Reviews (653)

Brilliant!
Magnolia is a hard film for many people to watch. The reason for this is that Magnolia is a film about what we watch movies to escape from... real life. That's what its about; forget the sprawling plot, Magnolia is about the trials and tribulations of modern life. It's about coping with regrets and fixing our mistakes. This makes for a very depressing film. It also makes for a very real film.

Filled with many different characters, its easy to find someone to identify with. Whether it be Frank TJ Mackey, a womanizing motivational speaker who refuses to come to terms with his father, or Jim Curring, a cop who's trying to find love while doing the right thing, you're sure to find someone who you love.

Stellar performances are turned in across the board, but that's no surprise looking at the cast. You stop seeing William H. Macy, you start seeing Quiz Kid Donnie Smith. The only weak link is Julianne Moore as Linda Partridge. She's way over the top, but its forgiveable if not dismissable.

Magnolia is one very smart film. It is filled with themes of redemption, courage, freak accidents, and God. Director Paul Thomas Anderson does not dumb these down for us; he does not insult his audience. He knows we are smart, capable people and leaves it all up for our own interpretation. It may be a little overwhelming, but that's why this is a great DVD to purchase. You can watch it repeatedly and pick up on all the little things you may have missed that make a big difference. On the suplemental disk is an interesting documentary about the making of Magnolia that offers much insight into PT Anderson and the way he works. The only thing that's missing is a commentary track by Anderson; he thinks the film speaks for itself. He may be a little off base there, but Magnolia is nonetheless a very satisfying purchase.

Best of the Year
I know "Magnolia" technically came out in 1999, but it's wide release was in 2000, and with this year not even half-over, I can honestly say that this movie is one of the best I've ever seen. With few and relatively minor flaws (such as trying to tackle 10 different storylines; some of them not resolved well enough by the 3-hour period)P.T.Anderson beautifully uses the camera to convey moods parallel to the characters that he writes. There are some surreal moments that are just flat-out cool, ie. the whole singing thing (that's being labeled as stupid, but aren't you supposed to leave reality at the door?) A great soundtrack that makes this movie as amazing as it is and a brilliant ensemble performance with stand-outs by Julianne Moore and John Reily (who plays the most damn convincing cop I ever seen). But I agree with the last review: Anderson should have focused on 3 or 4 storylines and explored them more. Even so, one has to admire it's gutsiness to take on themes like desperation and lonliness and do so with such conviction-

(There are also symbols in this film, which at times can be confusing-but after you see this, read Exodus:8 from the bible and some of your questions will be answered.)

Just for the record. . .
It really does rain frogs, though it is a rare occurance. I always get a bit peeved when people complain about that aspect of this wonderful film.

Do a little research. It shouldn't take you long to find a dozen or so newspaper articles documenting frog storms.

". . .but it did happen."

Original Artistic Masterpiece
This movie is a must see for anyone who appreciates artistic well thought out movies. If you are dumb then I don't recommend it as you will be unable to comprehend it's brilliance, most of the time these people will dimiss it with negative reviews just because they don't get it.
.... And I quote Bob Dylan ' Don't criticize what you can't understand'
A unique film run with fantastic acting and an undercurrent of genius. The music, Starring Aimee Man's Beautiful voice captures the atmosphere of the movie with insane accuracy as does the superb camera work. Well Done!

Powerful, impacting movie
This is not a perfect movie but I think it comes across powerfully. The acting is superb. Tom Cruise's character suits him well and Julianne Moore plays her part so daringly that I ended up hating her and then pitying her. The other actors/actresses all do a great job. The film is fast-paced, a good thing considering it lasts about 3 hours. There is a coming together of several seemingly unrelated stories. A common thread that I picked up is the severe pains caused by personal, self-serving decisions that hurt loved ones. The message of the movie is powerful and compensates for some of what I consider the movie's shortcomings--such as the seemingly constant yelling and cursing--much usage of the f-word (just like in real life) and several scenes drowned out by loud music and an odd even of the sky raining bullfrogs, an event that plays an integral part in the climactic ends to the several stories. ... Read more

Reviews (1)

Vitameatavegamin, Grape Stomping, Harpo Marx and more!,
Volume 1 of the "Best of 'I Love Lucy'" starts off with the classic "Lucy Does a TV Commercial" (Episode #30, May 5, 1952), Ricky is set to host a TV variety show and Lucy wants to do a live commercial for (all together now) Vitameatavegamin. Although she fails to win Ricky's support after staging a mock show inside their television set, Lucy arranges to get the gig anyhow. She starts off great, but the problem is that Vitameatavegamin contains 23% alcohol and with each rehearsal Lucy gets progressively drunker and funnier. Lucille Ball considered this the best bit, and one of the hardest, she ever did. Next we have the wonderful grape vat scene from "Lucy's Italian Movie" (Episode #150, April 16, 1956). The Ricardos are in Europe when an Italian movie producer tells Lucy that he wants her in his new film, "Grapola Pungente." Finding out the title translates as "bitter grapes," Lucy takes this literally and heads for the nearest vineyard where she has a memorable encounter with Teresa Tirelli stomping grapes in a vat. So right off the start, you have TWO of the THREE funniest Lucy routines (and the Candy Factory sketch from "Job Switching" is on Volume 2).

