Reviews (146)

"You're quite a man, Mr. Bond, James Bond." - Fatima Blush
Sean Connery reels in his 7th and last James Bond film in this unofficial movie- Never Say Never Again. A rival Bond movie that was released in 1983 and just re-released with the 19 official ones. A remake of Thunderball, with some pro's and con's. First- the villian is Maximillion Largo, a psychotic madman who has stolen 2 nuclear warheads and is holding the world for ransom. There is also the stunning, sexy and EVIL EVIL EVIL! Fatima Blush, a nemesis that takes extreme pleasure in hunting and chasing 007. Domino Petachi is the Bond girl that kills Largo in the end. Lani Hall does the title song for this movie (it ain't that great of a song), while Michael Legrand does the music. Never Say Never Again is a masterpiece that is full of action, adventure and all0out fun of the highest order!

One last time...Just for fun
Best if not taken seriously. All very tongue-in-cheek. A big-budget thinly veiled remake of Thunderball. This time, an aging 007 (Sean Connery greying a bit around around the temples) is pulled out of semi-retirement to track down Bond villain Emile Largo and two stolen nuclear bombs. The action moves from Nassau to the South of France to N. Africa. Of course, there are holes in the plot you could drive an Aston Martin through, the acting by most of the actors is barely acceptable, there isn't much sustained action, it runs out of energy before it runs out of movie and it lacks the nice touches and the class of the official Bond movies. I liked Claus Maria Brandauer as the sicko bad guy. Easily the best acting of the movie. Barbara Carrera and Kim Bassinger are beautiful Bond girls. Connery looks like he's having a lot of fun. Some of the scenes are quite clever; esp. the scene in which Bond and Fatima Blush (Carrera) write his memoirs. The World Domination videogame sequence is unique, to say the least. Look for Mr. Bean star, Rowan Atkinson, in an early role. I like this movie perhaps for the wrong reason. I don't expect much of it. It silly, its fun, its great to see Connery's Bond one last time and its fun to look at if only to compare it to the real Bond films.

Not Bond
I pretty much agree with everyone else about this movie....but did you know that this is NOT an OFFICIAL James Bond movie? It is not part of the series. Need proof? Just search for any James Bond CD's in the Music section of Amazon.com and look through the playlists of the Theme Song CD's. Never Say Never Again is not on any of the lists. That's why this movie seems like a duplicate. It is a cheap knock-off of Thunderball.

Can You Say Boring?
If you can sit through this movie without falling asleep or crying of boredom you are probably the first! This is hands down the worst Bond of all. It was never origionally writen by Ian Flemming, which made it STUPID. I don't recomdend wasting your money on this. Use it to buy one of the better ones like:

GOLDFINGER
GOLDENEYE
TOMORROW NEVER DIES

Thunderball Knockoff
The Never Say Never Again movies is a knockoff of the better Bond movie Thunderball. In this one SPECTRE steals necular bombs and holds the world hostage (as always) and Bond Save the world (again). It includes A M that is 30 years younger than Robert Brown, and A Q that (I think) also played in the Hunchback of Notre Dame. Overall if you want to get this movie, Save your money and get Thunderball! Afterall It isn't really a true bond Movie. ... Read more

Reviews (120)

Powerfully acted, psychologically mesmerizing.
At one point in "Gods and Monsters," Ian McKellan's character, James Whale, gestures to his head and remarks, "The real monsters are up here." The film spends its entire creating a way of life around this observation, portraying the last days of the well-known film director in ways that evoke humor, touching emotion, and above all else, emotionally haunting reflection on one's life.

It's a most unusual film, not completely a biopic, yet not entirely fictional; it's more of a speculation on his latter days, based on the novel "Father of Frankenstein," written by Christopher Bram. The reality of Whale's life, from his superior and delectable wit to the memories of war and Hollywood that delight and haunt him, is the basis of the novel and the film, as Whale relates them to a young gardener in whom he takes an emotional and physical interest.

The story begins by introducing us to Whale's way of life, from his slowly deteriorating health and mental state, to his luxurious home, where he lives with his maid, Hanna (Lynn Redgrave), who is caring yet keeps up a stern demeanor when it comes to his dealings in homosexuality. The presence of the new gardener, Clay Boone (Brendan Fraser), strikes a chord within Whale, who resumes his sketching by asking the young ex-Marine to pose for his drawing, offering a face-only clause as a way of quelling Clay's obvious insecurities.

The film's own openness with the issues of sexuality effectively portrays the flamboyance of its main character, who apparently saw no shame in his ways despite the resentment of homosexuality in the 1950's. The movie embodies this ignorance in Clay, who, at first, is unaware of his newfound friend's orientation. Once he discovers the truth from Hanna, his discomfort becomes even more unstable, to the point where he storms out in a rage of fury over the old man's excessive way with discomforting words. And yet, he returns to act as Whale's model, intrigued by the heartwarming and heartbreaking stories he offers as he sketches.

This is a most fragile and unsteady friendship, yet in spite of the discomfort that surrounds their bond, their is a certain degree of comfort to be found within it. This stems from director Bill Condon's avoidance of character glorification: in "Gods and Monsters," everyone has flaws. We see Whale's mood swings, his obsession with young boys in his old age, and his reluctance to recall his past; Clay also spends his time running, from his family, commitment, and stability. Ultimately, this makes their friendship mutually beneficial, allowing Clay a broader, richer view of life while allotting Whale the chance to face memories he would otherwise hide away forever.

All of this is painted in broad strokes by Condon, who employs humor, wit, and sadness into his stunning adaptation. The discomfort that arises as a result of Clay's discovery of his friend's sexuality is handled lightly in earlier scenes, slowly gaining resonance and meaning as the plot moves along its dreamlike path. Whale's memories of filming the "Frankenstein" movies are realistic in their approach, while his recollections of war and his lost love are emotionally charged. All of this is given a slow yet mesmerizing pace that allows us into the deepest subconscious of the characters, so that we not only see what is going on in their minds, but can feel it as well.

