Reviews (3)

short use of good talent
i really must say that it was ok could've been better, alot better! if they only would've taken more time & care on the script. the casting was superb that's why it's a shame it falls soo short of greatest , a great idea just poorly excuted. jeff daniels & catherine o'hara are pefect in their roles but the script leaves little for them to do,the beginning is great but runs out of steam.

there are some funny moments that's about it. it's PG-13 for profanity.

Paydirt - VHS
It's a copy of mad mad mad mad world. Jeff Daniels strikes again, he is one of the funniest people on this planet, what would the world be whiteout him.

PAYDIRT - VHS
It's a copy of mad mad mad mad world. Jeff Daniels strikes again, he is one of the funniest people on this planet, what would the world be whiteout him. ... Read more

Amazon.com

This strange and charming documentary by Al Pacino, in which he also stars, is an exploration of several topics: Shakespeare and his hump-backed villain, the impulse to act, the way actors work--and Pacino's single-minded effort to make the Bard accessible to all audiences and not just the effete few. Over the course of the film, Pacino alternately discusses the role and the text; roams Manhattan, talking about Shakespeare with everyone from scholars to people on the street; and re-creates scenes from the play in a production staged at the Cloisters, an evocative castle-like museum on the north end of Manhattan. He assembles a cast that includes Kevin Spacey, Winona Ryder, Estelle Parsons, and Alec Baldwin to perform the scenes, and he slips back and forth between text and discussion of the play in a way that makes Shakespeare comprehensible and fascinating to viewers who know or care nothing about his writing. --Marshall Fine ... Read more

Reviews (37)

Lost and Found
I have to admit I was skeptical of watching Al Pacino try his hand at ANY Shakespeare, much less Richard III, which isn't the easiest play to put on in the first place. But by the end I actually quite enjoyed the whole production, even if I wouldn't call it a masterpiece.

I'd recommend this film to anybody who enjoys the Bard, live at Stratford or even if it's some over-the-top movie version--and particularly for high school students who are still a little too dense to totally 'get' Shakespeare. It's informative for the uninitiated, and as a documentary, it works reasonably well, and moves at a brisk enough pace so you're not bored stiff.

Add to that some particularly insightful words from Derek Jacobi, and Sir John Gielgud (amongst others), it's well worth a rental, and doesn't embarrass any of the actors who were smart enough to take part in this.

And as a reminder to the bloke who trashed this in favour of Ian McKellen's excellent turn as Richard III, this wasn't meant to compete, but instead to enlighten the masses. Who to be quite honest, COULD understand Shakespeare if they put their minds to it, but most don't.

They're usually forced to in grade nine at best.

Amazing for an indepth look
I saw this movie in 1996 while in college on a "movie night" with other actors in my field of study. We were simply electrified by Pacino's depth and power that he put into the understanding of this amazing Shakespeare character. I have performed in Richard III, and believe me, i wished that i had this film to look at during that time to help me with some difficult scenes! I found Pacino to be extremely human, bendable, and thought-provoking; it's a definate must for the Shakespeare lover, and will expand your mind if you love Pacino! At least rent it!

Engaging!
I came across this movie on one of the movie channels on dish and, being a teacher of literature, got completely sucked in. I loved how the actors explore the characters of the play and the various plot sequences, then the audience is treated to the final outcome. Though the scenes are acted out at different locations throughout London, rather than on-stage, and one might say that it detracts from the film's credibility, the locations are well thought out and appropriate to the scene.

I can't wait to use this film as a teaching tool.

Mildly entertaining but also pretty deliberately dumbed down
I like Al Pacino in many movies, especially, of course, Godfather 2. I've seen him on the stage & enjoyed his performances in O'Neill & Mamet.

But to me Shakespeare is not his forte. In this film which I find to be mostly an exercise in actorly self-indulgence, he comes off sounding like Mel Brooks both as narrator & especially in character.

I also find the intent rather condescending & for the most part irrelevant. The gap between English & American actors doing Shakespeare has to do with Language & History. I didn't hear much commentary on these issues. Mostly the film sounds like a treatise for making Shakespeare palatable to grade schoolers.

Pacino's best film ... where's the DVD?
Although Richard III is one of Shakespeare's most violent and Gothic plays, Pacino's loving and intelligent exploration of the classic tragedy - and the legendary bard who penned it - emerges as one of Pacino's most compelling and inspiring films. A movie that makes me proud to be an Italian-American studying for his Ph.D. in British literature. ... Read more

Amazon.com

Though it seems like a one-joke premise, this spinoff of Al Franken's Saturday Night Live character, self-help nerd Stuart Smalley, actually has some substance. And, in fact, it offers a message that wouldn't be out of place at an Al-Anon meeting (although with the laughs). Stuart, fired from his cable TV self-help show, goes home to resolve a family crisis. Dad (Harris Yulin) is an abusive drunk, Mom (Shirley Knight) is an enabler, Sis is an over-eater, and Brother has a problem with his temper. The film turns serious, but Franken actually makes the drama interesting, using humor to leaven it. And he brings a certain sympathy and resolve to the lisping, cross-eyed Stuart. To be sure, it's not your typical SNL movie. --Marshall Fine ... Read more

Reviews (34)

ONE OF THE BEST MOVIES I HAVE EVER SEEN...
The first time I saw this movie was when it was in theatrical release, (which lasted about a week). I was in a movie theater in Times Square with a friend, and there were only two other people in the audience. Al Frankin has referred to this movie as a "disaster" because it was pulled from theaters after not even reaching one million dollars. Note to Al: THIS MOVIE IS NOT A FALIURE!

Every detail of this film, from the opening montage to the marvelous acting, (these are TOP NOTCH actors in this film), to the hilarious comedy to the story to the music...everything is hysterical. I only wish they had chosen a different title. Stuart does not save his family, he can only try. The movie should have been called "Stuart Smalley."

I was so astounded by how wonderful this movie was, yet practically no one saw it and Al Frankin calls it a disaster. I honestly, truely, unexagerratedly believe that this movie should have been up for several Oscars, including Best Director and for the supporting cast. The actor who plays the father was especially wonderful. I only hope that more people discover this movie.

