as the daughter of the Rebbe (the leader and epicenter of Hasidic communities.) Also, fine work from Eric Thal as the Rebbe's son who is destined to become the next leader of the Hasidim. This film is both a guilty pleasure and a surprisingly informative introduction to a fascinating community. Come for the dreck, stay for the halachah.

Melanie at her most hilarious
I have a love/laugh relationship with Melanie Griffith. Sometimes I love her films as they are intended, even if the critics don't, and other times, the films are so stupid they're hysterical. This falls into the latter category. She's this brash, foul-mouthed, trampy, tough-as-nails NYC detective who investigates a murder in the Hasidic jewish diamond district. Naturally, as we see later, she also has a heart of gold. Melanie, as the hard boiled and tough as nails cop, ends up dying her dried-out bleach blonde locks brown and goes "undercover" as a returing Hasidic jewish woman in the community to get to the bottom of the murder, as she thinks it's an "inside job." Right! To believe this premise, she'd have to have the acting ability of Meryl Streep, or there would have to be a sly reference in the film that these were brain damaged, under 80 I.Q. Hasidic jews. Nothing like this is mentioned in the film, and Griffith is no Streep. Then there's this totally silly romance subplot as the girl on the prowl, take no prisoners, use 'em and lose 'em Melanie falls for a quiet, intellectual, sensitive, much younger (they downplay that in the movie), gorgeous Hasidic jewish guy whose house she is sharing while "undercover." Luckily for him, and the audience, the romance goes nowhere, and crass, hard as nails Melanie, ends up respecting his decision that he ought to marry within his faith, and remain pure up until that point. And that other reviewer is right, Melanie, after all the hardwork to go "undercover," does virtually no investigating once a part of their world. The murder solves itself. If NYC detectives were anything like this character, anarchy would rule in NYC.

On a most significant note, even though she's hard boiled and tough as nails, she says "okey dokey" in her high little Melanie voice about 15 times in this movie. I have known both devout Jews and hard boiled NYC police. Neither group uses the term "okey dokey" to my knowledge. Where did she come up with this one? I never see it in any of her other movies. Did someone play a cruel joke on her during filming and tell her "okey dokey" is an authentic Jewish term or something and her adding it to the script would help her "transformation"? I guess we'll never know, because when she was on Actor's Studio, this wasn't a movie they discussed (shocker).

Needless to say, I watch this movie whenever I can. It's pretty terrible if you're looking for some kind of action/thriller as the film is billed. If you can appreciate Melanie Griffith's body of work as I can, this is one of her top comedies.

Lame
Really, the only thing I enjoyed about Stanger Among Us was the slight study it did of Hasidism. So much of the plot was unreal and contrived that its pretty lame. Melanie Griffith turns in a poor job as the detective who falls for Ariel the main Hasid character. No Hasid would ever read to her out of the Kabala what the movie had him read to her in the back yard,it just would not happen, he would turned the page from that selection and chose something else. Can't really recommend this one.It has its good points, but the bad one's so detract from its worth.

The real value is in the multi-cultural dialogues
OK, so it's not the best film in terms of police procedurals -- if you are looking for a hard-core crime drama, this isn't it. This movie was a spin-off from "Witness," which took place in the Amish community, and, like "Witness," the real value of "Stranger" is in the multi-cultural details and dialogue. The murder mystery is just a formula plot for presenting an introduction to Hasidic culture. Viewed as such, the film can be a useful teaching tool, and that's why I've been recommending it on my website's Hasidism FAQ. I myself use it in social studies classes here in rural Minnesota, where most of the students have never met any Jews at all, let alone Hasidim.

Now granted, there are some things in the film that are pure Hollywood, such as the little book referred to as "The Kabbalah" that reads like a sex manual. In real life, "kabbalah" is a collective term referring to Jewish mysticism. There is no one book called "The Kabbalah" any more than there is any one book called "The Zen." Although some kabbalstic texts do contain certain sexual imagery, the stuff that Ariel reads to Emily in the film is more like erotic love poetry. This serves a purpose in the story, but it's not Jewishly accurate, and for that, I'm docking it a star. On the other hand, the film does address some of the negative stereotypes about Hasidim, such as that ridiculous urban legend about the hole in the sheet. (NOT!)

The real "kabbalah" of the film is in the message about finding one's soulmate. In the beginning of the film, Ariel reads a line from his kabbalah book: "God counts the tears of women." He has no idea what this means, it's just words. Later, at the end of the movie, Ariel's Hasidic bride-to-be quotes this same line back to him. She explains what it means, then says: "It's in the kabbalah." From this, we know that they are true soulmates, even though this is the first time they have met face-to-face. Emily (the detective) has also decided to wait for her true soulmate, which is what she tells Levine, who has been making passes at her throughout the film. But Emily has now grown in her understanding of relationships, and knows that fooling around with the Levines of the world is not love.

There are some fine Hasidic scenes in the film, such as the Sabbath celebration, which shows both men's and a women's dance circles. Especially nice is the inclusion of a black couple at the Rebbe's table, presumably representing the Ethiopian Jews. The wedding scene is also well done. (Trivia: the music used for the wedding march is a Bobover Hasidic tune for "Lecha Dodi," the song which welcomes the Sabbath Bride of Friday night.) It is for these scenes that I find the film most useful in mlti-cultural education.

MELANIE GRIFFITH AS A BA'AL TESHUVAH...
I initially debated whether to give this movie two or three stars, as at times it was moderately enjoyable. Some parts of it were so absurd, however, as to defy the viewer's imagination and intelligence. Moreover, Melanie Griffith was decidely miscast for the role she played. A hard boiled detective with a breathy, little girl voice like Marilyn Monroe just doesn't cut it. So, I gave the film its just desserts and awarded it the two stars it deserves.