In the film's favor is its credible casting choices, most notably McKellan, who employs wit and real emotional range as Whale. Making sudden and drastic jumps from jubilant to unstable, McKellan's Whale is portrayed as someone whom we feel for, a man whose life is put into perspective in a manner that calls us to look at it with unblinking eyes. Fraser evokes a subtle sexual tension and eroticism as Clay, whose resemblance of Frankenstein's monster is the focal point of Whale's fascination. Redgrave makes a wonderful turn as Hanna, putting her wit and sarcasm to good use as the woman who embodies a maid, a wife, and a mother all at the same time.

Above all else, the most perplexing aspect of "Gods and Monsters" is its connection to Whale's film, "Frankenstein." Clay's resemblance and sense of naivety when in the presence of Whale is very much like the scene from that earlier film that this film's final scene. Seeing that final scene is to finally realize and acknowledge the film's purpose; it's one of those forceful moments in cinema that only come once in a blue moon. The film itself is a most touching achievement, deriving its success from its examination of Whale's life in a manner that makes it compelling rather than interesting.

The best acting since Fonda in "Ulee's Gold"

I see a lot of movies. I see very few outstanding performances.

"Gods and Monsters" is that rare combination of a good story, well-told and brilliantly acted by Ian McKellen.

I was nailed to the couch during the entire video and plan to rent it again.

It's not light, air-head entertainment. It's strong in subject and substance.

For my money, McKellen has turned in one of the most astonishing performances of his (or any) career.

Brendon Fraser will surprise you, too.

I saw Judy Dench's performances in both "Mrs. Brown" and "Shakespeare in Love". She deserved the Oscar for "Mrs. Brown". She did not deserve it for "Shakespeare in Love".

Perhaps too few Academy members actually saw Lynn Redgrave's perfect portrayal of the loyal maid....or perhaps Dench's win was a kind of consolation prize for losing with "Mrs. Brown". Whatever it was, the Academy made a big mistake...huge mistake.... Redgrave was hands down the most obvious choice for Best Supporting Actress this year and her in-nearly-every-scene certainly beats the devil out of Dench's 8-9 minutes on film.

When the price goes down, this movie will be on my shelf at home and it has already made my "All-time Top Ten" list....it's that good.

Good movie but slim on the extras
Without a doubt, those who appreciate fine, character-driven films will find much to like in Bill Condon's 1988 critically acclaimed biopic on legendary horror director James Whale. Ian McKellen delivers his finest performance to date as the charming, charismatic director whose best days are behind him along with Lynn Redgrave as the doting maid and Brendan Fraser as a young gardener who strikes up a quick and quirky friendship with Whale. The beauty of this film lies in its narrow scope with its very small palette of locations and supporting characters, giving the film a very intimate feel in the close confines of the three major players along with the subtlety of their interaction.

On the disc itself all you'll get is a poorly transferred trailer and a ho-hum 30 minute featurette that offers little in the way of further value. Also disappointing is the lack of a proper Dolby 5.1 audio track - all you'll get on this shiny disc is a paltry 2.0 mono job.

A modern classic about the classics
Forget the dreadful "Shadow of a Vampire". This is the one to watch.

Here Ian McKellen possibly does his best performance to date (Yes, it is better than Gandalf but not by much!) and so does Brendan Fraser. So two actors have their best roles ever in this movie and that says a lot about the quality of this film. This one has also got a few Oscars, even though that might not say much, it is still quite an achievement given that this film is pretty much a medium budget movie with limited locations and sets.

The story is about the director James Whale who was primarily a horror director in the 1930s and 1940s. This is the story about the perils of old age, sexual discrimination, lust, anger, manipulation and love - all played out to the tune of a film that documents the reasons for this director's status as one of the all time greats.

McKellen is frighteningly real at times. He has an old-age seizure on camera that looks stunningly realistic. The man is an impeccable performer and takes on his role here like a bull by the horns. You feel sadness and grossness for him at the same time. He is a manipulator, a conman, a sexual deviant- but also a great heart. Strangely enough this film has similar themes as Lord of the Rings. Tolken wrote many of the battle scenes, especially the Dead Marshes, because of his real experiences during the war. Whale is also attributing much of his own personal horrors that he paints on his canvas (both films and portrait artwork that he makes) to these artefacts of battle. There is a lot of depth to Gods and Monsters and plenty of emotion to boot. It spans across nearly every era between the early 1900s and the 1940s. Much of it is told in flashbacks especially the making of Whale's horror films.

The plot is basically about Whale and his gardener (Fraser) and their relationship. It is a bit like asking questions and getting answers and showing a bit of skin in-between. Not only do both these actors stand out but Lynn Redgrave plays Whale's housekeeper in her best role to date too! She is an absolute side-splitting hoot and her cynicism is second to none.

It would be hard to tell you much more about the plot without giving lots of it away but let's just say that you will learn a lot about everyone in this delightful film and it does come with a shock attached towards the end as the characters move a little closer to one another. The ending is moving and filled with sadness and loss with the passing of time. You can bring a lot to this movie and take a lot of it away with you too.

This is an inspiring movie about talent, friendship and filmmaking. It is hard to find dramas much better than Gods and Monsters...

Interesting DVD of an interesting film...
The film is so interesting that the DVD capitalizes on the opportunity of further informing the viewer about the real facts behind the "fact-tion" story of director James Whale. Unfortunately the production of the special features seemed a bit rushed and "unproduced," apparently (according to the director) much the same way as the film itself. Interesting insight into the world of indie film and leaves the audience wondering what glorious heights this one might have reached had the filmmakers had ample time and resources to recognize their vision. Nonetheless, it is a beautifully acted and packaged piece...well worth the time and attention! ... Read more

Reviews (146)

"You're quite a man, Mr. Bond, James Bond." - Fatima Blush
Sean Connery reels in his 7th and last James Bond film in this unofficial movie- Never Say Never Again. A rival Bond movie that was released in 1983 and just re-released with the 19 official ones. A remake of Thunderball, with some pro's and con's. First- the villian is Maximillion Largo, a psychotic madman who has stolen 2 nuclear warheads and is holding the world for ransom. There is also the stunning, sexy and EVIL EVIL EVIL! Fatima Blush, a nemesis that takes extreme pleasure in hunting and chasing 007. Domino Petachi is the Bond girl that kills Largo in the end. Lani Hall does the title song for this movie (it ain't that great of a song), while Michael Legrand does the music. Never Say Never Again is a masterpiece that is full of action, adventure and all0out fun of the highest order!