The other three episodes might not all be classics, but they are still very, very funny. "Lucy Does the Tango" (Episode #173, March 11, 1957), finds the Ricardos and Mertzes investing in 200 laying hens. All you need to do is hear the situation and you know that Lucy is going to end up with end up with egg on her face. Okay, egg on everything. In "The Freezer" (Episode #29, April 28, 1952), Lucy and Ethel buy a new walk-in freezer. But when they grossly overestimate its capacity, they are suddenly in the meat business. Of course, as soon as you see that walk-in freezer you know Lucy is going to get locked in it. Finally, we have Lucy's legendary encounter with "Harpo Marx" (Episode #125, May 9, 1955), which showcases Lucille Ball's physical comedy in a great scene with the beloved silent Marx Brother. The mirror sequence between the two was apparently a pain to shoot (and reshoot), but worth the effort just to see the two famous "redheads" go at it. ... Read more

Reviews (3)

amazing story of family
If you see only one Little House episode in your life, see this one!!!... It has been my favorite for years. It's really about forgiving, understanding, and loving your family through hard times. With all the things going on in the world, this is what it all boils down to, and this is what TV should be. This is just a beautiful movie with excellent family values, outstanding acting (Michael Landon's performance is one to remember), and a strong feel-good tone brought together to create a story you can appreciate and characters you can admire.

I definitely recommend this. And if you're new to "Little House," I would also recommend the others in the series. Check out some really good ones like "Remember Me," "Premiere Movie," "Craftsman," and many more. This is a show that will never lose its flavor.

BEAUTIFUL story of family and forgiveness
What a beautiful and touching movie. I have recently become a huge Little House fan, thanks to my mom who got me hooked on the TV series =) This is one of the most powerful episodes I have ever seen--it's so REAL and therefore incredibly effective. What I like so much about the Little House videos is that they have such strong family morals. This is a family that loves each other so much, you just want to cry because it is so touching. In "The Lord is my Shepherd," the spirited young Laura Ingalls gets nervous when a baby boy is born into their family. She sees her Pa with his new son and worries that the baby will take her place in her father's heart. Laura's jealousy is so thick that she refuses to pray for her brother when he comes down with an illness that threatens to take his life. But, as it turns out, Laura ends up being the most devastated one in her family when the baby dies. She feels that the baby's death is her fault, and she feels overwhelmingly guilty because she actually believes that her father wants a son more than he wants her. Lost in her own emotions, Laura runs away to the mountains and, through the grace of God, meets a kindhearted old hermit named Jonathan who befriends Laura and gradually counsels her through gentle advice and a sense of understanding. It is Jonathan who will help Laura come to the realization that nobody could possibly love and need her the way her Pa does (and if you watch some more videos in the series, you will immediately see how much he really loves and cherishes Laura). It is a truly beautiful story that moved me so deeply. Both Laura and Pa learn valuable lessons about unconditional family love. The Ingalls family paints a clear picture of what family is all about. The acting here is strong, solid, and consistent. Melissa Gilbert is heart-melting and sincere as little Laura, and Michael Landon is absolutely incredible in his role. To me, he IS Charles "Pa" Ingalls, and the only one I can imagine fit for the part. He may very well be one of the most masterful actors I have ever seen. He plays the role to the max, and he becomes the character both inside and out. His acting is so strong--in fact, all of the acting in "Little House on the Prairie" is amazing. Sorry if I ended up writing too much--but when it comes to movies like this, there aren't enough words in the world to describe how good they are. "The Lord is My Shepherd" is a beautiful, beautiful story with all the morality, love, and sensitivity that you could ask for in a movie. Blended in with the hardships of pioneer life and a vision of the courageous individuals who lived through it, it makes a pretty impressive movie that you can watch with your entire family. Don't wait any longer to watch these shows--I truly do hope that you will buy some of them, because I'm sure you will be very moved and inspired by the message that they have to share. (sorry again for making this too long!!!)

the lord is my shepard: Little House on the Prairie
I like this video because of it's family values it has. The sence of family unity. I just love shows that are wholesome and that I can watch with my children. And Little House has that.They don't have any bad words or naughty senes in it. And still it lasts through time. That proves that wholesome entertainment lasts the test of time and people truely like that best. ... Read more

Reviews (68)

No doubt, BEST DISASTER MOVIE EVER!
Firstly, this movie deserves praise for Faye Dunaway's dress that she wears throughout the entire film. But movies shouldn't all be beautiful women in provocative clothing, this movie has it all. Produced by Irwin Allen, who produced "The Poseidon Adventure" before this movie. Allen bested himself in this flick.