The film revolves around the murder of a Hasidic man in a jewelry store in the diamond district of New York. Emily Eden (Melanie Griffith), an angst ridden and tough, hard nosed NYPD detective with the sexual scruples of a cat in heat, is assigned to cover the murder. She goes to Brooklyn to debrief the Rebbe (Lee Richardson), as to his knowledge of the victim, and shows up inappropriately attired. Now, NYPD may be a lot of things, but totally stupid thay are not. NYPD would never have allowed a detective, who did not have some understanding and familiarity with the customs of the Hasidic community, enter that community to try and get information. Nor would the Detective, a woman, have gone alone, given the Hasidic community's beliefs about the roles of men and women.

Though Detective Eden sounds decidely stupid throughout the film, she is smart enough to figure out that it was probably someone from the community who did the murder, given the nature and condition of the crime scene. In order to properly investigate, however, she believes that she needs to infiltrate the Hasidic community and go undercover, as a ba'al teshuvah, a Jew who has chosen to embrace an orthodox life style. So, she dyes her bleached, blonde hair brown, dresses conservatively, and goes to live with the Rebbe, his hunky son, Ariel (Eric Thal), and Mara (Tracy Pollan), the Rebbe's adopted daughter. Detective Eden lusts after Ariel, who is attracted to her. She has heart warming talks with Mara. Totally ignorant of the ways of the Hasidim, she manages to break many of its rules, with Mara always hovering around to correct her. She doen't seem to do much investigating, however, defeating the whole purpose of the charade.

Somehow, the murder gets solved without doing too much investigation, so if the viewer is looking for a police procedural, prepare to be disappointed. If the viewer is looking for a cultural appreciation of the Hasidic community, prepare to be disappointed. This is a romanticized and absurd portrayal of this unique and insular community. If the viewer is looking for a cross-cultural romance, prepare to be disappointed, as the budding romance between Emily and Ariel finally fizzles and is never consummated. If the viewer is looking for a film about renewal of one's faith in one's self and personal redemption, the movie sort of heads in that direction but never explains the route it takes, so when it sort of arrives at its destination, no one can figure out how.

This is a film that had potential, but somewhere along the way veteran director, Sidney Lumet, dropped the ball. It is simply not ready for prime time. See it only if you are desperate to fill some time, and there is nothing else worthwhile to take its place. ... Read more

Amazon.com

Derivative fluff from 1987, made tolerable by its bawdy exuberance and an appealing performance by Michael J. Fox, who was still enjoying TV stardom and the career momentum he earned by traveling Back to the Future. Here he plays a Kansas farm boy who dreams of scoring big in New York City, but reality turns out to be brutal to his ambition. When his uncle (Richard Jordan) gives him a mail-room job in the high-rise headquarters of a major corporation, Fox occupies an empty office and poses as a young executive, winning the attention of a lovely young colleague (Helen Slater) and having an affair with his boss's wife (Margaret Whitton). Sporadically amusing as a yuppie comedy and rather off-putting as a wannabe sex farce, the movie's still recommendable for its lively cast and a breezy style that almost succeeds in updating the conventions of vintage screwball comedy. Whitton is a standout performer here, so you may wonder why her comedic talent has been underrated, apart from a good role in the first two Major League movies. This may be little more than a big-screen sitcom, but it's not without its charms. --Jeff Shannon ... Read more

Reviews (18)

This movie is one of Michael J. Fox's funniest roles!
Michael J.Fox stars as Brantley Foster who leaves Kansas and his parents in search of his dream of becoming a CEO of his own company.When he arrives in NY, he faces a horrible apartment, the desperate search of trying to find a job, adjusting to life in NY, and pursuing his dream girl.While working in the mail room and hating it at his distant uncle's company, Michael pretends to be a corporate executive and succeeds at the job.He fools everybody at the company, including his dream girl, who falls in love with him.Unfortunately, his plan is found out at the end of the movie while he's staying at his uncle's house.However, Michael wins his dream in the end by becoming a co-head of the company as well as his dream girl. One other thought,if you buy the CD one of the songs is different from the movie.The same person is singing it, but there are different lyrics to the song.Go Figure!

Ive Never Heard a Better Soundtrack...
If you grew up to the 80s' then you'll love this collection of unique and diverse songs, from a movie worth equally as much praise. I also think the Bananarama song is a mistake, it takes you out of this melodic trance the album puts you in and you automatically want to skip to the next track. Well let me tell you something...you just go right ahead. The great thing about this album still available on CD is you can just skip over that one horrible song and listen to the rest of the tracks. The album takes you up with Night Ranger and Pat Benetar...but before you blow out it cools down with the beautiful 'I Burn for You' by Donny Peck and Nancy Shanks...the perfect song to fit any love scene as it did in the movie. Among the other great songs it also includes all of the unforgettable musical montages' from the movie, which I think is what rounds out this 80s' soundtrack as the best I'll ever hear. Buy it, trust me.

Almost perfect
Michael j. Fox was as brilliant as he was in Back to the Future and Margaret Whitton performed great. It had some hysterical parts, but the only thing that kept it from being a perfect 5 was that Helen Slater was in it. She is horrible.

the secret to my success is an asome movie
i love this movie words cant desribe how much i love this move i mean between 1and 5 i give it a 10 really it asome i mean what else can i say it just asome

Fox at his height!!
The secret's out: this is an awesome record!!

The title track of this album will surely get you pumped, but the other songs rock as well. Roger Daltrey's "Price of Love", for instance, is comparable to his best years with The Who...The soundtrack, though, is prime-time 80s. Take a seat, relax, and get ready to have some fun - with a capital F!

At any rate, hope ya' dig the soundz to this cd. PEACE!!!!!! ... Read more

Reviews (4)

If you haven't seen it, please do
Gets better every time I see it. One of the best movies made in recent years hands down.

nice ending
It is amazing how the mind works when it is in jeopardy. I became a fan of Glenne Headly in this movie.