One last time...Just for fun
Best if not taken seriously. All very tongue-in-cheek. A big-budget thinly veiled remake of Thunderball. This time, an aging 007 (Sean Connery greying a bit around around the temples) is pulled out of semi-retirement to track down Bond villain Emile Largo and two stolen nuclear bombs. The action moves from Nassau to the South of France to N. Africa. Of course, there are holes in the plot you could drive an Aston Martin through, the acting by most of the actors is barely acceptable, there isn't much sustained action, it runs out of energy before it runs out of movie and it lacks the nice touches and the class of the official Bond movies. I liked Claus Maria Brandauer as the sicko bad guy. Easily the best acting of the movie. Barbara Carrera and Kim Bassinger are beautiful Bond girls. Connery looks like he's having a lot of fun. Some of the scenes are quite clever; esp. the scene in which Bond and Fatima Blush (Carrera) write his memoirs. The World Domination videogame sequence is unique, to say the least. Look for Mr. Bean star, Rowan Atkinson, in an early role. I like this movie perhaps for the wrong reason. I don't expect much of it. It silly, its fun, its great to see Connery's Bond one last time and its fun to look at if only to compare it to the real Bond films.

Not Bond
I pretty much agree with everyone else about this movie....but did you know that this is NOT an OFFICIAL James Bond movie? It is not part of the series. Need proof? Just search for any James Bond CD's in the Music section of Amazon.com and look through the playlists of the Theme Song CD's. Never Say Never Again is not on any of the lists. That's why this movie seems like a duplicate. It is a cheap knock-off of Thunderball.

Can You Say Boring?
If you can sit through this movie without falling asleep or crying of boredom you are probably the first! This is hands down the worst Bond of all. It was never origionally writen by Ian Flemming, which made it STUPID. I don't recomdend wasting your money on this. Use it to buy one of the better ones like:

GOLDFINGER
GOLDENEYE
TOMORROW NEVER DIES

Thunderball Knockoff
The Never Say Never Again movies is a knockoff of the better Bond movie Thunderball. In this one SPECTRE steals necular bombs and holds the world hostage (as always) and Bond Save the world (again). It includes A M that is 30 years younger than Robert Brown, and A Q that (I think) also played in the Hunchback of Notre Dame. Overall if you want to get this movie, Save your money and get Thunderball! Afterall It isn't really a true bond Movie. ... Read more

Reviews (18)

Worthy caper even though it shows its age
I bought this movie because I couldn't find it to rent, and the plot and cast seemed like a guarantee of a great movie to me. I wasn't disappointed but I might have chosen to rent rather than buy if I had been able. Sean Connery in his prime (well, isn't he still in his prime) and Donald Sutherland star in a classic heist movie based on the true story of the world's first robbery from a moving train. They're after a fortune in gold bullion, and must cleverly figure how to steal a set of keys to the safes, get on and off the train safely, etc. It takes place in London in 1855 and the sets and costumes are great. Do they get away with it - I won't say.

It's all very well done but oddly predictable, perhaps because since this movie was made (1972 I believe) a lot of similar movies seem to have come out. And although Donald Sutherland makes a great roguish pickpocket, he'll never pass for English. His accent is closer to the English they speak on the Planet Mars than the English of 19th-century London.

Still, it's worth a look.

"No respectable gentleman...is that respectable"
I remember being completely taken with this movie when I saw it in 1979. Sean Connery was on THE TODAY SHOW when it was released and discussed doing his own stunt work during the robbery scenes. Stumbling atop the rattling train, he was certain they had to be moving much faster than 35 MPH. When he asked the engineers how they knew they were going 35, they said they calculated it by counting the telephone poles going by! The train was actually going well over 50 MPH!

Director Michael Crichton recounts the same story in his commentary. I would've given this film five stars but, after listening to him voice his disatisfaction with it, I took one star off. I should've left the commentary for another time!

Crichton does offer a lot of interesting insights into the film. The difficulties of recreating a London that doesn't exist anymore, the moral dilemma of filming a dog killing rats (the "ratting" scene is real), the filming of the train scenes.

Connery brings his cool authority to the proceedings and Donald Sutherland is always interesting. Lesley Anne Down is gorgeous.

I really loved Jerry Goldsmith's elegant score. It really pulled the film together musically and I still have the soundtrack album.
I just wish I'd been in the soundbooth with Mr. Crichton after he finished his commentary: I would've said, "Come on, give yourself a break: you made a very cool movie!"

"Because I wanted the money" he told the judge.

Director: Michael Crichton
Format: Color
Studio: Mgm/Ua Studios
Video Release Date: July 1, 1997

Cast:

Sean Connery ... Edward Pierce/John Simms/Geoffrey
Donald Sutherland ... Robert Agar, Screwsman
Lesley-Anne Down ... Miriam/Madame Lucienne/Miss Brigid Lawson
Alan Webb ... Edgar Trent, President Huddleston & Bradford Bank
Malcolm Terris ... Henry Fowler, Manager Huddleston & Bradford Bank
Robert Lang ... Inspector Sharp
Michael Elphick ... Burgess, Railway Guard Accomplice
Wayne Sleep ... William 'Clean Willy' Williams, Snakesman
Pamela Salem ... Emily Trent
Gabrielle Lloyd ... Elizabeth Trent
George Downing ... Barlow, Coachman Accomplice
James Cossins ... Inspector Harranby
John Bett ... McPherson
Peter Benson ... Station Despatcher
Janine Duvitski ... Maggie
Brian de Salvo ... John, Trent's Butler
André Morell ... Judge
Donald Churchill ... Prosecutor
Brian Glover ... Captain Jimmy
Noel Johnson ... Connaught
Peter Butterworth ... Putnam
Patrick Barr ... Burke
Hubert Rees ... Lewis
Agnes Bernelle ... Woman on Platform
Frank McDonald ... P.C. London Bridge Station
Joe Cahill ... Rail Guard on Folkestone Train
Cecil Nash ... Newgate Prison Chaplain
Susan Hallinan ... Emma Barnes
Oliver Smith ... Ratting Assistant
John Altman ... First Pickpocket
Paul Kember ... Second Pickpocket
Geoff Ferris ... Third Pickpocket
Jenny Till ... Woman on Strand
Craig Stokes ... Urchin on Strand

Donald Hewlett ... Club Member
Geoffrey Unsworth
Brooke Adams
Nuala Holloway ... Call Girl

The inimitable Edward Pierce (Sean Connery), in 1855, pulled off the first robbery on a moving train of a shipment gold bullion intended for the Crimea. After months of planning, making wax impressions of four keys, effecting a prison break for one of their henchmen necessary to their plan and the escape of Pierce after the fact of the robbery, the robbery was completed without a hitch.