When the movie was over in the theater, (I have since seen it again on video several times), the two other people in the audience came up the aisle and also expressed how good the movie was. I wish I could have direct addresses for director Harold Ramis and Al Frankin so that I could write to them and tell them how proud they should be of this movie.

He doesn't really save his family, but...
Sadly, a lot of folks have never heard of this little gem. It had a very short theatrical release but has been gaining a wider audience, largely among members of 12-step programs, through its various video releases.

To describe the story line of this very funny movie would be to sell it short, because the premise doesn't sound like it would lend itself to such a delightful comedy. But the film grabs one's attention from the very beginning with its montage of 50s and 60s family photographs during the opening credits. Are these possibly family photos of the lead actors at an earlier stage of life? When Vincent d'Onofrio's name is on the screen, the guy in the photo looks an awful lot like him. And then we're off and running, with Stuart telling us on his television show that he has just received a sweater that one Melissa D. knitted for him. Melissa is a recovering sex addict and knitting the sweater "gave her something to do with her hands."

From that point on, the pace only rarely slackens, as we are introduced to Stuart's various friends and nemeses, beginning with Roz Weinstock, very possibly the meanest and most sadistic boss since Captain Bligh, and deliciously played by Camille Saviola. Roz has fired Stuart for maligning her on the air, and she is only the first of a series of people Stuart manages to annoy as he lives out his affirmation of "I'm good enough, I'm smart enough and, doggone it, people like me." Perhaps not everyone likes him, certainly not the customer in the restaurant (an unbilled role, possibly director Harold Ramis?) who has to wait while Stuart explains his latest predicament to his best friend and Al-Anon sponsor Julia, wonderfully played by Laura San Giacomo.

From there, it is a constant back-and-forth for Stuart between Chicago, where he lives, and Minneapolis, ironically one of the chief centers of recovery programs, and the home of his very dysfunctional family. Stuart's beloved Aunt Paula has died, setting in motion an ever-muddier chain of events that eventually teach Stuart in a big way that the only one he really has the power to change is himself. Nevertheless, the ever-optimistic Stuart continues to offer his gifts to others, some of which are eventually picked up and appreciated.

Just as the setting goes back and forth from Chicago to Minneapolis, so the time frame goes back and forth from the present to the past through black-and-white flashbacks, some happy, some less so. These give us some idea of how Stuart has come to be the way he is today, and of the ghosts that he has to grapple with while living out his affirmation.

The film does take a rather serious turn near the end, but Al Franken as Stuart Smalley helps to keep the tone somewhat light during this section. And, as in real life, not all the loose ends ever get neatly tied up, but Stuart has nevertheless made his impact, as we see in a very heartwarming ending.

While most of the actors in the film are not household names, a number of them are quite experienced and turn in some memorable performances. Harris Yulin, Shirley Knight, Lesley Boone and Vincent d'Onofrio are all good as Stuart's family members, the men in particular. There are also a number of memorable cameos, particularly Julia Sweeney as the constantly apologizing Mea C., and Walter Olkewicz and Jeremy Roberts as the Skoag brothers who try to force the teetotaling Stuart to drink beer at a bar.

The music is fun also, beginning with the codependent song that is played during the opening credits. And it was great to hear Ethel Merman blasting her way through "Everything's Coming Up Roses," during one of the scenes where Stuart is trying to pull himself up by his bootstraps.

This picture has some of the funniest lines I have ever heard in any film. My particular favorite is Stuart's brother Donnie's attempt to define for him what an "easement" is, despite the fact that he obviously doesn't have the slightest notion. But many will like even better Stuart's comment to his sister about the pound cake. While there is plenty here for audiences in general to laugh at, there are also a number of jokes that are targeted toward members of 12-step programs, and especially those programs geared toward helping friends and family members of those addicted to alcohol and drugs. It's obvious from the writing that these are topics near and dear to screenwriter Franken's heart.

So, I recommend this movie with just the caveat that you will find it funnier and closer to home if you have some familiarity with the programs that the film gently pokes fun at. And even if you don't, after seeing the film you may still wind up with a new approach to life.

Great Great Movie
I absolutely love this movie! I watch it everytime I am frustrated with my family and always end up feeling a little bit better. Other than making us laugh, this movie teaches us that at some point it's ok to separate ourselves from our family's problems and that we have to accept that we can't fix everything for everyone that we care about. I was happily surprised that this movie contained more than obvious humor, it actually has heart!!

If you've ever been a member of a 12-Step Program...
If you're ever been or are now a member of a 12-Step Program you'll find this movie wildly entertaining. Sadly, the humor so evident in this film is so common amongst many familes struggling with relatives of addictions. Key words here are : affirmations, 12-Step, intervention, codependency, and many others to mention here.

A Jewel of a Movie
It's sad when I mention scenes in this movie at work and I get a "huh?" Very few people has bothered to see this movie and I think they're missing something. I found it poignant, funny and subtle. It it has some of the best one-liners and a rather sad but well written ending. Any grown-up out there (belonging to a dysfunctional family) still trying to stay with the concept of "family holiday gathering" should do what Stuart ultimately did in the end. ... Read more

Amazon.com essential video

This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

Reviews (68)

Inspirational
I have wanted to be a teacher for years now and watching movies like The Emperor's Club make me dream about teacher even more. The Emperor's Club is about a group of affluent teenagers at an elite private school with a teacher better than one can imagine. Kevin Kline is this teacher, and once again delivers with an amazing performance. Unfortunately after giving these students a year of his life, and making decisions based on favorites, he is struck with the harsh reality that some people, one student in particular, are ruthless and greedy. This reality strikes him on one more occasion as a slap in the face to him that some people never change. The Emperor's Club is not a movie just about how people cannot be trusted, but how people make mistakes, and how other people can forgive them for their mistakes. It is about learning, even teachers learning, lessons of life that everybody learns at some point. The Emperor's Club was fascinating film from pretty much every aspect. Although it reminded me of Dead Poets Society, the best film of this genre ever, I still thoroughly enjoyed it.