A superb thriller/drama with a terrible miscalculation
Alan Rudolph's Mortal Thoughts is a drama about murder, not movie murder where a hitmen shoots a guy dead with rock music on the soundtrack, but real-life murder, where the killer/killers have a crises of conscience, act with shock, disbelief and paranoia.

The film is set around two couples, James (Bruce Willis) & Joyce(Glenne Headly)and Cynthia(Demi Moore) & Arthur (John Pankow). The film starts out as a pitch black comedy, with Bruce Willis giving an excellent performance as the loud, abusive and downright nasty James. His wife Joyce played by the lovely Glenne Headly is a neurotic who is constantly half kidding her best friend Cynthia about how she would like to kill him. The whole movie is carefully framed with a detective (Harvey Kietel) asking Cynthia questions about one or several crimes. Slowly the flashbacks reveal the events as if they were happening in real time, and the film's momentum builds to a point where it becomes an unbearably tense drama.

The murder or murders in Mortal Thoughts are not commited by a movie-physcopath, but people who have lost their nerve. Throught out the film they have to clean up after it, hide evidence and virtually go insane in the proccess. It the documentary like portrayel of the murders and the first rate acting that makes this film so much better then the countless other murder mysteries you may have seen.

The film however does have one major flaw. After slowly revealing its cards with tense intorrogation scenes the ending is a complete cop out. Without giving anything away, I will say that after working so hard on revealing the facts in the detective's questioning, the truth is unveiled by us seeing the thoughts of one of the major characters. This is not only cheating, but it also leaves a second major crime unresolved.

Despite this, I highly reccomend you see this film. It has a certain truthfulness that makes it more unerving then many serial killer movies.

This is a great suspense movie!
I have watched this movie twice and enjoyed it very much. It really surprises you at the end! ... Read more

Amazon.com

Catherine Deneuve and David Bowie are rich, beautiful, and oh-so chic as denizens of the night. Dressed in sleek outfits and stylish sunglasses, they haunt rock & roll clubs on the prowl for young blood, whom they bring home to their impossibly luxurious mansion for a late-night snack.Being a vampire never looked more sexy, but there's a price: Bowie starts to age so fast he wrinkles up in the waiting room of a doctor's (Susan Sarandon) office. The agelessly elegant Deneuve, evoking Delphine Seyrig's Countess Bathory from Daughters of Darkness, is perfectly cast as a millenniums-old bloodsucker who seeks a new mate in Sarandon and seduces her in a sunlight-bathed afternoon of smooth, silky sex. Tony Scott's (Ridley's brother) directorial debut, adapted from the Whitley Strieber novel, revises the vampire myth with Egyptian inflections and removes all references to garlic and crosses and wooden stakes--these bloodsuckers can even walk around in the daylight--but the ties between blood and sex are as strong as ever. Scott's background as an award-winning commercial director is evident in every richly textured frame and his densely interwoven editing, but the moody atmosphere comes at the expense of dramatic urgency. At times the film is so languid it becomes mired in its hazy, impeccably designed visual style. In its own way, The Hunger is the perfect vampire film for the '80s, all poise and attitude and surface beauty. Sarandon talks candidly about the film in the documentary The Celluloid Closet. --Sean Axmaker ... Read more

Reviews (71)

Cool Vampire Flick
Catherine Deneuve and David Bowie were cast well as an evil vampire couple. Susan Sarandon was also good in her role as a scientist. The film is about a vampire couple, Miriam(Deneuve) and John(Bowie). John, out of nowhere, starts aging very rapidly and has no idea why. So, he seeks the help of Sarah Roberts. Sarah Roberts (Sarandon) is a scientist who is studying the aging process. However, Sarah is unable to help John and he eventually dies.

Sarah is very interested about John's aging problem. So, out of curiosity, she visits Miriam (John's wife), and they form a sexual relationship. Immediately after Sarah and Miriam make love, Sarah feels very ill and has these weird urges. The movie was pretty entertaining for the most part, and I gave it three stars because I had a hard time understanding what was going on by the middle of the movie. You'll like this one if you like sexy horror movies.

Underrated and refreshing vampire flick
Director Tony Scott's (in his directorial debut) unique visual flair is the highlight of this early 80's film which takes a different look at vampires. David Bowie and Catherine Deneuve play John and Miriam; a luxurious vampire couple who prey upon young club-goers for blood, but when John begins to age rapidly (yes, vampires can age as well as walk in the sunlight in this film), Miriam finds a new mate in a scientist John had met who is studying the aging process (Susan Sarandon). The Hunger isn't your usual vampire flick, but that is quite a good thing here and is part of what makes The Hunger so unique. The film is horrifying, erotic, tragic, and darkly humerous sometimes all at once, and those looking for a different kind of horror or vampire film should definitely check this film out.

Sensual Feast Not to be Missed
This movie evokes sensuality, not just from the sexual scenes, in fact those are incidental to the haunting music, the flapping of dove's wings in the attic, the crumbling of aged bodies - all this behind the veil of the music. Then there is the poinancy of the lifestyle the characters are seduced into and the inevitability of that lifestyle. This is my favorite vampire movie of all time and on my top 10 movies of all time. Once you have seen the movie, you will understand my review.

Vampire Vogue
This is director Tony Scott's treatise on style. From the opening in a "new wave" club (featuring Bauhaus' "Bela Lugosi Is Dead") to the closing shot on a balcony overlooking Manhattan, appearance is everything. This is an observation, not a complaint.

The cast is uniformly good. Catherine Deneuve is hard and glamorous. Susan Sarandon is open and, um, hungry. David Bowie is, well I won't spoil it for you but the performance is fine.

Music is deftly used throughout the film. The Bauhaus sets a tone of dread and anticipation. The Shubert piece is haunting and sorrowful and used so well it suggests more depth than the movie possesses.

The "Flower Duet" from "Lakme" was used here before it became a cliche and it's used well--Deneuve uses it to seduce Sarandon in a scene that is probably the most erotic that I have ever seen (coming from a gay man that is quite a compliment).