The story is relatively simple; the world's highest skyscraper catches on fire. There is a large party on the top floor, and we watch as people fight for survival as the fire creeps towards them. Only Steve McQueen playing a streetwise firehouse captain, and Paul Newman acting as the tower's architect can stop the fire before everyone inside dies. As I was re-watching this film I couldn't help but think of the similar situation faced by many in the 9-11 attack. Their result was not as positive.

throughout the film there are too many people, too many relationships, and too much death to keep track of everything. However, the important people to watch are Fred Astaire, Faye Dunaway, Paul Newman, and Steve McQueen. This is the only real weakness to the film.

Also, for a film that is approaching 30 years old the special effects are still good, and that will make this a good film for a long time. The images of the tower burning, the fires, and the stunts are superb.

At times, the acting in this film can seem a bit stiff. That's early on, however after the first 20 minutes of the film everyone seems to find their place in the film. One of the notable performances is done by O.J. Simpson, who plays as a senior security guard. The interplay between McQueen and Newman is also well done, especially since there was a good chance of major dorkdom in the architect of the "perfect" building versus the blue-collar fireman plotline.

Some may complain that the movie is slow, and maybe by modern "immediate gratification" standards it is, I say that the tension builds, you care about the characters, many of which, and are left at the end of your seat. And I was watching the thing on a computer; imagine what a decent entertainment system will do.

This definitely is an "essential" film.

An epic disaster film! Not to be missed!
I remember first seeing this movie at a very early age. As a child, I loved this movie for it's spectacularity. As an adult (sort of), I love it for the acting performances of it's marvelous cast.

This is a disaster movie. During the seventies this type of movie was extremely popular, with timeless hits such as "The Poseidon Adventure" and "Airport".
Disaster films seemed to have lost their appeal during the eighties but recent hits like "Armageddon" and "Titanic" show that this type of movie is still very popular and here to stay.

In San Francisco, the tallest building in the world, "The Glass Tower" has finally been completed. An awesome superstructure and the new icon of the city.
On the night of the dedication ceremony on the 130th floor a seemingly harmless fire erupts fifty floors below the partying crowd. When the situation grows out of control their pleasant happening turns into a nightmare struggle for survival.

With some of the best actors of that time (Paul Newman, Steve McQueen, William Holden, Faye Dunaway and Fred Astaire to name a few), true drama and an absolutely convincing inferno this movie deservedly took the world by storm!

Got a Match?
Somebody once asked James Garner's character on "The Rockford Files" TV show if there was nothing he wouldn't do for money. He wouldn't kill for it and he wouldn't marry for it, he said, other than that he was pretty much open to suggestions. Paul Newman and Steve McQueen must have been open to suggestions when they ok'd this turkey, and I wish they had said no. The world's tallest skyscraper is burning due to shoddy construction work, and architect Newman and fireman McQueen would like to put it out before the entire cast is incinerated. On top of the building are a million gallons of water in reserve Newman forgot about in all the excitement. Why this 2500 ton weight hasn't gone crashing into the basement we are not informed but the daring duo manage to blow up the tanks and there's your happy ending. O J Simpson rescues a cat and Fred Astaire, after a lifetime of giving the American movies some of their greatest moments, was awarded an Oscar for enduring this production.

A better film than is often assumed
More than 10 years ago, Roger Ebert and the late Gene Siskel did a special edition of their program that examined "The Early '70s: The Last Golden Age of American Film." It was a great show, with a look at each nominee for the Best Picture Oscar for the years 1970-1974, and then which film Siskel and Ebert would have chosen as the winner.

When the duo got to 1974, and a split screen revealed the five Best Picture nominees for that year, Ebert expressed some amusement at "The Towering Inferno's" nomination, when compared with the others ("Chinatown," "The Conversation," "Lenny" and the winner, "The Godfather Part II."). But while it was not the best film in a truly great year for the medium, "Inferno" did deserve to be considered one of the best.

This is polished, professional filmmaking. It was not intended to be a scathing expose of construction politics, or an actor's showcase. "The Towering Inferno" never tries to be anything more than an action spectacular, pure and simple, and on that level, it has few equals.

The film has been criticized for being almost gleeful in its depiction of various deaths, but I'm not sure what those critics would have had directors John Guillermin and Irwin Allen do. The story is about a giant skyscraper on fire, which means that the primary dangers involved are burning, falling, smoke inhalation and being buried under tons of debris. All of these are horrific, and "Inferno" conveys that horror.

The movie takes on a different hue than the Irwin Allen film it's inevitably compared to, "The Poseidon Adventure," the minute Steve McQueen arrives at the scene as the San Francisco Fire Dept.'s battalion chief, O'Hallorhan. Unlike "Poseidon," in which a small band of ship passengers follows a layman toward safety, the "Inferno" disaster is going to be taken on by a competent, experienced professional, leading other professionals. McQueen conveys an authority that anchors the film.

None of the acting struck me as truly bad, even in action-oriented scenes that called for broad playing. Aside from McQueen, my favorite performances were those of Susan Flannery and Jennifer Jones. Flannery makes the most of a small but memorable part as Robert Wagner's love interest, while Jones, looking very good for a woman of 55, plays the kind, heroic love of Fred Astaire's con man character.