An engrossing tale, well acted by Kevin Kline
The Emperor's Club was one of the best films about a teacher that I've seen. It was a refreshing and rewarding movie because the story kept my interest without ever slipping into Hollywood's normal excessive sentimentality or easy plot turns. Kevin Kline was perfectly cast as a history teacher at an exclusive boy's school (Mr. Hundert, not "Herdunt"), and his struggles with a difficult student (Bell) didn't always unfold the way I thought they would.

Hundert faced various moral dilemmas during the story. The situations that led to those dilemmas and the teacher's decisions were both presented in realistic ways. Who knows how any of us would have have handled similar decisions? In fact, I saw the film with a teacher friend who remarked about the movie's accuracy, that indeed sometimes teachers must decide whether to grade a student higher than merited (to inspire) or give the appropriate grade and risk de-motivation.

The best thing about The Emperor's Club was the gracefulness and subtlety in how the story was told, epitomized by its untidy yet still satisfying conclusion. It's a movie that will lead to active discussions between moviegoers after leaving the theater.

Reaches for greatness--and misses
Finally, someone makes a movie like Dead Poet's Society! Well, no, not exactly. I'm a sucker for Kevin Kline, and it's hard to argue with his performance--or Emile Hirsch's--in this film. But the script screws the actors. This isn't a terrible movie--it's a pleasant enough way to pass a few hours--but the promise of the obvious comparisons to the Robin Williams hit makes it a disappointment. And just wait for the whammy that hits ten minutes from the end--a total repeat of the plot from the first half of the movie. The lesson, apparently, is that some folks never learn from their mistakes. Including Hollywood folk who tag good actors with a bad script...

Kevin Kline is a teacher
An excellent plot "with a twist", plus illuminated acting of Kevin Kline and a well chosen cast makes this movie a rewarding entertainement.

A DIFFERENT SHADE ON THE TEACHER-STUDENT THEME
For the first 15 minutes, I felt that the movie would walk that oft-tread road of teacher-student movies such as Holland's Opus, Finding Forrester, Dead Poets Society etc.

But in the end, it takes on a different contour than what I would have imagined through its course, so that was a welcome denouement.

The finishing twist is delivered with a flourish, and although I felt that the writer didn't quite have the guts to follow his story to its natural, cynical conclusion, the end was surely a bit unpredictable.

The story line, admittedly, is on a diet. But the script is taut. What really shimmers though is the acting. Kevin Kline is, as always, in top form, he neither underplays nor overplays his professor role getting everything just right, from his quiet, guilt-ridden introspection to the light comedy that results from a frivolous baseball game. And as the counterpart protagonist Emile Hirsch displays the arrogant bravado one expects from a bad seed student rather well.

All in all, I probably wouldn't see this movie more than once, but it's a worthwhile rental. Especially to watch with kids for some decent messages about morals, discipline, friendship, respect. ... Read more

Description

The must-own sequel of the year! Chris Tucker and Jackie Chan team up again in this record-breaking box-office smash hit. ... Read more

Reviews (219)

rush hour 2
Rush Hour 2 is an unbelievably hilarious, action packed, better-than-the first sequel to Rush Hour. I strongly recommend that you rent and watch the first one before you go see Rush Hour 2 because much of the humor and jokes are based on the original one, however, this is not necessary because you will catch on quickly and only miss a couple of the related jokes. Rush Hour 2 begins exactly where the first movie leaves off. If you watch both movies in order it will just seem like one long movie. This is a nice feature because it makes the movie easier to follow and understand.
Rush Hour 2 is about two detectives, Detective Lee (Jackie Chan) and Detective Carter (Chris Tucker). While on their vacation to Hong Kong Lee and Carter are called back to duty to investigate and bust an international counterfeiting ring. This is no easy task, however, as they soon find out. Carter and Lee find themselves locations around the world such as Los Angeles, Las Vegas and even Tokyo.
Jackie Chan and Chris Tucker give a perfect and encore performance doing what they do best. Jackie Chan plays the serious logical and skilled martial artist Detective Lee. Chris Tucker portrays the never serious, ego boosted LAPD officer, Detective Carter. I don't believe that this movie would have had the same punch without these talented actors working together in this fabulous duo.
The action in this movie is spectacular. As always, Jackie Chan performs unbelievable stunts during his fighting rendezvous. At one point in the movie he jumps and dives through a very tight slot, much like one at a cashiers cage. On the other hand
Chris Tucker, let's just say... is not very good at Kung Fu, but nevertheless great comical relief.
The humor in this movie is absolutely bladder busting. Ethnic and personality differences between Carter and Lee create humorous situations. For instance: Carter speaks his own version of Chinese. Obviously, he just says a bunch of random gibberish and makes himself look like a total idiot in front of a rather large group of Chinese people. Carter is quick to the tongue and is always bashing on the Chinese culture. Lee is just simply funny while acting so serious and straight-faced: A perfect contradiction.
I recommend that you go see this movie or rent it when it comes out in January 2002 It will be worth your time and money, and because it stars Jackie Chan, you will get to watch the comical, and quite painful out-takes at the end of the film during the credits. You'll laugh your way through Rush Hour 2 with its wonderful blend of action and comedy.

Feel the Rush...
A sequel that exceeds its predecessor. That in itself is an anomaly these days, but Rush Hour 2 packs enough wallop for both movies. How about some of the best lines in an action comedy in recent years? From one liners to the chemistry that has evolved between Jackie Chan and Chris Tucker, this movie will make you pause the scenes until you finish laughing. Hit play again and you'll be slapped with more humor. Carter runs through downtown Hong Kong, where no one knows what he is saying, yelling, "Get outta the way! L.A.P.D!" There's a moment in Hong Kong where Carter meets up with a chicken vendor and the laughs keep coming. Rush Hour 2 opts for a more sexy approach with the Chinese massage parlor scene, and the 2 main female characters who are sure to boggle the eyes of the male population. As for action, there's plenty of it to support the clever dialogue. The movie is so realistic and unrealistic at the same time, you'll be bringing the first movie back out and panting for Rush Hour 3. I can't leave out the fact that a story goes with this and it's told quite well, and for what this movie is, it doesn't burden the high-jinks, but supports it. Simply put, Inspector Lee has an old vendetta with the man who killed his father and Carter is pulled along from Hong Kong to L.A. A few plates need to be found from a counterfeit ring using them to make a "Superbill," which is identical to a real bill. Not quite an original story, right? Well, it's all in the way you tell it and Rush Hour 2 pulls off a good time and that's what we wanted to see.