The themes of aging love and the quest for more life (Harold Bloom would be proud) still work. The cult of "Donnie Darko" would do well with this one. Also fans of both sitcom TV and performance art will enjoy the cameo from Ann Magnuson.

Not quite a classic but well worth your time.

FEAST!
FINALLY ON DVD ! ONE OF THE MOST ELEGANT AND startling movies ever made about 'Vampires' rivalled perhaps by 'Interview with a Vampire'?

DENEUVE, BOWIE, SARANDON trio in this forbidden tale of superior elegance and [give or take] possibly one of the most sensual scenes on screen ever seen [between Deneuve and Sarandon].

Trouble is Deneuve is this ancient vampire - the embodyment of elegance and culture - she takes a lover every two hundred years - seems they last briefly - like cut flowers - then age rapidly but don't die. So into the coffin with the remains .... so she has quite an entourage of sarcophogi stashed upstairs in her New York pad. She also selectively teaches music - perhaps selecting another mate?

Bowie is the current companion - suddenly stricked by 'the age' -Sarandon is the doc. specilizing in the 'reason behind age' .... Sarandon slowly discovers the secret ......

This one's a guilty pleasure - worth watching over and over again - splendid cinematopgraphy [very hazy], artsy costumes, and a great classical score to boot.

Rivalled only by DAUGHTERS OF DARKNESS - another super elegant piece of wit with Delphine Seyrige [could be Deneuve's double!]

Watch out for those ANKH's though! ... Read more

Reviews (113)

Still no DVD for one of the greatest crime movies in history
This is Friedkin's masterpiece and one of the greatest crime movies of all time, still horribly underrated since its box-office (half-)failure in 1985. It's even more underrated than the (good) novel it's based upon, written by Gerald Petievich, a former FBI special agent. And it's so underrated that there's still no DVD of this film released, despite its high success in VHS. Frankly, I don't understand...

Everything is surprising, everything is amazing in this movie: the first roles played by unknown - but far from bad - actors, the dark atmosphere of L.A., described as a decadent, upside down city, as fake as Masters' counterfeited bills, the haunting soundtrack composed by the Wang Chung band - hear 'City of the Angels', 'Dance all Days' and 'Wait' -, a strong editing by Bud Smith, a great photo by Robby "Paris, Texas", "Ghost Dog" Muller and of course a superb directing, despite the low budget.

As underrated as the movie, William Petersen, in his first leading role (four years after an appearance in Michael Mann's first movie, "Thief"), is perfect as a 'kamikaze' cop, who breaks the law to revenge Jim Hart, his master, partner and friend. His confrontation with great Willem Dafoe, as the charismatic, cool, pervert gangster, is the most interesting aspect of the movie. After "To Live and Die in L.A.", Petersen played Will Graham, the very first 'profiler' in movie history (created by Thomas Harris in his cult novel, "Red Dragon"), facing Hannibal 'The Cannibal' Lecter in Michael Mann's "Manhunter". And after that - and despite his starring status in blockbuster series 'CSI' -, nothing, not one single main part in movies... Can this be explainable? The car chase (the one of the 20th century!) is perfectly shot and edited, with plenty of malice, easily beating the ones in "Bullitt" and "The French Connection". But the most surprising film is that final sequence, showing the main character shot in the face... a unique plan in history.

This is a masterpiece that frankly deserves a DVD release, more than all the zero movies released every year. I got it in VHS and I've been waiting for many years now. But we have to say that William Friedkin doesn't need such a release: the DVD of his "Exorcist", still among the top list about thirty years after the film came out in theaters, seems largely enough...

Such a shame. All we can do is 'Wait', as the Wang Chung band singer says in the end...

It is about time!!! GREAT MOVIE
Richard Chance ( William Petersen), is a member of the Secret Service who loves to live on the edge, and play by his own rules. Eric Masters ( Willem Dafoe) is a master at creating counterfiet cash, and is at the top of the agency's most wanted list for killing Chance's long time partner. Now Chance is willing to do whatever it takes to take Masters down, and the line between cop and criminal is starting to run thin. Both Chance and Masters waver on both sides of the law, as they take us on a cat and mouse chase through the streets of L.A. that is extremely suspenseful and never lets up!

"To Live and Die in L.A.", has to be one of the most suspenseful and action packed crime films that I have ever seen. Director William Friedkin is best known for the films "French Connection" and "The Exorcist". However, this has to be his best film. This is the first crime film that I have ever seen, that deals solely with the Secret Service, and NOT the FBI, CIA, or the police. That alone, makes it original. Not to mention the fact, that this is the only crime film, where the hero of the story has traits of a villan and is vulnerable. Some of Petersen's actions are actually questionable. William Petersen is an outstanding actor , and I have enjoyed all of his films. Secret Serive Agent Richard Chance, is one of his best characters by far because he loves to live on the edge, and plays by his own rules. Willem Dafoe is amazing in everything he does, and Eric Masters is one of his best roles. Masters is the story's villan, who is cold, calculating, highly intelligent, charming, and extremely ruthless! You don't know whether to like the guy, or hate the guy. John Turturo and Dean Stockwell are also both outstanding in their roles. This film also has one of the most surprising and disturbing endings that I have ever seen. The soundtrack is also amazing. It is basically a Wang Chung's Greatest Hits CD. Wang Chung is one of the best 80's groups of all time. Every song used is perfect, and really drives each scene.

In my opinion, it will be extremely difficult to find a crime film better than this one. Everything about it is perfect. The story is EXTREMELY original, the acting is phenomenal, the overall suspense will keep you on the edge of your seat, and the soundtrack is amazing. All I can say, is that it about time that this film was released on DVD. An absolute must buy!!

Living And Dying Again
Director William Friedkin, the man who brought us The French Connection and The Exorcist, fell into a bit of a slump after those box office successes. To Live And Die In L.A. was the shot in the arm he needed. And while the movie is not perfect, it's still very good, and worth your time.