Fred Koenekamp's cinematography received a well-deserved Academy Award, as did L.B. Abbott's special effects. The song "We May Never Love Like This Again," sung by Maureen McGovern, also won an Oscar, though I found it to be forgettable. "The Poseidon Adventure's" similar "The Morning After" is much better (which will certainly be faint praise to some).

John Williams' Oscar-nominated score would have been a perfectly reasonable choice as the winner, though Jerry Goldsmith's evocation of film noir classics for "Chinatown" was probably the year's best. Carmine Coppola and Nino Rota wound up winning for "The Godfather Part II."

Williams is in majestic form here. The main title is appropriately busy and exciting, the love themes for the Paul Newman/Faye Dunaway and Astaire/Jones duos are poignant, and the finale is one of the masterpieces of the art. This is a justifiably a favorite score among film music buffs, and Williams' greatest triumph, in my opinion, until "Star Wars" in 1977.

"The Towering Inferno" is a must for action film fans, and the finest representation of the "disaster film" genre.

The Glass Tower - tallest building in the world... on fire.
After a long vacation, away from the hectic city life, Doug Roberts (Paul Newman) returns to San Francisco in order to participate in the opening of his newest architectural wonder, The Glass Tower - tallest building in the world. The seemingly perfect skyscraper has one big flaw as James Duncan's (William Holden) son-in-law has received kick backs to ignore Doug's requests on the top-of-the-line electrical circuitry. The installed electrical circuits cannot handle the electrical use of the Glass Tower and on the opening night a fire begins on the 81st floor, which Fire Chief Michael O'Hallorhan's (Steve McQueen) men try to get under control while the opening party is taking place on the 135th floor. Towering Inferno has an immensely talented cast (e.g., Faye Dunaway, Fred Astaire, Richard Chamberlain and many more), however, the cast cannot enhance the cinematic experience. Overall the film is hurt by the many scenes that go on ceaselessly as the director attempts to create suspense through tedious climbing and rescue scenes. This occurs through occasional lapses in realism in the film, such as the ending, prevent the audience from receiving a top notch suspenseful drama. Instead the audience is left with an epic rescue mission that seems endless, and leaves the audience with a barely acceptable cinematic experience. ... Read more

Reviews (13)

A powerful film about a brother's love -- and high art
I'm more than someone who appreciates the art of Vincent van Gogh -- I'm a painter and writer. I was influenced by the work of van Gogh at a young age, and through my years of struggle for self revelation, the power of his work has only grown in my mind. I came across this film about van Gogh in the early 90's and it immediately struck me as the most powerful piece of cinema -- about art or otherwise -- that I had ever seen in my life. Everything ugly and everything that is beautiful about the pursuit of art is effectively portrayed in this film. Where "Lust for Life" sugar-coated elements of the artist's life, in this film we see the dark side of Vincent's life without apology. Well shot and very well acted in a straight forward, no nonsense manner. Written very true to life -- Tim Roth BECOMES Vincent to a frightening degree. I've seen virtually every movie about art and artists -- nothing comes remotely close to this movie for its harshness, truth, and beauty.

Beautiful and sad
Of all the movies I have seen none have captured more sad images than this one. There are scenes in this film that will break your heart. Van Gogh was one of the most misunderstood figures in art. When his name is mentioned we always think about the ear, or about paintings with thick harsh lines that almost resemble a child-like technique. But who really knew the man? His brother Theo. And through his eyes and letters we learn about the madness and the sorrow that permeated his life. Vincent wanted to love but he was so enshrouded by the creative process that he could not be a good father or husband. Sure he was gentle and had a sense of decently, but was incapable of carrying out such a "mundane" task. His heart and head had higher aspirations but during the time in which he lived, people did not understand or appreiciate his work. Vincent wanted friendship and communication but often he was belittled and mistrusted. Other than his brother, Gaugin tried to reach this tortured soul. But by the age of 37 Vincent had given up.

This story is so often repeated. Robert Altman's film helps us understand that creative people can sometimes be totally ignored--only to have a far-off generation appreciate them

But that's the tragedy ...

The Bimbo from Atlanta Georgia Should Re-Watch this Film !!!
This is a Very Moving Film and shot in a very Stark and Realistic manner...Guess She was Just Too Mentally Challeged to see that !!! Gabriel Yared score is meant to make the viewer Uncomfortable just like the unrest in Van Gogh's mind...Guess She is Too Dense to catch that too !!! Must be a Peroxide Bottle Blonde :) Lol...HA,HA,HA The Acting was GREAT TOO !!!

back to the drawing board
This film was a drastic disappointment. First of all, the soundtrack was horrendous - more like a piercing of the inner ear in its often violent screeching...if the composer was trying to relay van gogh's angst and madness, he suceeded more so in annoyance, when at times the music overshadowed and drowned out the dialogue. The story, although delivering passionate exchanges between the two brothers, flatlines in character development - it is mostly devoid of warmth, failing to draw the viewer in to the soul of the brothers van gogh...one is left feeling pity for the pathetic dysfunction, rather than empathy for van gogh's passionate longing, joy and despair.... i have said for years that no one has yet portrayed van gogh's life properly in film, and i will continue to have this opinion until some brilliant filmmaker (with brilliant composer in tow) does justice to this brilliant and misunderstood artist.