Robert Eldridge (...)

Funnier Then The First...
Slick, chaotic, and decently entertaining sequel picks up where the first movie left off. LAPD Detective James Carter (Chris Tucker) is on vacation in Hong Kong with his friend, Detective Inspector Lee (Jackie Chan). Carter just wants to relax, have fun, get some "mu shu", but Lee can't stop doing his job even for a minute. This time, he's hot on the trail of gangster Ricky Tan (John Lone), who may have been behind an Embassy bombing.

More-of-the-same in terms of content AND style, but still pretty engaging, with lots of action and thrills. Chan and Tucker still share the same chemistry, and overall there are some good laughs. (Worth it just to see Tucker perform Michael Jackson's "Don't Stop Til You Get Enough"...) For me, one of the perks of this sequel is watching "Crouching Tiger, Hidden Dragon" beauty Zhang Ziyi as a very fetching and lethal assassin.

Terrific High energy sequel is GREEN!
Not satisfied to just build on the personalities and chemistry created in Rush Hour -RH1, this action movie delivers an inventive script and great action. I would have given 5 stars but I down grade for language.

Chris Tucker delivers another high energy, comedic performance. Since Chris first caught my attention in the Bruce Willis vehicle, Fifth Element. He has proven himself to be a real comedy - action star. This movie might have worked with a different actor playing chans part, but jackie chan is the genious that created these incredible films and may now be our top action star.

Highly recommended, but only partially family friendly.

Better than the first, alot better!
Take peoples word for it when they tell you this is better than the first Rush Hour movie, even Chris Tucker is much funnier in this one. The movie is funny, not amazingly funny but you can expect for laughs than the first one. Though there's alot of stupid things in this movie it wasn't made to be serious, now really two guys fighting off 10 guys at once on several different occasions. The ending was not bad, it was a pretty cliche ending but it wasn't as bad as it could have been. After watching it, I am looking forward to a possibly Rush Hour 3 and I hope they make one, if you're into action/comedies this is a must watch. ... Read more

Reviews (74)

Tom Keogh...SHOVE IT!!
OK, Tom's review is by far one of the worst that I have seen for this movie...I can't believe it was posted. He obviously is not a Ghostbuster fan, but if you are a fan of the first movie, you will definately love this flick. Ironically Dana Barrett(Sigorney Weever) is suckered in by the world of the supernatural again, and who else but the Ghostbusters to help her...and her baby, Oscar(yes, like the hotdog), out of a fix with Vigo the Carpathian. It's a great movie to sit down with the family and eat popcorn on a Friday night with or to sit and watch by yourself. Very entertaining, and the comedic chemistry of Bill Murray, Harold Ramis, Dan Akroyd, and Ernie Hudson add together to make one of the best films of the 89 year. Loads of fun! This one goes a little further, because it has a massive river of slime, and the bathtub tries to eat Dana and her baby. Great stuff. I hope you enjoy this movie as much as I have over the past few years that I have owned it. So, if you have a night with the family, make it a GB night. :^)

Ghostbusters II
So, after risking their lives by crossing the streams and barely averting NYC from a disaster of biblical proportions, the guys in grey are sued out of business and shunted off into their own stupid little jobs. Even Dana Barett, the love interest from the first movie, has a baby, but w/o Venkman, who now runs a shoddy psychic talk show.
But when the guys are called into court over charges of Ray's causing a power outage, two dead killers return from the grave to menace the judge and jury. Reluctantly, the recalcitrant judge rescinds the previous sentence and the guys are back, blasting away and having a whole new car.
Unfortunately, while it has a strong start and good performances, the plot holds up like a wet paper bag. Never boring, but a bit of an anticlimax, especially with the end villain. Zhuul and Vinz Clortho are far superior to Vigo's half-possessing of Ray and a museum clerk, and the end battle doesn't make much use of his supposedly wizard-like abilities.
Final Analysis: While have a good start and entertaining performances, Ghostbusters II, unlike its predecessor, is a film that doesn't really pull you in (if you'll pardon the pun).

'Busting Makes Me Feel Good! (A lot Less In This Movie)
One of the main problems with GHOSTBUSTERS II is that it came out five years too late and that everything from the first film was invalid. In the first film the Ghostbusters literally save New York City and were heroes. In the sequel, we find out that that they are prohibited from "ghostbusting" and owe the city a hefty bill for the destruction incurred at "spook central" (Dana Barrett's /Sigourney Weaver apartment building near Central Park from the first movie). In the sequel, they have to literally start from scratch to re-establish themselves along with a new Ghostbusters logo. The rest of the plot is interestingly inventive but not as thrilling or memorable as from the original Ghostbusters (who can forget Gozer, Zhule, the Stay Puft Marshmellow Man). The heroes have to stop an evil spirit from the 16th Century, Vigo the Carpathian (currently inhabiting a painting of his own image being restored at a museum by Dana Barrett). He wants to come back to life by taking over Dana Barrett's baby boy, Oscar while "enlisting" the aid of Dana's boss,Janosz (an annoying Peter MacNicol with a european accent). At the same time his evil presence is oozing pink ectoplasmic slime (the first movie had green slime) being fed by all the negative vibes in New York City. Also,as in the first movie, the antagonizer against the Ghostbusters business was a man from the EPA (which was hilariously original and inventive), in this film it's the the mayor's campaign manager (Kurt Fuller). GHOSTBUSTERS II's production values and special effects are excellent along with the chemistry and comraderie among the cast and characters. However, it feels like it could have been a preliminary draft of ideas for it's characters instead of a sequel (i.e. The Statue of Liberty compared to the Stay-Puft Marshmellow Man). The filmmakers should have taken out the "trying to re-establish themselves" plot from the script, and concentrate on a more inventive and earth-shattering storyline which is the point of any sequel. The hype on the first GHOSTBUSTERS poster states "Coming This Summer To Save The World" and the film lived up to that hype. GHOSTBUSTERS II did not have that kind of atmosphere. Lastly, as stated earlier, the film came out five years too late. To show what five year can do, in the first film, there was a catchy pop tune by Ray Parker, Jr. In this film, it is replaced by an unmemorable rap song...rap had become contemporary by the time the film was released.