Taking part in the robbery was Robert Agar (Donald Sutherland), Miriam (Lesley-Anne Down), and sundry other characters. Due to the fine acting and direction by Michael Crichton, the story, which was based on an actual robbery, was a great success, and was endlessly entertaining.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

A Good Movie Tainted
Sean Connery plays his part well in this lively adaptation of the book about the first train robbery. His sidekick, Ager, is not so convincing, but Connery carries the team single-handedly. His crafty lover, played by Downs, brings nothing new to a role that we've seen overplayed in too many suspense and action films.

My main criticism of this movie is the obsession with highly explicit sexual imagery interwoven throughout the film, which leaves one wondering how in the world it merited a PG rating. I expected to see a fun and witty action movie, and The Great Train Robbery is definitely that, but whoever decided to add the sexual elements made a bad call. Most, if not all, are uneccessary to the plot and must therefore have been tossed in to satisfy those movie-goers that can't enjoy a good action flick without a cheap sexual thrill. What an insult.

Little Known Exciting Thrill Ride. Superb Cinema!
This over-looked gem is superb in every detail. The plot concerns a charming rogue, faking a 'sharp businessman' played by Sean Connery, trying to relieve a fortified railway train of its gold. The film is based on a thriller written by Micheal (Jurassic Park) Crichton and is quite thrilling. It has superb Cinematography by the master Geoffrey (Superman) Unsworth B.S.C. and the outstanding score is by the superlative Jerry (Star Trek) Goldsmith. The film grips you from the start and includes a superb cast. The film details the planning and exection of the robbery of a railway train transporting gold from London to the Crimea. The effort of relieving the gold from the train by Sean Connery and Donald Sutherland is meticulous and quite exciting, helped by the fast moving script, cinematography and score. The atmosphere of 1850s London is startling and extremely well conveyed to the screen. This is a highly recommended and thrilling movie. ... Read more

Reviews (1)

Inside the crooked mind
In the beginning, I thought this was going to be a real tear-jerker about a kindly older brother trying to save his schizophrenic younger brother from life in hospital. He rents a room for him and even leaves his family for a while to care exclusively for sick Lawrence. But there is something creepy about the dedicated Peter, something you see in Jon Hurts shifting, guilt-ridden expression long before it surfaces in the dialogue. Almost imperceptibly the murderous hatred in the older brothers heart reveals itself, and it comes as no surprise when he ends in the same insanity he tried to save the other from. This is a film with very few characters, mainly John Hurt and Julian Sands, who gives a very subtle performance of the schizophrenic. The third "main character" is the huge, dilapidated, oppressive empty flat in an office building where the two live. A film that will make your skin creep next time somebody offers to help you. ... Read more

Reviews (120)

Powerfully acted, psychologically mesmerizing.
At one point in "Gods and Monsters," Ian McKellan's character, James Whale, gestures to his head and remarks, "The real monsters are up here." The film spends its entire creating a way of life around this observation, portraying the last days of the well-known film director in ways that evoke humor, touching emotion, and above all else, emotionally haunting reflection on one's life.

It's a most unusual film, not completely a biopic, yet not entirely fictional; it's more of a speculation on his latter days, based on the novel "Father of Frankenstein," written by Christopher Bram. The reality of Whale's life, from his superior and delectable wit to the memories of war and Hollywood that delight and haunt him, is the basis of the novel and the film, as Whale relates them to a young gardener in whom he takes an emotional and physical interest.

The story begins by introducing us to Whale's way of life, from his slowly deteriorating health and mental state, to his luxurious home, where he lives with his maid, Hanna (Lynn Redgrave), who is caring yet keeps up a stern demeanor when it comes to his dealings in homosexuality. The presence of the new gardener, Clay Boone (Brendan Fraser), strikes a chord within Whale, who resumes his sketching by asking the young ex-Marine to pose for his drawing, offering a face-only clause as a way of quelling Clay's obvious insecurities.

The film's own openness with the issues of sexuality effectively portrays the flamboyance of its main character, who apparently saw no shame in his ways despite the resentment of homosexuality in the 1950's. The movie embodies this ignorance in Clay, who, at first, is unaware of his newfound friend's orientation. Once he discovers the truth from Hanna, his discomfort becomes even more unstable, to the point where he storms out in a rage of fury over the old man's excessive way with discomforting words. And yet, he returns to act as Whale's model, intrigued by the heartwarming and heartbreaking stories he offers as he sketches.

This is a most fragile and unsteady friendship, yet in spite of the discomfort that surrounds their bond, their is a certain degree of comfort to be found within it. This stems from director Bill Condon's avoidance of character glorification: in "Gods and Monsters," everyone has flaws. We see Whale's mood swings, his obsession with young boys in his old age, and his reluctance to recall his past; Clay also spends his time running, from his family, commitment, and stability. Ultimately, this makes their friendship mutually beneficial, allowing Clay a broader, richer view of life while allotting Whale the chance to face memories he would otherwise hide away forever.

All of this is painted in broad strokes by Condon, who employs humor, wit, and sadness into his stunning adaptation. The discomfort that arises as a result of Clay's discovery of his friend's sexuality is handled lightly in earlier scenes, slowly gaining resonance and meaning as the plot moves along its dreamlike path. Whale's memories of filming the "Frankenstein" movies are realistic in their approach, while his recollections of war and his lost love are emotionally charged. All of this is given a slow yet mesmerizing pace that allows us into the deepest subconscious of the characters, so that we not only see what is going on in their minds, but can feel it as well.