Intimate portrait of Vincent Van Gogh & his brother
"Vincent and Theo" is an atypical film for Robert Altman - no repartee, no overlapping dialog, almost no humor, little overt social commentary. But who better than this fiercely independent and creative director to paint a cinematic portrait of the intense, complex relationship between the wildly creative and eccentric 19th Century artist, Vincent Van Gogh, and his brother, Theo?

The movie covers only the last years of their short, extraordinary lives, but these are among the most important historically because Vincent produced so many masterpieces during them. I assume the screenplay is based on the many letters the brothers sent to each other. Considering the chaos that filled their lives, it is almost miraculous that Vincent's works survived, not to mention the letters. Vincent and Theo certainly didn't survive the chaos.

Tim Roth and Paul Rhys are brilliant as, respectively, Vincent and Theo. Ordinarily, it might be irritating to have two main characters with so many tics and odd physical mannerisms, but the idea works here because it cements the illusion that the two are brothers in every way. Vincent may have the artistic genius, but in every other way, they are cut from the same mold.

The photography is stunning, especially in the sections where we see the scenery colored much the way Vincent might have seen it. The locales are well chosen, and the sets and costumes look appropriately late 19th Century European.

One of the advantages of modern cinema's freedoms is that it can show historic figures with warts and all, and Altman takes full advantage of this. Vincent is scrawny and has rotten teeth, while Theo is obviously syphilitic. Not to disparage biographical movies of fifty years ago, such as the 1956 film about Van Gogh, "Lust for Life" with Kirk Douglas, but I find these modern visions much more truthful and accessible. Somehow, by humanizing such people, their genius seems somehow more amazing and profound.

This is one of Altman's more difficult movies, but it is also one of the most rewarding. If there is a social message to it, it must be this: As a society, we have forgotten or dismissed the idea that artistic geniuses are, more often than not, not blessed with certain important social skills. This is a primary reason why they must and should be supported, just as Theo selflessly provided emotionally and financially for his tormented, graceless brother who sold just one painting in his lifetime. Theo was reputedly the buyer. ... Read more

Reviews (447)

The best Bond film yet.
The 19th MGM James Bond-007 movie is here. It's probably the best movie yet. It has the best stunts.

Filmed in: England, France, Spain, Turkey, Azerbaijan, and the Bahamas. The name is taken from 1969 On Her Majesty's Secret Service when James takes a look at his coat of arms and is told that the family motto is: The World Is Not Enough.

Of course, Pierce Brosnan returns as the role of 007. Sophie Marceau as the murdered tycoon's daughter, Elektra King. Denise Richards as nuclear expert, Dr. Christmas Jones. Robert Carlyle as the doomed terrorist, Victor Zokas aka Renard. And John Cleese as R, Q's assistant. The movie also sees Robbie Coltrane's return as Valentin Zukovsky and Judi Dench 3rd appearance as M, the boss.

The plot involves Sir Robert King, an oil industrialist. He buys a report about the Soviet's missile department accidentally thinking it contained info about the terrorists attacking his pipeline in the East. Surprised to find out his money was wasted, a Swiss banker retrieves the money. M sends 007 to pick it up. But the banker, Lachaise, is in for a surprise. The report Sir Robert bought was stolen from an MI-6 agent who was killed for it. Knowing Lachaise knows who killed the agent, Bond threatens him. Unfortunately, Bond only escapes with his life and the money. No name. After a spectacular scene, Sir Robert is dead. Days later, his daughter Elektra takes over the construction of the pipeline. But 007 suspects there is something suspicious about terrorist Renard, the King organization, and even Elektra herself. M refuses to listen to 007's crazy instincts. Only Dr. Christmas Jones & Valentin are on Bond's side.

The movie sees Q's retirement. And a good thing too. After all, the DVD isn't dedicated to Desmond Llewelyn for nothing. However, Q has given the Q labs to R. Probably a bad choice. R will talk you through putting a shirt on!

The language features are: Languages-English and French. Subtitles-English, Spanish, and French.

Special Features. Music video performed by Garbage (the band). The Making of The World Is Not Enough. Audio Commentaries. The Secrets of 007-alternate video options. Theatrical Theater.

Well, that's about everything this DVD includes. Hope the review was helpful.

Bigger and Better!
Here's a Bond film that deserves to be ranked among the best in the series. Along with the usual Bond formula of high tech gadgets, one-liners, and of course, the Bond girl(s), this latest installment also provides a story with a different twist. Throw in a combination of mind games, an unusual villain, exotic locales, and amazing stunts and you get an explosive, testosterone driven, eye-candy, action-packed thriller with a dash of high quality performances. One sequence in particular is the high adrenaline boat chase along the Thames River that takes place very early in the movie. Cool stuff!