When a notorious, highly sophisticated counterfeiter murders his partner, Secret Service agent Richard Chance (William Petersen) launches a furious vendetta to capture the man responsible. But master counterfeiter Rick Masters (Willem Dafoe) is always just one step ahead of Chance. Clashing with one bureaucratic road block after another, Chance is forced to break the rules in order to obtain enough cash for a sting operation, in the hope of bringing Masters down. The risks he takes soon spiral out of control though, leading to a wave of violence with moral reprecussions, taking Chance down to a morally ambiguous road from which there may be no return.

One of the things that makes To Live And Die In L.A. work is the fact that the hero isn't exactly a saint. In fact, he can be as "dastardly", as the villian of the film, doing things that are just as awful. Petersen goes to those darker places and gives a great perfomance. Based on Gerald Petievich's novel, the script, written by Friedkin and Petievich, allows for plenty of drama and action. As director and the "father" of the modern car chase, Friedkin almost tops the one he crafted for the aforementioned film, The French Connection...Almost.

For its DVD debut, MGM has put together a nice special edition, complete with some fine extras. The talky audio commentary from Friedkin is a good...but I wonder if it wouldn't have turned out better if Petersen sat in for it as well? The 30 minute documentary,"Counterfeit World: The Making of To Live and Die in L.A." is a nice retropective--some info from the commentary is repeated here though. There's also a deleted scene and the very controversial alternate ending, that caused a stir at the time in '85, for all to see in a featurette. A photo gallery and the theatrical trailer top off the bonus material.

As I said at the outset, To Live And Die In L.A., is well worth a look, for both fans and newcomers alike.

DVD Edition leaves out too much of the original! Beware!
Having seen the movie To Live And Die In L.A. many times on VHS, I was very anxious to own a copy on DVD. Clearly the picture and sound quality have been improved.

However, what I did not expect was for the studio to cut out so many important and pivotal scenes that are essential to develop the story and its characters.

They have BUTCHERED this film when they re-produced it on DVD, and I feel like I have been ripped-off.

I sincerely hope the producer and distributors of this DVD are notified of this gross error in judgement and re-edit the film to include the key scenes that were omitted.

It is truely a shame that they have ruined such a terrific movie classic!

YAY
I actually bought my dvd back in January, and it was a case of me walking by telling my friends about this movie (which they had never heard of) and lo and behold, there it was!!! I saw this movie probably a year after it came out and was VERY EXCITED to see it finally released on DVD (i could never find the VHS version anywhere anymore).
This has got to be one of my favorite movies of all time ( i have been a William Petersen fan since this movie and Manhunter) and the soundtrack score just adds to it! I do plan on ordering the soundtrack very soon! This is one of those movies that if you have seen it, you have a great appreciation for it. Too bad it didn't get the respect it deserved for it's time, but for those who do remember it and love it, continue to enjoy it!! I know I will! ... Read more

Reviews (4)

Poor quality
Life on the Mississippi was a gift for my husband, who loves the story. The disappointment was in the quality of the tape and not the story/movie. We could hardly understand the words due to scratchy/poor quality. We are returning it for a refund...and NO it wasn't a used tape - it was new.

Five Stars just for the beginning
I saw this movie back in a high school english class an frankly I don't remember much of it. But what I do remember is the beginning of this video, which in itself is enough to garner a barrel of laughs. Possibly more than one barrel.

The video starts with a gentleman measuring the depth of a river while travelling on a steamboat. His vocalization of the various depths are hilarious and worth the ... bucks this movie will cost you to purchase. At the very least, rent this movie!!!

THREEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEeee FEET.

Captures the humor and authenticity of Twain's tale.
This is a wonderful adaptation of Twain's autobiographical tale of a young man learning the profession of riverboat pilot in the mid-1800s. Young Sam (Clemens) convinces veteran pilot Mr. Bixby to take him on as a "cub" to learn the Mississippi river and become qualified as a pilot (the man who really operates a steamboat, not the captain). Robert Lansing's portrayal of Bixby sets the tone and authenticity of the world of the riverboat pilot, a profession that is as much a calling as the clergy or medicine. Young David Knell does a remarkable job of portraying the well-meaning neophyte who grows from ignorant beginner to seasoned veteran during the course of the story. What makes this movie a joy, though, is the humor and storytelling that made Mark Twain one of America's best-loved authors. A perfect family movie.

Mark Twain teaches a new pilot while imparting wisdom.
This is a great telling of the Mark Twain classic about his "life on the Mississippi" as a Steamboat pilot. He is training a younger pilot how to tackle all of the twists and turns and snags of the old man river while trying to explain his own facination with the job as pilot. Twain himself would look back at this as the happiest time of his life.

Robert Lansing plays a very credible Sam Clemons long before he becomes the irrascible, white haired, white suited ICON we all come to love and remember.

If you like Mark Twain, this is a must. ... Read more

Book Description

Mystery?! Well, it shouldn't be, but Connie and Dylan have gotten caught up in a mystery movie and suddenly every visitor to Whit's End looks suspicious to them.There are laughs and chills galore as Eugene tries to temper things with reason, while Connie and Dylan are positive that a stranger stranded by a storm is actually an escapee from a nearby prison!It's all downhill from there as the misguided trio learns a valuable lesson about the power of things we put into our minds.

Reviews (18)

Ignore the plot, watch for the details
Ok, so I feel a little silly giving this movie four stars. Melanie Griffith portraying a hardened New York detective? Uh, no. The romance? Silly. The killer's identity? Not exactly a shocker. And yet I really enjoyed this movie because someone did their research. This is really a sensitive, non-prejudiced introduction to the world of Hasidim, a small, ultra-Orthodox segment of the Jewish population.