The Funniest Movie Ever!
The funniest part of this movie was when a lady's mink coat came alive. I liked the way the ghostbusters sucked up ghosts.
If you liked the Gremlins, you'll enjoy this movie.

Good...
Being such a huge fan of this film's predecessor, I was bound to be somewhat overtly critical of the sequel. Ghostbusters 2 is by far not a bad movie, but it could've been a lot better. On a creative level, the script/plot is basically the same as the first movie... It's kinda like watching the first one, just throw a baby into the mix. A rehash, you could say. Anyway, it isn't all that bad. The jokes are funny, performances are strong... More could've been done with the script and plot basically to make it more unique and original. ... Read more

Reviews (71)

Great swashbuckling fun!
This film features everything a good pirate flick should: stormy seas, a spectacular naval battle, a sexy pirate captain (Geena Davis) and buried treasure complete with a treasure map written in latin (the preferred language of pirates).

This is one of the few times I've seen Davis in a leading role; normally, she is a supporting actress. She pulls it off quite well, although in a couple of scenes her acting is a bit wooden. Frank Langella stands out as an old-salt, ruthless pirate while Matthew Modine is great as the movie's comic relief.

What really makes this movie worth buying, tho, is just how well done it is. The 17th century sets are lavish - you feel as tho you are back in the period in which the movie takes place. The soundtrack is riveting, and I found the sound of the DVD quite excellent. Not sure if they did anything different than they do with other DVDs, but it sure seemed like the audio was a notch above most DVDs - esp in the storm sequence.

This is the kind of movie that critics make a living off of by slamming. What does this mean for the rest of us? Why, it means that it's a fun time to be had by all! And may the movie critics goto Davy Jones locker...

A swashbuckling pirates tale!
When the piratess Morgan Adams (Geena Davis) loses her father, she becomes captain of his ship and crew. As her first act as captain, she decides to search for the treasure on Cutthroat Island. But the actual map for Cutthroat Island is in three pieces, one of which she got from her father. The other two are with her uncles, the cowardly Mordachai (George Murcell) and the evil Dawg Brown (Frank Langella). So Morgan, with the help of her crew and the somewhat untrustworthy thief, William Shaw (Matthew Modine), she sets off to take all the maps and find the treasure of Cutthroat Island.

A very entertaining movie filled with action, adventure, and piracy on the high seas, "Cutthroat Island" is a pure adventure movie. The plot is pretty mediocre, allowing as much action and suspense to be put in the story. It's your typical pirate story though, pirates must find, understand, and figure out the map leading to a mysterious island with hidden treasure of unthinkable riches. But throwing in a tough, hard-bitten, and beautiful piratess was a pretty nice touch, including a thief to provide some comic relief.

Geena Davis surprises me again with her talent in being able to play many different roles from a ghost in "Beetlejuice", a baseball player in "A League of Their Own", a mother full of heart in the Stuart Little movies, and now a piratess in "Cutthroat Island". She gets to give plenty of punches plus handle the cutlass with ease as she fights pirates, the military, and her uncle. She's definitely very cool! As for Matthew Modine, I had never seen him in any movies before but I found him astoundingly funny though he gets plenty of action. He in a way reminds me of Cary Elwes as Wesley in "The Princess Bride" with his sarcastic humor and boundless enthusiasm. Oh, it was also a special treat to see the young and sweet Christopher Masterson as Bowen. Though his role was small, he was excellent as a cabin boy with his obvious admiration and loyalty to his captain. He's probably more known as Chris Masterson, starring in "Dragonheart: A New Beginning" and also starring in the series, "Malcom in the Middle".

So if you're in the mood for a movie with giving off lots of action, energy, suspense, and swashbuckling, make time to watch "Cutthroat Island". Rated PG-13 for the action and fighting and also for some innuendo.

Excellent Story; DVD Just Doesn't Make the Cut
I caught this movie in the theater. I loved it. As soon as the DVD was released I purchased it with great enthusiasm. When I got home and played the DVD I discovered, to my great disappointment, that it is in the wrong format and displays with very poor quality. The video looks horrible. I returned the DVD for a refund.

Technical Details for the curious:
While this DVD offers both full-screen and wide-screen versions of the movie, the wide-screen version is not anamorphic. That means when you play it on your new TV it just looks bad. If you have an older TV and don't care about video quality you probably won't notice or care about this.

I just don't understand. If you're going to stick with VCR-quality transfers, why bother making a DVD. Oh, I forgot. A DVD disc costs pennies so it's cheaper than ever to dump trash on consumers. I'm so glad we have these forums to share this information.

Stop the trash talk!
4 and 1/4 Stars
I recommended this movie instead of Pirates of the Caribbean .... Given that, I have to defend it against the bitter nay-sayers. Don't get me wrong, Pirates had many positive aspects - Depp's performance chief among them; and yet, it was just too kid friendly (well duh, that's Disney). I whole heatedly believe that Cutthroat was as good, if not far better than Pirates. I would yield to the arguments that the acting here is a bit cheeky, and the editors could have been a touch more through. Beyond that, I don't know what the fuss is about. Maybe the other reviewers just couldn't stomach a (historically improbable) female pirate. Well, I think this movie was a lot of fun, but apparently there are some who didn't care for it. The best advice I can offer here is for all of you out there to watch it, and make up your own minds.