The story delves much deeper into the psyche of James Bond than previous 007 flicks. Pierce Brosnan plays a much darker and vulnerable 007 in his third run as the British super agent spy James Bond. The World Is Not Enough also showcases the acting talents of Dame Judi Dench (who plays M) and Sophie Marceau as well as many others. John Cleese, of Monty Python fame, also plays a role in the movie as the heir apparent to Q. Every character played a larger role in this movie, in which, there were times when I felt James Bond was a supporting character rather than a leading one. There is definitely no shortage of star power in this movie.

A few things I didn't like about this movie (just my personal opinion mind you) were the opening Bond song, the paraglider-ski sequence, and the miniature scaled models. Yuck! Still though, this latest 007 thriller gives a good ride! Humor, international intrigue, and plenty of action. This is a James Bond of the 21st Century and I hope Pierce Brosnan sticks around to do many more like this one!

Bond is the best of this time......Dry,humorous,and elegant,
Mr.Bond is ranking itself as the highest of his quality,and is back once more,but this time dry as a glass of martini,and elegant as far as he could ever get,making his job as right as Beethoven while composing his 9th.
James bond,her majesty's loyal star,is back in a very different style and story;He is involved in a complex of a villian trying to take over the world with his lover's own oil pipe line. The thing is,you see,he feels no pain.Nothing.Amazing,as it is surprising for the first time to hear it. Elektra,the new bond girl,is to my own taste one of the best bond girls ever in the series,simply because she has many sides to be related with,and sophie marseau,the actress,bringing an excellent performance in the role of Elektea.The other bond girl,christmas,portrayed by denise richards,has a small relation to a bond girl,but still interesting,though.
As well as the deep and dark plot which develops suprisingly,we also discover a more darker side inside the familiar characters,like M,for example,Which makes this movie special and wonderful.
Also,We are introduced to the the next Q(The great,humorous,and giant John Cleese,from the mighty "Fawlty towers" and "Monty Python's flying circus"),Which is,and believe in my own words,the best there is to portray the charcacter of Q.He is doing it very,very well.
You are going to see a different bond,a new bond,a complex and dark story,the best british humor ever brought to a bond film, and,of course,James Bond himself,Pierce Brosnan,is worth all of the bond touches and twists.
You think you can give me the whole world?
Well,the world is not enough,maybe,but the movie,believe me,does.

"I never miss"
This is the best film to date in the series, hands-down. It may not have the classic charm of Goldfinger, but a couple of viewings (something most people aren't willing to credit a Bond film with) reveal a film which is incredibly substantial, in an unprecedented - and unnecesary - way. It could get by on the charm of the locations, one-liners etc., but it still tries to put together a credible and interesting plot, and it succeeds.

The most obvious credit to the writers is Carlyle's brooding, existentialist villain, which reminded me of The Misfit in O'Connor's 'A Good Man is Hard to Find.' Carlyle, in surprising contrast to his turn as the psychotic Begbie in Trainspotting, plays the role with just enough subtley and understatement, making the character's evil much more believable than the cackling megalomania of earlier specimens. What I also like about the screenplay, though, and what isn't immediatley apparent, is that it casts some doubt on the role of Bond in the world. In other movies, he seems to have an absolute moral imperative, able to gun down scores of people without any consequence, simply because his enemies are abosolutley evil. In this film, though, among the ruins of the USSR (a theme already explored in Goldeneye), there's more gray than black and white, and the circumstances don't allow him to get off so blamelessly; ultimately he has to do something which he might might regret. It's far from making him human - if that were to happen, it would undermine the whole promise of the series - but it's an interesting take. Then there's the way the plot works in minor characters, like Judi Dench's M and the Russian gangster Zukovsky, both of whom provide a usually self-reliant Bond with indispensable help, while Zukovsky experiences the closest thing to character _development_ which anyone has probably ever experienced in a Bond film. As for Richards, I don't know what she's doing there, either, and probably it would have been a stronger movie without her, but at least she's hot.

What's The Point of Living If You Can't Feel Alive?
THE WORLD IS NOT ENOUGH (known to Bond fans as TWINE) may be Pierce Brosnan's finest outing as Bond to date. A more complex and nuanced story than most recent Bond films, TWINE recaptures a good part of the exotica and international intrigue of the Bond series as first conceived.

The precredits sequence sets up the story nicely: Sir Robert King, oil magnate and friend of "M" (Judi Dench) is killed by booby trapped money delivered to him by Bond. All roads lead to Rome, the roads being clues, and Rome in this case being represented by Electra King (Sophie Marceau), Sir Robert's beautiful daughter, who was the victim of a recent kidnap plot hatched by the mysterious Renard, a terrorist rendered unable to experience pain by a bullet lodged in his skull. "M" dispatches Bond to protect Electra, who has taken over her father's petroleum empire in central Asia.