The story revolves around a murder in the Hasidic community of jewelers in New York. Emily Eden (Griffith) is dispatched to investigate and ends up going undercover within the community. The film has wonderful details about Hasidic life and customs, the role of the Rebbe, the antagonism from the mainstream Jewish community, and addresses the unfortunate sheet rumor which I won't go into here. As I said, Griffith's miscasting makes Angie Dickinson's work on Police Woman appear the height of feminist role models. Mia Sara fares better as the daughter of the Rebbe (the leader and epicenter of Hasidic communities.) Also, fine work from Eric Thal as the Rebbe's son who is destined to become the next leader of the Hasidim. This film is both a guilty pleasure and a surprisingly informative introduction to a fascinating community. Come for the dreck, stay for the halachah.

Melanie at her most hilarious
I have a love/laugh relationship with Melanie Griffith. Sometimes I love her films as they are intended, even if the critics don't, and other times, the films are so stupid they're hysterical. This falls into the latter category. She's this brash, foul-mouthed, trampy, tough-as-nails NYC detective who investigates a murder in the Hasidic jewish diamond district. Naturally, as we see later, she also has a heart of gold. Melanie, as the hard boiled and tough as nails cop, ends up dying her dried-out bleach blonde locks brown and goes "undercover" as a returing Hasidic jewish woman in the community to get to the bottom of the murder, as she thinks it's an "inside job." Right! To believe this premise, she'd have to have the acting ability of Meryl Streep, or there would have to be a sly reference in the film that these were brain damaged, under 80 I.Q. Hasidic jews. Nothing like this is mentioned in the film, and Griffith is no Streep. Then there's this totally silly romance subplot as the girl on the prowl, take no prisoners, use 'em and lose 'em Melanie falls for a quiet, intellectual, sensitive, much younger (they downplay that in the movie), gorgeous Hasidic jewish guy whose house she is sharing while "undercover." Luckily for him, and the audience, the romance goes nowhere, and crass, hard as nails Melanie, ends up respecting his decision that he ought to marry within his faith, and remain pure up until that point. And that other reviewer is right, Melanie, after all the hardwork to go "undercover," does virtually no investigating once a part of their world. The murder solves itself. If NYC detectives were anything like this character, anarchy would rule in NYC.

On a most significant note, even though she's hard boiled and tough as nails, she says "okey dokey" in her high little Melanie voice about 15 times in this movie. I have known both devout Jews and hard boiled NYC police. Neither group uses the term "okey dokey" to my knowledge. Where did she come up with this one? I never see it in any of her other movies. Did someone play a cruel joke on her during filming and tell her "okey dokey" is an authentic Jewish term or something and her adding it to the script would help her "transformation"? I guess we'll never know, because when she was on Actor's Studio, this wasn't a movie they discussed (shocker).

Needless to say, I watch this movie whenever I can. It's pretty terrible if you're looking for some kind of action/thriller as the film is billed. If you can appreciate Melanie Griffith's body of work as I can, this is one of her top comedies.

Lame
Really, the only thing I enjoyed about Stanger Among Us was the slight study it did of Hasidism. So much of the plot was unreal and contrived that its pretty lame. Melanie Griffith turns in a poor job as the detective who falls for Ariel the main Hasid character. No Hasid would ever read to her out of the Kabala what the movie had him read to her in the back yard,it just would not happen, he would turned the page from that selection and chose something else. Can't really recommend this one.It has its good points, but the bad one's so detract from its worth.

The real value is in the multi-cultural dialogues
OK, so it's not the best film in terms of police procedurals -- if you are looking for a hard-core crime drama, this isn't it. This movie was a spin-off from "Witness," which took place in the Amish community, and, like "Witness," the real value of "Stranger" is in the multi-cultural details and dialogue. The murder mystery is just a formula plot for presenting an introduction to Hasidic culture. Viewed as such, the film can be a useful teaching tool, and that's why I've been recommending it on my website's Hasidism FAQ. I myself use it in social studies classes here in rural Minnesota, where most of the students have never met any Jews at all, let alone Hasidim.

Now granted, there are some things in the film that are pure Hollywood, such as the little book referred to as "The Kabbalah" that reads like a sex manual. In real life, "kabbalah" is a collective term referring to Jewish mysticism. There is no one book called "The Kabbalah" any more than there is any one book called "The Zen." Although some kabbalstic texts do contain certain sexual imagery, the stuff that Ariel reads to Emily in the film is more like erotic love poetry. This serves a purpose in the story, but it's not Jewishly accurate, and for that, I'm docking it a star. On the other hand, the film does address some of the negative stereotypes about Hasidim, such as that ridiculous urban legend about the hole in the sheet. (NOT!)

The real "kabbalah" of the film is in the message about finding one's soulmate. In the beginning of the film, Ariel reads a line from his kabbalah book: "God counts the tears of women." He has no idea what this means, it's just words. Later, at the end of the movie, Ariel's Hasidic bride-to-be quotes this same line back to him. She explains what it means, then says: "It's in the kabbalah." From this, we know that they are true soulmates, even though this is the first time they have met face-to-face. Emily (the detective) has also decided to wait for her true soulmate, which is what she tells Levine, who has been making passes at her throughout the film. But Emily has now grown in her understanding of relationships, and knows that fooling around with the Levines of the world is not love.

There are some fine Hasidic scenes in the film, such as the Sabbath celebration, which shows both men's and a women's dance circles. Especially nice is the inclusion of a black couple at the Rebbe's table, presumably representing the Ethiopian Jews. The wedding scene is also well done. (Trivia: the music used for the wedding march is a Bobover Hasidic tune for "Lecha Dodi," the song which welcomes the Sabbath Bride of Friday night.) It is for these scenes that I find the film most useful in mlti-cultural education.

MELANIE GRIFFITH AS A BA'AL TESHUVAH...
I initially debated whether to give this movie two or three stars, as at times it was moderately enjoyable. Some parts of it were so absurd, however, as to defy the viewer's imagination and intelligence. Moreover, Melanie Griffith was decidely miscast for the role she played. A hard boiled detective with a breathy, little girl voice like Marilyn Monroe just doesn't cut it. So, I gave the film its just desserts and awarded it the two stars it deserves.