CutRate Bargain
Think of it: You can own $92,000,000 worth of movie making for one ten-millionth of the production price: that's like a nickel per explosion. Can you walk up to anyone on the street, hand them a quarter and say, "Please blow five things up for me"? Of course you can; sometimes someone might even blow something up. But with this movie, it's a sure thing.

This movie has its flaws. For the money spent to make it, you'd think someone would have thrown in some free looping so misinflected dialogue could be corrected. The chase and action scenes are rarely plausible (surely not every cannonball would have hit a powder keg). Whatever happened to the third ship that was at CutThroat Island? Wait, who cares? ... Geena Davis wears a corset.

The DVD menu system on this disc is very strange. When you choose "Coming Attractions" from the "Theatrical Trailers" menu, you're presented with a list of eleven movies; no trailers, just the names of eleven movies and tiny pictures of their movie posters. When you choose "Jump to a Scene" from the main menu, you're given a choice of only nine scenes (there are thirty in the movie, which you *can* manually advance to). Fortunately, the movie itself looks and sounds great. Frank Langella and Maury Chaykin turn in characteristically good performances, Matthew Modine and Geena Davis acquit themselves well if not perfectly, and Christopher Masterson (Francis on "Malcolm in the Middle") does pretty well for a 15-year-old.

While there are better pirate films out there, CutThroat Island isn't all that bad of a film. Granted, once in a while something will jar you out of your suspension of disbelief, but then Geena will walk by in her corset, buckling (or unbuckling!) her swash, and all will be forgiven. Don't expect too much and you won't be disappointed. ... Read more

Reviews (2)

RFK, an inspiration
Up late at night, I finally got around to watching this three-part series, and it totally blew me away. RFK gave me back the hope that America will not give into cynicism, that with political leaders willing to stand up for what they believe in, we really can change our destiny. RFK stood up against the very people that WE find it difficult to stand up against everyday, like bullies, cynics, and sometimes even family. RFK shows us that change is sometimes mundane, other times it's exciting and often it's downright scary. RFK sets a fine example for politicians and Americans, just be prepared to be moved with this video because as we all know, if you're willing to stick your head out into the open and voice your opinion - you're gonna get shot at.

Brad Davis is the best actor since James Dean
Brad Davis is one of the most underated actors ever. It's to bad he is no longer with us. See Midnight Express ... Read more

Reviews (2)

Good Action With goldberg;s sense of humor is a good combo
A fast talking smart mouth cop investigates a cocaine ring who specalizes in a lethal form of cocaine and sells it to the highest bidder. Basically what the viewer has here is the female version of BEVERLY HILLS COP With Goldberg having the same dialouge Eddie Murphy had. The violence and bloodflow never stops from the opening scene right to the climatic finale. The best part was the massive shoot out in the mall. The film has one weak point Sam Elliot, wasn;t really convincing as a bodyguard who ends up falling for Goldberg. Whoopi Goldberg pulled off a very funny genuine performance. The film is worth seeing and is much,much better than BURGLER realased the same year.

One of my favorite Whoopi films
I'm surprised at the bad review Amazon gave this. I really enjoy watching the film over and over. Whoopi is as funny as ever in her "character" rolls and the drama adds another dimension. There is profanity, but not inappropiate to the movie. I think she did a great job and if you liked Jumpin' Jack Flash, I think you'll like this one. ... Read more

Reviews (447)

A Micraculously Provocative Must-See Cautionary Tale
Antoine Fuqua's (The Replacement Killers) exasperatingly intense, masterly evocative,
and grandly psychologically accosting crime police thriller Training Day starring
Denzel Washington, Ethan Hawke, Scott Glenn, Macy Gray, and Snopp Doggy Dogg
commences by imprinting on the viewer an all-together familiar seedy crime melodrama.
Then this seemingly recycled cop movie equation summarily becomes estranged
from all of the genre's pre-conceived formulas, conventions, and clichés and
zestfully thrusts its audience into a Pulp Fiction-esque Twilight Zone of infinite
unknowns.

Overtly intense it may be, Training Day's so-called excesses are absolutely necessary to this film's shockingly disquieting view of modern law-enforcement and societal factors. Brimming full of the morally deplorable, tumultuously volatile, and authentically immediate sights and sounds that at first may resonate as a typical wam bam thriller, Training Day intellectually reaps a ground-braking resourcefulness that consistently curtails the audience from comprehending its inner plot points too quickly or becoming aware of it's character predestined paths before they develop into view. Though the film does provide us with ample evidence to it's character's interior inner workings, Training Day continues to creativity and tirelessly redefine it's identity so often and so cleverly that any first-time viewer can't help but be consciously blown away by it's narrative, radically stunned by it's story-telling audacity, or emotionally bewildered by it's cultural implications. It remains a testament to this film's resiliency that it persists in haunting you so long after it concludes spinning web of intrigue.

Dominantly at the artistic center of this vivaciously riveting crime tale, Denzel
Washington blazes open, with one decisively unforgettably potent character,
an entirely new occupational direction for the once cinematically pure leading
good guy. In an unexpected melee of acting bravado, Washington almost appears
to be inordinately possessed with this character that is so aesthetically and
dramatically powerful that you almost forget Washington is playing it.

In a blisteringly radiant gem of a performance that should earn him an Academy
-Award nomination, Denzel plays L.A.P.D. Narcotics veteran Alonzo Harris who
in the course of a single day trains and enlightens 19-month rookie cop Jake
Hoyt (Ethan Hawke) in the increasingly sinister underbelly of drug policing
in Los Angeles. Harris initiates Boyt upon the mandatory necessity of protecting
the tax-paying sheep (the citizens) from the Narcotic predators by becoming
predators themselves. Alonzo sanctifies these views by lulling Hoyt into believing
that his skeptical pessimism is an indispensable requisite of becoming an undercover
cop, and with this premise the audience's unfathomable descent into inconceivable
darkness begins.