In the film's favor is its credible casting choices, most notably McKellan, who employs wit and real emotional range as Whale. Making sudden and drastic jumps from jubilant to unstable, McKellan's Whale is portrayed as someone whom we feel for, a man whose life is put into perspective in a manner that calls us to look at it with unblinking eyes. Fraser evokes a subtle sexual tension and eroticism as Clay, whose resemblance of Frankenstein's monster is the focal point of Whale's fascination. Redgrave makes a wonderful turn as Hanna, putting her wit and sarcasm to good use as the woman who embodies a maid, a wife, and a mother all at the same time.

Above all else, the most perplexing aspect of "Gods and Monsters" is its connection to Whale's film, "Frankenstein." Clay's resemblance and sense of naivety when in the presence of Whale is very much like the scene from that earlier film that this film's final scene. Seeing that final scene is to finally realize and acknowledge the film's purpose; it's one of those forceful moments in cinema that only come once in a blue moon. The film itself is a most touching achievement, deriving its success from its examination of Whale's life in a manner that makes it compelling rather than interesting.

The best acting since Fonda in "Ulee's Gold"

I see a lot of movies. I see very few outstanding performances.

"Gods and Monsters" is that rare combination of a good story, well-told and brilliantly acted by Ian McKellen.

I was nailed to the couch during the entire video and plan to rent it again.

It's not light, air-head entertainment. It's strong in subject and substance.

For my money, McKellen has turned in one of the most astonishing performances of his (or any) career.

Brendon Fraser will surprise you, too.

I saw Judy Dench's performances in both "Mrs. Brown" and "Shakespeare in Love". She deserved the Oscar for "Mrs. Brown". She did not deserve it for "Shakespeare in Love".

Perhaps too few Academy members actually saw Lynn Redgrave's perfect portrayal of the loyal maid....or perhaps Dench's win was a kind of consolation prize for losing with "Mrs. Brown". Whatever it was, the Academy made a big mistake...huge mistake.... Redgrave was hands down the most obvious choice for Best Supporting Actress this year and her in-nearly-every-scene certainly beats the devil out of Dench's 8-9 minutes on film.

When the price goes down, this movie will be on my shelf at home and it has already made my "All-time Top Ten" list....it's that good.

Good movie but slim on the extras
Without a doubt, those who appreciate fine, character-driven films will find much to like in Bill Condon's 1988 critically acclaimed biopic on legendary horror director James Whale. Ian McKellen delivers his finest performance to date as the charming, charismatic director whose best days are behind him along with Lynn Redgrave as the doting maid and Brendan Fraser as a young gardener who strikes up a quick and quirky friendship with Whale. The beauty of this film lies in its narrow scope with its very small palette of locations and supporting characters, giving the film a very intimate feel in the close confines of the three major players along with the subtlety of their interaction.

On the disc itself all you'll get is a poorly transferred trailer and a ho-hum 30 minute featurette that offers little in the way of further value. Also disappointing is the lack of a proper Dolby 5.1 audio track - all you'll get on this shiny disc is a paltry 2.0 mono job.

A modern classic about the classics
Forget the dreadful "Shadow of a Vampire". This is the one to watch.

Here Ian McKellen possibly does his best performance to date (Yes, it is better than Gandalf but not by much!) and so does Brendan Fraser. So two actors have their best roles ever in this movie and that says a lot about the quality of this film. This one has also got a few Oscars, even though that might not say much, it is still quite an achievement given that this film is pretty much a medium budget movie with limited locations and sets.

The story is about the director James Whale who was primarily a horror director in the 1930s and 1940s. This is the story about the perils of old age, sexual discrimination, lust, anger, manipulation and love - all played out to the tune of a film that documents the reasons for this director's status as one of the all time greats.

McKellen is frighteningly real at times. He has an old-age seizure on camera that looks stunningly realistic. The man is an impeccable performer and takes on his role here like a bull by the horns. You feel sadness and grossness for him at the same time. He is a manipulator, a conman, a sexual deviant- but also a great heart. Strangely enough this film has similar themes as Lord of the Rings. Tolken wrote many of the battle scenes, especially the Dead Marshes, because of his real experiences during the war. Whale is also attributing much of his own personal horrors that he paints on his canvas (both films and portrait artwork that he makes) to these artefacts of battle. There is a lot of depth to Gods and Monsters and plenty of emotion to boot. It spans across nearly every era between the early 1900s and the 1940s. Much of it is told in flashbacks especially the making of Whale's horror films.

The plot is basically about Whale and his gardener (Fraser) and their relationship. It is a bit like asking questions and getting answers and showing a bit of skin in-between. Not only do both these actors stand out but Lynn Redgrave plays Whale's housekeeper in her best role to date too! She is an absolute side-splitting hoot and her cynicism is second to none.

It would be hard to tell you much more about the plot without giving lots of it away but let's just say that you will learn a lot about everyone in this delightful film and it does come with a shock attached towards the end as the characters move a little closer to one another. The ending is moving and filled with sadness and loss with the passing of time. You can bring a lot to this movie and take a lot of it away with you too.

This is an inspiring movie about talent, friendship and filmmaking. It is hard to find dramas much better than Gods and Monsters...

Interesting DVD of an interesting film...
The film is so interesting that the DVD capitalizes on the opportunity of further informing the viewer about the real facts behind the "fact-tion" story of director James Whale. Unfortunately the production of the special features seemed a bit rushed and "unproduced," apparently (according to the director) much the same way as the film itself. Interesting insight into the world of indie film and leaves the audience wondering what glorious heights this one might have reached had the filmmakers had ample time and resources to recognize their vision. Nonetheless, it is a beautifully acted and packaged piece...well worth the time and attention! ... Read more

Amazon.com

After years of enduring Roger Moore in the role of James Bond, it was good to have Sean Connery back in this 1983 film for a one-time-only trip down 007's memory lane. Connery's Bond, a bit of a dinosaur in the British secret service at (then) 52, is still in demand during times of crisis. Sadly, the film is not very good. In this rehash of Thunderball, Bond is pitted against a worthy underwater villain (Klaus Maria Brandauer); and while the requisite Bond Girls include beauties Kim Basinger and Barbara Carrera, they can't save the movie. The script has several truly dumb passages, among them a (gasp) video-game duel between 007 and his nemesis that now looks utterly anachronistic. For Connery fans, however, this widescreen print of the Irvin Kershner (The Empire Strikes Back) film is a chance to say a final goodbye to a perfect marriage of actor and character. --Tom Keogh ... Read more