The film revolves around the murder of a Hasidic man in a jewelry store in the diamond district of New York. Emily Eden (Melanie Griffith), an angst ridden and tough, hard nosed NYPD detective with the sexual scruples of a cat in heat, is assigned to cover the murder. She goes to Brooklyn to debrief the Rebbe (Lee Richardson), as to his knowledge of the victim, and shows up inappropriately attired. Now, NYPD may be a lot of things, but totally stupid thay are not. NYPD would never have allowed a detective, who did not have some understanding and familiarity with the customs of the Hasidic community, enter that community to try and get information. Nor would the Detective, a woman, have gone alone, given the Hasidic community's beliefs about the roles of men and women.

Though Detective Eden sounds decidely stupid throughout the film, she is smart enough to figure out that it was probably someone from the community who did the murder, given the nature and condition of the crime scene. In order to properly investigate, however, she believes that she needs to infiltrate the Hasidic community and go undercover, as a ba'al teshuvah, a Jew who has chosen to embrace an orthodox life style. So, she dyes her bleached, blonde hair brown, dresses conservatively, and goes to live with the Rebbe, his hunky son, Ariel (Eric Thal), and Mara (Tracy Pollan), the Rebbe's adopted daughter. Detective Eden lusts after Ariel, who is attracted to her. She has heart warming talks with Mara. Totally ignorant of the ways of the Hasidim, she manages to break many of its rules, with Mara always hovering around to correct her. She doen't seem to do much investigating, however, defeating the whole purpose of the charade.

Somehow, the murder gets solved without doing too much investigation, so if the viewer is looking for a police procedural, prepare to be disappointed. If the viewer is looking for a cultural appreciation of the Hasidic community, prepare to be disappointed. This is a romanticized and absurd portrayal of this unique and insular community. If the viewer is looking for a cross-cultural romance, prepare to be disappointed, as the budding romance between Emily and Ariel finally fizzles and is never consummated. If the viewer is looking for a film about renewal of one's faith in one's self and personal redemption, the movie sort of heads in that direction but never explains the route it takes, so when it sort of arrives at its destination, no one can figure out how.

This is a film that had potential, but somewhere along the way veteran director, Sidney Lumet, dropped the ball. It is simply not ready for prime time. See it only if you are desperate to fill some time, and there is nothing else worthwhile to take its place. ... Read more

Amazon.com

William Friedkin briefly revived his faltering career with this sleek, bleak thriller of a pair of secret service agents on the trail of a counterfeiter. William L. Peterson is the hotshot protégé of a career agent killed by the ruthless, almost feral counterfeiting genius Willem Dafoe (Platoon). Now Petersen, teamed with the smart but still green John Pankow (TV's Mad About You), is ready to twist arms, lean on criminals, steal, and even murder to exact his revenge. The harrowing chase through the streets of Los Angeles that climaxes on the freeway at rush hour, where Friedkin's brilliant twist sends them heading the wrong way, careening through a sea of cars coming straight at them, is still one of the most breathtaking car chases ever filmed. Friedkin's edgy crime thriller, stylishly shot in steely blues against hazy red and orange skies by Robby Muller (Paris, Texas), paints a very thin line between the good guys and the bad guys, and Wang Chung's techno soundtrack sets the proper mood--jumpy and alienated. It's a cynical and very brutal look into the world of law enforcement (adapted by Friedkin and former Secret Service man Gerald Petievich from his novel) and a cold portrayal of the power games between cops and feds, and cops and informants. John Turturro, Dean Stockwell, and Robert Downey Sr. are featured in supporting roles. --Sean Axmaker ... Read more

Reviews (113)

Still no DVD for one of the greatest crime movies in history
This is Friedkin's masterpiece and one of the greatest crime movies of all time, still horribly underrated since its box-office (half-)failure in 1985. It's even more underrated than the (good) novel it's based upon, written by Gerald Petievich, a former FBI special agent. And it's so underrated that there's still no DVD of this film released, despite its high success in VHS. Frankly, I don't understand...

Everything is surprising, everything is amazing in this movie: the first roles played by unknown - but far from bad - actors, the dark atmosphere of L.A., described as a decadent, upside down city, as fake as Masters' counterfeited bills, the haunting soundtrack composed by the Wang Chung band - hear 'City of the Angels', 'Dance all Days' and 'Wait' -, a strong editing by Bud Smith, a great photo by Robby "Paris, Texas", "Ghost Dog" Muller and of course a superb directing, despite the low budget.

As underrated as the movie, William Petersen, in his first leading role (four years after an appearance in Michael Mann's first movie, "Thief"), is perfect as a 'kamikaze' cop, who breaks the law to revenge Jim Hart, his master, partner and friend. His confrontation with great Willem Dafoe, as the charismatic, cool, pervert gangster, is the most interesting aspect of the movie. After "To Live and Die in L.A.", Petersen played Will Graham, the very first 'profiler' in movie history (created by Thomas Harris in his cult novel, "Red Dragon"), facing Hannibal 'The Cannibal' Lecter in Michael Mann's "Manhunter". And after that - and despite his starring status in blockbuster series 'CSI' -, nothing, not one single main part in movies... Can this be explainable? The car chase (the one of the 20th century!) is perfectly shot and edited, with plenty of malice, easily beating the ones in "Bullitt" and "The French Connection". But the most surprising film is that final sequence, showing the main character shot in the face... a unique plan in history.

This is a masterpiece that frankly deserves a DVD release, more than all the zero movies released every year. I got it in VHS and I've been waiting for many years now. But we have to say that William Friedkin doesn't need such a release: the DVD of his "Exorcist", still among the top list about thirty years after the film came out in theaters, seems largely enough...

Such a shame. All we can do is 'Wait', as the Wang Chung band singer says in the end...