Encased with incredibly edgy supporting performances, invariably claustrophobic
locales, an charismatically haphazardly enticing plot, many subtly thrilling
story eccentricities, and a superbly larger than life leading performance by
Denzel Washington, Training Day transcends it's source genre to pose generally
unsettling questions with such relish and audaciousness that it still should
remain as fresh and relevant fifteen years from now.

As for Training Day's upcoming DVD edition, hopefully it will include a descent
anmorphic widescreen presentation, an Antoine Faqua commentary track, deleted
scenes, and several other fine materials to go along with such a fabulous film.

P.S. Always Pick Up a Rape Victim's Wallet

Reality Bites
Denzel Washington should be a lock for at least an Academy Award nomination as best actor in 2001 for his totally heartfelt, violent and over the top performance as a corrupt Los Angeles police narcotics officer. It's obvious that the LAPD is less than thrilled with this movie which is an amalgam of all the scandals which have rocked the department; i.e. Rodney King, 'Ramparts' for starters. Despite the potential difficulty in putting together a coherent tale the director has done his job with a film which holds the viewers' interest from the rising sun to the final scene early the next day.

The supporting cast is outstanding with Ethan Hawke, Snoop Dog, Dr. Dre, Scott Glenn and others providing excellent back up to Denzel as he glides through one day and night in the life of an LA narcotics officer.

Seeing this film twice let me appreciate all the more how well acted is the role played by Denzel. He is philosophical, violent, humorous, practical, political and, at all times, wise to the ways of the street. Ethan Hawke is marvelous as his 'rookie'and meshes very well with his more senior counterpart, Denzel Washington.

The only reason Denzel may not receive the major kudos he deserves for this role is that in today's hyper-patriotic, support the law enforcement climate, this downbeat look at the cops may not be deemed politically correct even as it is spot on.

I hated this movie
I first of all am not a Denzel Washington fan. So my review is a little biase in the sense that I went in thinking this movie was going to be bad....and boy was it. I first want to say that Denzel Washington is a good actor he just doesn't do anything for me. I thought this movie was waaaayyyy over the top unrealistic and I could not in good consious recommend it. For one thing all the singers and rappers in the movie who can't act took away from any beliveable scenario. Ethan Hawkes character was such a wimp he had literally no back bone. Every "bad" thing that Denzels character wanted him to do he did it. I think this is one of the worse movies I ever seen. And the ending who didn't see that coming a mile away.

The "Wolf" of Action Films...
...is what you can call Training Day, the distrubing police epic starring Denzel Washington in an Oscar-winning performance.
Denzel stars as Alonzo, a very corrupt cop playing both sides of the law. He doesn't resort to evidence, or jurys, or interrogations. He just packs brutal violence into his brand of law-making.
Training day is about a young cop's training day, a day that will test if he is good enough material that can become an infamous narcotic officer. His mentor, and mental abuser, is Alonzo. During the day Alonzo sets Jake(Ethan Hawke)up, holds a gun to his head and forces him to use narcotics that destroy his mind, and he makes him assist in murder and robbery. Alonzo teses him, plays with his mind, and puts jake way over his boiling point.
In the end, Alonzo ditches Jake with a gang of Mexican hitmen, leaves him for dead, and goes back to his wife(Eva Mendes) and their son.
Jake finds Alonzo, chases him to a rooftop, and they battle for control over Alonzo's ground. It is a climatic battle of "mentor" and "student".
Training Day is brutal and disturbing to watch and digest. It will certainly make you think about the NARC squad, and will leave you feeling different than when you came in.

Overall Good
The acting is supurb by all, especially Denzel. I had some qualms about the type of character he played in order to get the statue, but actually seeing the movie put all that on the backburner. This film is not as cookie-cutter predictable as most cop dramas and in fact I was left honestly waiting to see what would happen next. There was a point where I felt the movie was dragging, but when the credits rolled I didn't feel at all cheated of my time or money. ... Read more

Amazon.com essential video

An inevitable idea: a working man (Michael Keaton) who can't meet all his professional and family responsibilities has himself cloned. It works so well having one copy of himself to take charge of matters at the office that he makes another copy who takes care of the home front. Pretty soon, different aspects of Keaton's personality are emphasized in the different clones: the laborer becomes a macho creep and the domestic god becomes rather feminine. A third clone, struck from the duplicates instead of the original, becomes like a photocopy of a photocopy: inferior. This timely comedy should be better than it is, but special-effects requirements are so labor-intensive that most scenes feel stiff and leaden. Keaton is good in all four parts, and in certain gee-whiz effects scenes, where he even high-fives himself, he pulls off a minor miracle or two. (Of course, a kid did the same thing in Disney's 1998 remake of The Parent Trap.) The DVD release includes optional widescreen and standard formats and optional French and Spanish soundtracks. --Tom Keogh ... Read more

Reviews (24)

KEATON'S BEST ROLE (X FOUR)!
This is a frequently funny movie with some improbable situations thrown around the central fact that Keaton is cloned repeatedly in an effort to do his job, help out with the housework and maybe, just maybe, get to drive a golf ball once in awhile. Andie MacDowell is simply beautiful and beautifully perplexed as his wife who, in one crazy night, gets ravished by all the clones breaking "rule #1", just one of many hilarious set pieces. Keaton is all over the place and, considering the premise, he does well here (his double-takes are classic) so the only question is, "Whatever happened to...Michael Keaton?" Our family's favorite!

Poses an interesting scenario
This is definitely an original premise for a film, and the casting was dead on in selecting Michael Keaton, as he puts his comedic talent to excellent use in Multiplicity. The movie presents an interesting perspective of cloning and what may occur in its aftermath. Utter hilarity ensues as each clone displays unique personality traits - one is a tough armchair-quarterback type, another a male Martha Stewart, and the fourth - a copy of a copy - needs to be seen to be believed. The film was co-written and directed by Harold Ramis, and as far as comedy is concerned you can't go wrong with most of his work. The script holds together pretty well considering that it was a four person collaboration. My favorite scene was probably the one where Andie MacDowell is in the mood and encounters each of the clones - that scene is worth the price of admission. This movie deserved more of a push than it received - it's worth checking out if you are a fan of any of the participants.