Reviews (146)

"You're quite a man, Mr. Bond, James Bond." - Fatima Blush
Sean Connery reels in his 7th and last James Bond film in this unofficial movie- Never Say Never Again. A rival Bond movie that was released in 1983 and just re-released with the 19 official ones. A remake of Thunderball, with some pro's and con's. First- the villian is Maximillion Largo, a psychotic madman who has stolen 2 nuclear warheads and is holding the world for ransom. There is also the stunning, sexy and EVIL EVIL EVIL! Fatima Blush, a nemesis that takes extreme pleasure in hunting and chasing 007. Domino Petachi is the Bond girl that kills Largo in the end. Lani Hall does the title song for this movie (it ain't that great of a song), while Michael Legrand does the music. Never Say Never Again is a masterpiece that is full of action, adventure and all0out fun of the highest order!

One last time...Just for fun
Best if not taken seriously. All very tongue-in-cheek. A big-budget thinly veiled remake of Thunderball. This time, an aging 007 (Sean Connery greying a bit around around the temples) is pulled out of semi-retirement to track down Bond villain Emile Largo and two stolen nuclear bombs. The action moves from Nassau to the South of France to N. Africa. Of course, there are holes in the plot you could drive an Aston Martin through, the acting by most of the actors is barely acceptable, there isn't much sustained action, it runs out of energy before it runs out of movie and it lacks the nice touches and the class of the official Bond movies. I liked Claus Maria Brandauer as the sicko bad guy. Easily the best acting of the movie. Barbara Carrera and Kim Bassinger are beautiful Bond girls. Connery looks like he's having a lot of fun. Some of the scenes are quite clever; esp. the scene in which Bond and Fatima Blush (Carrera) write his memoirs. The World Domination videogame sequence is unique, to say the least. Look for Mr. Bean star, Rowan Atkinson, in an early role. I like this movie perhaps for the wrong reason. I don't expect much of it. It silly, its fun, its great to see Connery's Bond one last time and its fun to look at if only to compare it to the real Bond films.

Not Bond
I pretty much agree with everyone else about this movie....but did you know that this is NOT an OFFICIAL James Bond movie? It is not part of the series. Need proof? Just search for any James Bond CD's in the Music section of Amazon.com and look through the playlists of the Theme Song CD's. Never Say Never Again is not on any of the lists. That's why this movie seems like a duplicate. It is a cheap knock-off of Thunderball.

Can You Say Boring?
If you can sit through this movie without falling asleep or crying of boredom you are probably the first! This is hands down the worst Bond of all. It was never origionally writen by Ian Flemming, which made it STUPID. I don't recomdend wasting your money on this. Use it to buy one of the better ones like:

GOLDFINGER
GOLDENEYE
TOMORROW NEVER DIES

Thunderball Knockoff
The Never Say Never Again movies is a knockoff of the better Bond movie Thunderball. In this one SPECTRE steals necular bombs and holds the world hostage (as always) and Bond Save the world (again). It includes A M that is 30 years younger than Robert Brown, and A Q that (I think) also played in the Hunchback of Notre Dame. Overall if you want to get this movie, Save your money and get Thunderball! Afterall It isn't really a true bond Movie. ... Read more

Reviews (2)

If you have to see Quicksand, rent it -- don't buy it!
This is one of the very worst movies I have ever watched. I am surprised the US Marine Corps has not sued the producers and studio for defamation of character. Plus, the actors can't act and the story author can't write.

If you must see it -- rent; don't waste your money buying it
This has to be one of the worst movies in years. I am surprised the US Marine Corp doesn't sue for defamation of character. They should have hired someone that knew something about military unifroms, insignia, customs and courtesies, bases, and on and on. And saying that, they should have hired actors and writers too. ... Read more

Reviews (18)

Worthy caper even though it shows its age
I bought this movie because I couldn't find it to rent, and the plot and cast seemed like a guarantee of a great movie to me. I wasn't disappointed but I might have chosen to rent rather than buy if I had been able. Sean Connery in his prime (well, isn't he still in his prime) and Donald Sutherland star in a classic heist movie based on the true story of the world's first robbery from a moving train. They're after a fortune in gold bullion, and must cleverly figure how to steal a set of keys to the safes, get on and off the train safely, etc. It takes place in London in 1855 and the sets and costumes are great. Do they get away with it - I won't say.

It's all very well done but oddly predictable, perhaps because since this movie was made (1972 I believe) a lot of similar movies seem to have come out. And although Donald Sutherland makes a great roguish pickpocket, he'll never pass for English. His accent is closer to the English they speak on the Planet Mars than the English of 19th-century London.

Still, it's worth a look.

"No respectable gentleman...is that respectable"
I remember being completely taken with this movie when I saw it in 1979. Sean Connery was on THE TODAY SHOW when it was released and discussed doing his own stunt work during the robbery scenes. Stumbling atop the rattling train, he was certain they had to be moving much faster than 35 MPH. When he asked the engineers how they knew they were going 35, they said they calculated it by counting the telephone poles going by! The train was actually going well over 50 MPH!

Director Michael Crichton recounts the same story in his commentary. I would've given this film five stars but, after listening to him voice his disatisfaction with it, I took one star off. I should've left the commentary for another time!

Crichton does offer a lot of interesting insights into the film. The difficulties of recreating a London that doesn't exist anymore, the moral dilemma of filming a dog killing rats (the "ratting" scene is real), the filming of the train scenes.

Connery brings his cool authority to the proceedings and Donald Sutherland is always interesting. Lesley Anne Down is gorgeous.

I really loved Jerry Goldsmith's elegant score. It really pulled the film together musically and I still have the soundtrack album.
I just wish I'd been in the soundbooth with Mr. Crichton after he finished his commentary: I would've said, "Come on, give yourself a break: you made a very cool movie!"

"Because I wanted the money" he told the judge.