From the moment he arrives in Azerbaijan, Bond is a hunted man. Although first enamored of Electra, Bond soon realizes that there is something amiss.

In TWINE, Brosnan resurrects the dark Bond of FROM RUSSIA WITH LOVE. His dual nemeses, Electra and Renard, are ably played by Marceau and Robert Carlyle, who both bring some surprising depth to their characters. Electra is particularly sympathetic, being both the brainwashed victim and willing accomplice of Renard. She is by turns sexual and ingenuous, vulnerable and implacable. Marceau is breathtakingly beautiful.

Carlyle's Renard, trapped in a body that can't feel, exudes both pathos and hatred as he plots the destruction of the democracies.

Dench's "M" plays a central role in the film, far larger than any "M" before her. The film is notable for being the last appearance as Desmond Llwellyn as "Q". Llewellyn, who played "Q" in almost every Bond film after 1964, died in a car wreck just days before the theatrical release of the picture, and John Cleese was cleverly edited into the film as his replacement, "R".

Denise Richards has the weakest major role, playing Dr. Christmas Jones, a nuclear physicist. Richards could have been left on the cutting room floor in her entirety. More's the pity, because Richards is a strikingly beautiful woman who is entirely upstaged by the exotic, erotic Marceau. Besides being a rather miscast improbable genius in cargo shorts and a tank top, Richards' character has even more of an "afterthought" feel than "R" does, as if the producers just couldn't tolerate the idea of the film ending with an unredeemed Electra King and no virtuous love interest for Bond.

Two hours and some of intelligent action-adventure, THE WORLD IS NOT ENOUGH fulfills all expectations. ... Read more

Reviews (131)

Comparisons are inevitable; they're also unhelpful
The comparisons are of course between THE LONGEST DAY and SAVING PRIVATE RYAN. The only similarities are: both movies depict the allied landings at Normandy on D-Day, they are tributes to the servicemen of WWII, and most importantly, both are good movies. That said, general comparisons are unhelpful because the realism that made Spielberg's movie so memorable is totally absent from THE LONGEST DAY; for two very good reasons: (1) technically, the capability was unavailable in 1962 and (2) morally, that level of graphic violence would have been unacceptable. Also, Mr Zanuck, as director, did not want to make bloody messes of his numerous stars.

Realism aside, on its own merits THE LONGEST DAY is a tribute that has stood the test of time. The huge collection of stars (over 40) and the near 3 hour length qualifies it as epic. On an emotional level, it is a patriotic salute to the soldiers who went ashore. With a scope larger than Omaha beach, the focus is not exclusively American; the movie depicts the role of the British, and other allied troops, as well as the work of the French resistance. German dialogue is subtitled to add some realism. Perhaps the best aspect of the movie is that as an adaptation of Cornelius Ryan's book of the same name, it is based on a historically accurate account of the battle.

For realism, patriotism, and a sentimental heroic story, only partially based on real events of D-Day, watch SAVING PRIVATE RYAN. For an old fashioned, "clean" war movie based on history with good acting (Henry Fonda, Robert Mitchum, John Wayne, Curt Jurgens) watch THE LONGEST DAY. Better yet, view both, just don't spoil the experience with a lot of comparisons.

The Longest View
Unlike Saving Private Ryan, The Longest Day was filmed to dramatize the true, unfolding story of the invasion of France beginning several days before the invasion, which was documented for all time by journalist Cornelius Ryan. Ryan did something few historians have successfully accomplished since the end of the war. He compiled thousands of interviews and wrote a realistic account of the invasion which reads like a suspense and action novel. The movie seeks to combine many characters taken from Ryan's book, and is therefore fiction as well as history, but it is masterfully done and is otherwise true to history. Stereotypes of incompetent German officers and troops, so common in film and television of the early 1960's was not a problem in this movie, nor is the graphic violence of Private Ryan observable. The true story is the focus of the movie, and it was made primarily for veterans who had seen the real violence and had fought tough, intellegent and brave Germans, and had no need to be reminded of those horrors. They did have a desire to see their sacrifices and trials acknowledged alongside the background of historical context. It is a gripping movie. A side note for those who might want to compare The Longest Day with Saving Private Ryan. These should compliment each other, not be compared with each other. The audience for The Longest Day was primarily the veterans, their peers and children. The audience or Saving Private Ryan is primarily the grandchildren of the veterans, young people who are in the main, quite ignorant of history. There is no doubt that Saving Private Ryan is more accurate a portayal of historical American and German weapons and villages, but this was not even attempted in the Longest Day. If you will read The Longest Day before watching Saving Private Ryan, you will see that the sites and sounds remembered by many of the interviewed veterans who were at Omaha and Utah beaches somehow happened at the same time and place in Saving Private Ryan. That makes Saving Private Ryan as inaccurate for what it shows, as is The Longest Day, for what it doesn't show. Both movies are excellent, and both are moving.