It is about time!!! GREAT MOVIE
Richard Chance ( William Petersen), is a member of the Secret Service who loves to live on the edge, and play by his own rules. Eric Masters ( Willem Dafoe) is a master at creating counterfiet cash, and is at the top of the agency's most wanted list for killing Chance's long time partner. Now Chance is willing to do whatever it takes to take Masters down, and the line between cop and criminal is starting to run thin. Both Chance and Masters waver on both sides of the law, as they take us on a cat and mouse chase through the streets of L.A. that is extremely suspenseful and never lets up!

"To Live and Die in L.A.", has to be one of the most suspenseful and action packed crime films that I have ever seen. Director William Friedkin is best known for the films "French Connection" and "The Exorcist". However, this has to be his best film. This is the first crime film that I have ever seen, that deals solely with the Secret Service, and NOT the FBI, CIA, or the police. That alone, makes it original. Not to mention the fact, that this is the only crime film, where the hero of the story has traits of a villan and is vulnerable. Some of Petersen's actions are actually questionable. William Petersen is an outstanding actor , and I have enjoyed all of his films. Secret Serive Agent Richard Chance, is one of his best characters by far because he loves to live on the edge, and plays by his own rules. Willem Dafoe is amazing in everything he does, and Eric Masters is one of his best roles. Masters is the story's villan, who is cold, calculating, highly intelligent, charming, and extremely ruthless! You don't know whether to like the guy, or hate the guy. John Turturo and Dean Stockwell are also both outstanding in their roles. This film also has one of the most surprising and disturbing endings that I have ever seen. The soundtrack is also amazing. It is basically a Wang Chung's Greatest Hits CD. Wang Chung is one of the best 80's groups of all time. Every song used is perfect, and really drives each scene.

In my opinion, it will be extremely difficult to find a crime film better than this one. Everything about it is perfect. The story is EXTREMELY original, the acting is phenomenal, the overall suspense will keep you on the edge of your seat, and the soundtrack is amazing. All I can say, is that it about time that this film was released on DVD. An absolute must buy!!

Living And Dying Again
Director William Friedkin, the man who brought us The French Connection and The Exorcist, fell into a bit of a slump after those box office successes. To Live And Die In L.A. was the shot in the arm he needed. And while the movie is not perfect, it's still very good, and worth your time.

When a notorious, highly sophisticated counterfeiter murders his partner, Secret Service agent Richard Chance (William Petersen) launches a furious vendetta to capture the man responsible. But master counterfeiter Rick Masters (Willem Dafoe) is always just one step ahead of Chance. Clashing with one bureaucratic road block after another, Chance is forced to break the rules in order to obtain enough cash for a sting operation, in the hope of bringing Masters down. The risks he takes soon spiral out of control though, leading to a wave of violence with moral reprecussions, taking Chance down to a morally ambiguous road from which there may be no return.

One of the things that makes To Live And Die In L.A. work is the fact that the hero isn't exactly a saint. In fact, he can be as "dastardly", as the villian of the film, doing things that are just as awful. Petersen goes to those darker places and gives a great perfomance. Based on Gerald Petievich's novel, the script, written by Friedkin and Petievich, allows for plenty of drama and action. As director and the "father" of the modern car chase, Friedkin almost tops the one he crafted for the aforementioned film, The French Connection...Almost.

For its DVD debut, MGM has put together a nice special edition, complete with some fine extras. The talky audio commentary from Friedkin is a good...but I wonder if it wouldn't have turned out better if Petersen sat in for it as well? The 30 minute documentary,"Counterfeit World: The Making of To Live and Die in L.A." is a nice retropective--some info from the commentary is repeated here though. There's also a deleted scene and the very controversial alternate ending, that caused a stir at the time in '85, for all to see in a featurette. A photo gallery and the theatrical trailer top off the bonus material.

As I said at the outset, To Live And Die In L.A., is well worth a look, for both fans and newcomers alike.

DVD Edition leaves out too much of the original! Beware!
Having seen the movie To Live And Die In L.A. many times on VHS, I was very anxious to own a copy on DVD. Clearly the picture and sound quality have been improved.

However, what I did not expect was for the studio to cut out so many important and pivotal scenes that are essential to develop the story and its characters.

They have BUTCHERED this film when they re-produced it on DVD, and I feel like I have been ripped-off.

I sincerely hope the producer and distributors of this DVD are notified of this gross error in judgement and re-edit the film to include the key scenes that were omitted.

It is truely a shame that they have ruined such a terrific movie classic!

YAY
I actually bought my dvd back in January, and it was a case of me walking by telling my friends about this movie (which they had never heard of) and lo and behold, there it was!!! I saw this movie probably a year after it came out and was VERY EXCITED to see it finally released on DVD (i could never find the VHS version anywhere anymore).
This has got to be one of my favorite movies of all time ( i have been a William Petersen fan since this movie and Manhunter) and the soundtrack score just adds to it! I do plan on ordering the soundtrack very soon! This is one of those movies that if you have seen it, you have a great appreciation for it. Too bad it didn't get the respect it deserved for it's time, but for those who do remember it and love it, continue to enjoy it!! I know I will! ... Read more

Reviews (113)

Still no DVD for one of the greatest crime movies in history
This is Friedkin's masterpiece and one of the greatest crime movies of all time, still horribly underrated since its box-office (half-)failure in 1985. It's even more underrated than the (good) novel it's based upon, written by Gerald Petievich, a former FBI special agent. And it's so underrated that there's still no DVD of this film released, despite its high success in VHS. Frankly, I don't understand...

Everything is surprising, everything is amazing in this movie: the first roles played by unknown - but far from bad - actors, the dark atmosphere of L.A., described as a decadent, upside down city, as fake as Masters' counterfeited bills, the haunting soundtrack composed by the Wang Chung band - hear 'City of the Angels', 'Dance all Days' and 'Wait' -, a strong editing by Bud Smith, a great photo by Robby "Paris,