Director: Michael Crichton
Format: Color
Studio: Mgm/Ua Studios
Video Release Date: July 1, 1997

Cast:

Sean Connery ... Edward Pierce/John Simms/Geoffrey
Donald Sutherland ... Robert Agar, Screwsman
Lesley-Anne Down ... Miriam/Madame Lucienne/Miss Brigid Lawson
Alan Webb ... Edgar Trent, President Huddleston & Bradford Bank
Malcolm Terris ... Henry Fowler, Manager Huddleston & Bradford Bank
Robert Lang ... Inspector Sharp
Michael Elphick ... Burgess, Railway Guard Accomplice
Wayne Sleep ... William 'Clean Willy' Williams, Snakesman
Pamela Salem ... Emily Trent
Gabrielle Lloyd ... Elizabeth Trent
George Downing ... Barlow, Coachman Accomplice
James Cossins ... Inspector Harranby
John Bett ... McPherson
Peter Benson ... Station Despatcher
Janine Duvitski ... Maggie
Brian de Salvo ... John, Trent's Butler
André Morell ... Judge
Donald Churchill ... Prosecutor
Brian Glover ... Captain Jimmy
Noel Johnson ... Connaught
Peter Butterworth ... Putnam
Patrick Barr ... Burke
Hubert Rees ... Lewis
Agnes Bernelle ... Woman on Platform
Frank McDonald ... P.C. London Bridge Station
Joe Cahill ... Rail Guard on Folkestone Train
Cecil Nash ... Newgate Prison Chaplain
Susan Hallinan ... Emma Barnes
Oliver Smith ... Ratting Assistant
John Altman ... First Pickpocket
Paul Kember ... Second Pickpocket
Geoff Ferris ... Third Pickpocket
Jenny Till ... Woman on Strand
Craig Stokes ... Urchin on Strand

Donald Hewlett ... Club Member
Geoffrey Unsworth
Brooke Adams
Nuala Holloway ... Call Girl

The inimitable Edward Pierce (Sean Connery), in 1855, pulled off the first robbery on a moving train of a shipment gold bullion intended for the Crimea. After months of planning, making wax impressions of four keys, effecting a prison break for one of their henchmen necessary to their plan and the escape of Pierce after the fact of the robbery, the robbery was completed without a hitch.

Taking part in the robbery was Robert Agar (Donald Sutherland), Miriam (Lesley-Anne Down), and sundry other characters. Due to the fine acting and direction by Michael Crichton, the story, which was based on an actual robbery, was a great success, and was endlessly entertaining.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

A Good Movie Tainted
Sean Connery plays his part well in this lively adaptation of the book about the first train robbery. His sidekick, Ager, is not so convincing, but Connery carries the team single-handedly. His crafty lover, played by Downs, brings nothing new to a role that we've seen overplayed in too many suspense and action films.

My main criticism of this movie is the obsession with highly explicit sexual imagery interwoven throughout the film, which leaves one wondering how in the world it merited a PG rating. I expected to see a fun and witty action movie, and The Great Train Robbery is definitely that, but whoever decided to add the sexual elements made a bad call. Most, if not all, are uneccessary to the plot and must therefore have been tossed in to satisfy those movie-goers that can't enjoy a good action flick without a cheap sexual thrill. What an insult.

Little Known Exciting Thrill Ride. Superb Cinema!
This over-looked gem is superb in every detail. The plot concerns a charming rogue, faking a 'sharp businessman' played by Sean Connery, trying to relieve a fortified railway train of its gold. The film is based on a thriller written by Micheal (Jurassic Park) Crichton and is quite thrilling. It has superb Cinematography by the master Geoffrey (Superman) Unsworth B.S.C. and the outstanding score is by the superlative Jerry (Star Trek) Goldsmith. The film grips you from the start and includes a superb cast. The film details the planning and exection of the robbery of a railway train transporting gold from London to the Crimea. The effort of relieving the gold from the train by Sean Connery and Donald Sutherland is meticulous and quite exciting, helped by the fast moving script, cinematography and score. The atmosphere of 1850s London is startling and extremely well conveyed to the screen. This is a highly recommended and thrilling movie. ... Read more

Reviews (120)

Powerfully acted, psychologically mesmerizing.
At one point in "Gods and Monsters," Ian McKellan's character, James Whale, gestures to his head and remarks, "The real monsters are up here." The film spends its entire creating a way of life around this observation, portraying the last days of the well-known film director in ways that evoke humor, touching emotion, and above all else, emotionally haunting reflection on one's life.

It's a most unusual film, not completely a biopic, yet not entirely fictional; it's more of a speculation on his latter days, based on the novel "Father of Frankenstein," written by Christopher Bram. The reality of Whale's life, from his superior and delectable wit to the memories of war and Hollywood that delight and haunt him, is the basis of the novel and the film, as Whale relates them to a young gardener in whom he takes an emotional and physical interest.

The story begins by introducing us to Whale's way of life, from his slowly deteriorating health and mental state, to his luxurious home, where he lives with his maid, Hanna (Lynn Redgrave), who is caring yet keeps up a stern demeanor when it comes to his dealings in homosexuality. The presence of the new gardener, Clay Boone (Brendan Fraser), strikes a chord within Whale, who resumes his sketching by asking the young ex-Marine to pose for his drawing, offering a face-only clause as a way of quelling Clay's obvious insecurities.

The film's own openness with the issues of sexuality effectively portrays the flamboyance of its main character, who apparently saw no shame in his ways despite the resentment of homosexuality in the 1950's. The movie embodies this ignorance in Clay, who, at first, is unaware of his newfound friend's orientation. Once he discovers the truth from Hanna, his discomfort becomes even more unstable, to the point where he storms out in a rage of fury over the old man's excessive way with discomforting words. And yet, he returns to act as Whale's model, intrigued by the heartwarming and heartbreaking stories he offers as he sketches.

This is a most fragile and unsteady friendship, yet in spite of the discomfort that surrounds their bond, their is a certain degree of comfort to be found within it. This stems from director Bill Condon's avoidance of character glorification: in "Gods and Monsters," everyone has flaws. We see Whale's mood swings, his obsession with young boys in his old age, and his reluctance to recall his past; Clay also spends his time running, from his family, commitment, and stability. Ultimately, this makes their friendship mutually beneficial, allowing Clay a broader, richer view of life while allotting Whale the chance to face memories he would otherwise hide away forever.