One times one is two. That's Multiplicity.
Seeking simplicity causes complexity in the movie Multiplicity. An over-worked construction contractor's life gets even more hectic when his homemaker wife decides to return to the workplace. He seeks relief by delegating his work and domestic duties to clones. But, a new brand of chaos ensues when the natural order is disturbed. The life lesson taught in the movie is captured in one line, "About quality time with your family? It's all quality time." Michael Keaton is superb in his four diverse roles: the macho workaholic, the sensitive husband and father, the mental deficient, and the original Doug Kinney. This is a must see comedy worthy of every star.

Stinker
I thought this movie was boring and when they do the 'clone of a clone' thing it was a cue for some jokes at the expense of the mentally impaired that really are in very, very poor taste.

Aren't comedies supposed to be funny?

Too Cute
Michael Keaton is truly funny in this. He never has enough time, so he decides to clone himslef..The clone then clones itself...It gets funnier with each clone! hahah "Hey Steve..I like Pizza" ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

Description

The Virginian leaves the state of his birth to make a new life for himself on the frontier of the American West. He falls in love with Molly Stark, a schoolteacher also new to Wyoming, and becomes the foreman of a successful cattle ranch, hoping to make good in her eyes. But he is forced to resort to violence when he must protect the ranch against the treacheries of a rival rancher and the betrayal of a former friend. ... Read more

Reviews (15)

A good movie, but do your reading first
I personally enjoyed this production of the Virginian, but I will say that having read the book beforehand helped me out a lot. The plot is rushed through in places, and I imagine some would find spots of it hard to follow if unfamiliar with the story. I also found there to be a lack of character development, which could further mystify those who haven't read the book. Unfortunately, two hours of film just isn't enough to do this fine book justice. It just kills me that Bill Pullman didn't produce this as a mini-series a la Lonesome Dove; it would have been hands-down fantastic!

However, as is I enjoyed Bill Pullman as the leading man; his every-day guy look made him more realistic and a nice change from the stereotypical square-jawed hunk. I also loved the cinematography of the picture; it really gives one the feeling of the West's vast, wide-open spaces. Truly stunning scenery, especially with the hauntingly beautiful soundtrack. And, while just a snip of the whole story, I felt the movie definately contained the spirit of Wistner's book. I really enjoyed the fact that it used the same manner of speech and kept the old-fashioned feel; a touching love story with simple, honest characters. Some may find it a bit mellow, but you need to remember that the book was written almost 100 years ago in 1902. I was personally thankful that they didn't try to snaz up the story in an attempt to appeal to a finicky modern audience; the book is a classic, and deserves to shine through as origionally written.

So, if you are willing to overlook a few flaws (mainly, rushing the story) I would recommend this version of the Virginian if you want a sweet, serious movie that is beautiful to look at ultimately touches the heart.

Surprisingly touching story with gorgeous music
This is one of the best westerns I have ever seen. After spending our vacation in Montana this year, this video made me yearn for that majestic loneliness and the strong sense of the importance of the individual. The unusual score also adds a mysterious, haunting quality to the film.

Yes, the story is a tad rushed, but the acting is superb. For a first time director, Pullman, certainly drew touchingly realistic portrayals from the fine cast. It is interesting to note how Pullman has "modernized" The Virginian by making him not such the perfect "natural man", ala Fennimore Cooper. He is rather a man filled with a sense of anxiety and doubt, but who also has a strong sense of his own worth and duty to the people around him.

"Smile when you say that, pardner!"

Director: Bill Pullman
Format: ColorRated: NR
Studio: Turner Home Video
Video Release Date: February 6, 2001

Cast:

Pullman The Virginian
Diane Lane Molly Stark
Dennis Weaver rival rancher
James Drury The Judge
Others: unidentified

A schoolteacher, Molly Stark, comes West to Wyoming and meets the Virginian who falls for her. He is made foreman of the Judge's ranch, but the ranch is competing with Dennis Weaver's (of Gunsmoke fame) ranch. There is also a rivalry between the Virginian and Trampas ("Smile when you call me that, pardner!"), who quits when he becomes foreman rather than take orders from him. The Virginian is forced to hang one of his saddle mates when he turns outlaw.

This story has all of the elements of a good Western, pathos, struggle, rustling, violence of which Molly disaproves, and causes tension between them very similar to that in High Noon, made later.

This is the story that started them all, and became the pattern for the genre and was the granddaddy of all of the nonsense "Wild West" mythology, including the ridiculous fast draw contests in the middle of the street, the fancy cowboy outfits, and the idea that murderers adhered to chivalric rules of combat instead of the backshooting, drygulching and murders that actually took place, just as in the Bowery, but in smaller numbers in the West.

Joseph (Joe) Pierre

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

Where the baby switching scene?
Even though author Wister is a misogynist, The Virginian is a great read. His Virginian is so human, such a hunk, so athletic and has such a devilish sense of humor that I immediately gave my heart to him. I was so excited when I discovered that wonderful Bill Pullman was going to direct and star in a television version.

It bears watching because there are a few really compelling scenes in it including Steve's hanging and the final shotout in the bar. The fabulous scenery is enhanced with helicopter shots of horsemen galloping thru a glorioius Canadian national park and the soundtrack of Smithsonian folk songs is so cool. In homage to television western, James Drury (The Virginian) is the Judge and Dennis Weaver (Gunsmoke) is the villian. Casting the beautiful Diane Lane as Molly Stark leaves no doubt why the Virginian falls for her. Bill Pullman's Virginian is physically appealing, a convincing cowboy, and a romantic lover but too old for the boyish protagonist.

Sadly, not enough time is spent making us care for the characters or understand their motivation or how they develop. The dialogue is pretty stiff and somewhat arcane. The book is really written from a man's point of view and I think director Pullman is trying to make it more romantic for the ladies. What seems to have eluded Pullman is the fact that the Virginian is a superior man but a flesh and blood man nonetheless. Personally, I miss the book's gentle humor so I am now trying to find a copy of the first version of this mov