All of this is painted in broad strokes by Condon, who employs humor, wit, and sadness into his stunning adaptation. The discomfort that arises as a result of Clay's discovery of his friend's sexuality is handled lightly in earlier scenes, slowly gaining resonance and meaning as the plot moves along its dreamlike path. Whale's memories of filming the "Frankenstein" movies are realistic in their approach, while his recollections of war and his lost love are emotionally charged. All of this is given a slow yet mesmerizing pace that allows us into the deepest subconscious of the characters, so that we not only see what is going on in their minds, but can feel it as well.

In the film's favor is its credible casting choices, most notably McKellan, who employs wit and real emotional range as Whale. Making sudden and drastic jumps from jubilant to unstable, McKellan's Whale is portrayed as someone whom we feel for, a man whose life is put into perspective in a manner that calls us to look at it with unblinking eyes. Fraser evokes a subtle sexual tension and eroticism as Clay, whose resemblance of Frankenstein's monster is the focal point of Whale's fascination. Redgrave makes a wonderful turn as Hanna, putting her wit and sarcasm to good use as the woman who embodies a maid, a wife, and a mother all at the same time.

Above all else, the most perplexing aspect of "Gods and Monsters" is its connection to Whale's film, "Frankenstein." Clay's resemblance and sense of naivety when in the presence of Whale is very much like the scene from that earlier film that this film's final scene. Seeing that final scene is to finally realize and acknowledge the film's purpose; it's one of those forceful moments in cinema that only come once in a blue moon. The film itself is a most touching achievement, deriving its success from its examination of Whale's life in a manner that makes it compelling rather than interesting.

The best acting since Fonda in "Ulee's Gold"

I see a lot of movies. I see very few outstanding performances.

"Gods and Monsters" is that rare combination of a good story, well-told and brilliantly acted by Ian McKellen.

I was nailed to the couch during the entire video and plan to rent it again.

It's not light, air-head entertainment. It's strong in subject and substance.

For my money, McKellen has turned in one of the most astonishing performances of his (or any) career.

Brendon Fraser will surprise you, too.

I saw Judy Dench's performances in both "Mrs. Brown" and "Shakespeare in Love". She deserved the Oscar for "Mrs. Brown". She did not deserve it for "Shakespeare in Love".

Perhaps too few Academy members actually saw Lynn Redgrave's perfect portrayal of the loyal maid....or perhaps Dench's win was a kind of consolation prize for losing with "Mrs. Brown". Whatever it was, the Academy made a big mistake...huge mistake.... Redgrave was hands down the most obvious choice for Best Supporting Actress this year and her in-nearly-every-scene certainly beats the devil out of Dench's 8-9 minutes on film.

When the price goes down, this movie will be on my shelf at home and it has already made my "All-time Top Ten" list....it's that good.

Good movie but slim on the extras
Without a doubt, those who appreciate fine, character-driven films will find much to like in Bill Condon's 1988 critically acclaimed biopic on legendary horror director James Whale. Ian McKellen delivers his finest performance to date as the charming, charismatic director whose best days are behind him along with Lynn Redgrave as the doting maid and Brendan Fraser as a young gardener who strikes up a quick and quirky friendship with Whale. The beauty of this film lies in its narrow scope with its very small palette of locations and supporting characters, giving the film a very intimate feel in the close confines of the three major players along with the subtlety of their interaction.

On the disc itself all you'll get is a poorly transferred trailer and a ho-hum 30 minute featurette that offers little in the way of further value. Also disappointing is the lack of a proper Dolby 5.1 audio track - all you'll get on this shiny disc is a paltry 2.0 mono job.

A modern classic about the classics
Forget the dreadful "Shadow of a Vampire". This is the one to watch.

Here Ian McKellen possibly does his best performance to date (Yes, it is better than Gandalf but not by much!) and so does Brendan Fraser. So two actors have their best roles ever in this movie and that says a lot about the quality of this film. This one has also got a few Oscars, even though that might not say much, it is still quite an achievement given that this film is pretty much a medium budget movie with limited locations and sets.

The story is about the director James Whale who was primarily a horror director in the 1930s and 1940s. This is the story about the perils of old age, sexual discrimination, lust, anger, manipulation and love - all played out to the tune of a film that documents the reasons for this director's status as one of the all time greats.

McKellen is frighteningly real at times. He has an old-age seizure on camera that looks stunningly realistic. The man is an impeccable performer and takes on his role here like a bull by the horns. You feel sadness and grossness for him at the same time. He is a manipulator, a conman, a sexual deviant- but also a great heart. Strangely enough this film has similar themes as Lord of the Rings. Tolken wrote many of the battle scenes, especially the Dead Marshes, because of his real experiences during the war. Whale is also attributing much of his own personal horrors that he paints on his canvas (both films and portrait artwork that he makes) to these artefacts of battle. There is a lot of depth to Gods and Monsters and plenty of emotion to boot. It spans across nearly every era between the early 1900s and the 1940s. Much of it is told in flashbacks especially the making of Whale's horror films.

The plot is basically about Whale and his gardener (Fraser) and their relationship. It is a bit like asking questions and getting answers and showing a bit of skin in-between. Not only do both these actors stand out but Lynn Redgrave plays Whale's housekeeper in her best role to date too! She is an absolute side-splitting hoot and her cynicism is second to none.

It would be hard to tell you much more about the plot without giving lots of it away but let's just say that you will learn a lot about everyone in this delightful film and it does come with a shock attached towards the end as the characters move a little closer to one another. The ending is moving and filled with sadness and loss with the passing of time. You can bring a lot to this movie and take a lot of it away with you too.

This is an inspiring movie about talent, friendship and filmmaking. It is hard to find dramas much better than Gods and Monsters...

Interesting DVD of an interesting film...
The film is so interesting that the DVD capitalizes on the opportunity of further informing the viewer about the real facts behind the "fact-tion" story of director James Whale. Unfortunately the production of the special features seemed a bit rushed and "unproduced," apparently (according to the director) much the same way as the film itself. Interesting insight into the world of indie film and leaves the audience wondering what glorious heights this one might have reached had the filmmakers had ample time and resources to recognize their vision. Nonetheless, it is a beautifully acted and packaged piece...well worth the time and attention! ... Read more