IT HAS NOT STOOD THE TEST OF TIME
Director Darryl F. Zanuck tried his best with the technical resources at his dispostition at the time and using the narrative standar for epic movies of that time. But watching this movie today is a really act of courage. It drags and drags, the three hours seem to never end. Also, even if they tried to give a view of the global situation, they failed miserably.

The movie is an endless sequence of shell and fire sounds, a really pain. I simply don't like the movie, although I understand what they tried to do.

Only a Partial View of D-Day and Operation Overlord
Although this film is certainly worth watching, the viewer who has little idea of what Operation Overlord was about won't learn very much about it. Of course, we see many examples of heroism, but so much was left out that one can easily get a distorted view of things.
(1) Contrary to the impression that the Hollywood movie industry gives, the Americans and British did not defeat Germany alone. Three-quarters of the strength of the German Wehrmacht was destroyed by the Soviet Union. I realize that this film was made a the height of the cold war, but still some mention should have been made of their contribution to victory.
(2) The most impressive part of Overlord were the meticulous preparations made. Some mention of it was made, but more of it should have been shown, such as the various special weapons and ships that were made to ease the assault on the fortified beaches. Archive film could have been easily procured to show the various devices used to clear mine fields and barbed wire.
Most crucial was the development of the "Mulberry" artificial ports.
(3) This film used several Germans as advisors such as Blumentritt who were in the Wehrmacht High Command. They use this film as a vehicle for pushing the now largely discredited line that "if only Hitler had let the Generals run the war, they would have won it for him", and the also the myth that they opposed Hitler and held nothing but contempt for him (von Rundstedt calls Hitler "that Bohemian Corporal" in the film). In reality they were all very loyal to him and they really strongly supported him and his criminal policies when they were winning the war.
(4) The importance of the deception campaign making the Germans think the assault will be at the Pas de Calais and not a Normandy was very important and continued even after the landing on D-Day to make the Germans think Normandy was just a diversion.
This was not mentioned. A whole "virtual army" was created with fake radio traffic opposite Calais. This could have been shown as well.
(5) Although I have nothing personal against the man, John Wayne is a very poor actor and I have no idea where he got his reputation as one of Hollywood's leading men!

The Longest Movie
I watched on June 6th 2004 "The Longest Day" to learn about D-Day June 6th in 1944. In general it was a painfully boring movie. I accomplished my goal of learning about D-Day, but it was at a cost of wasting about three hours of my life. It is my belief that this story could have been told in one and a half hours instead of three. ... Read more

Reviews (13)

good direction, solid scares, horrible acting
This was the only movie directed by Dario Argento that my local Blockbuster carried, and even though it was in a censored R-rated cut, I must say I liked it. At its best, "Trauma" invoked late-70's/early-80's John Carpenter, and was easily one of the scarier films I'd seen in a while. However, the acting (by a predominately American cast including Frederic Forrest, Piper Laurie, and Brad Dourif) was mostly over-the-top and horrible. And now, after seeing such Argento masterpieces as "Deep Red," "Suspiria," and "Tenebrae," "Trauma" really pales in comparison but is still good. It might be more easily accessible to someone who hasn't been exposed to Argento before, but for hardcore fans it's only a lukewarm offering.

All the ingredients of an Argento film BUT...
Argento seems to be able to make GREAT horror as POOR ones. With a plot he already used a couple of times and filmed like he did also a couple of times, Dario Argento offers his daughter, not a bad actress at all, in one of his average work. It's no his worst movie but it's not fantastic either. The Hitchcock theme sounds sometimes like a very low budget music score, a pity! For me, not the revelation of Dario Argento's Art...This film could have been released decades ago, it's more like he didn't evolve at all and he simply makes the same recipe again and again. For ARGENTO fans only : You will find the mark of the master in this.

Fascinating Guilty Pleasure
Well, this is THE movie that trapped me into Dario Argento's horror world in no time-- the first one of his I've ever seen (not counting Demons which wasn't directed by the master himself.) Filled with bloody violence, sickly twisted family liaison, and absolutely over-the-top campy fun. A masterpiece? Depends what your definition is. I think it's one of it's own kind. Asia was adorable (and still is.) Above all, I love Piper Laurie in this movie, period. Can't wait for the DVD to come out.

Not one of Argento's masterpieces
I was lucky enough to find a tape of the uncut edition of TRAUMA. Yet again the story features a serial killer, this one named the Head Hunter because his prefered method of killing is decapitating his victims with a bandsaw. After a teenage girl, Aura (Asia Argento, the director's daughter) witnesses the deaths of her parents at the hands of the Head Hunter the trauma lands her in a mental hospital... but still the killer comes after her, determined to finish what he started. The psycho also has a strange M.O: he only kills when it's raining.
TRAUMA is generally pretty tedious, with little evidence of the director's trademark stylistic flourishes. Rather disappointing, though Asia Argento gives a good performance; and there are a couple of memorable bits: the sequence where a woman's decapitated head speaks; and Brad Dourif's death scene. Piper Laurie co-stars, but you're better off watching PHENOMENA (aka CREEPERS) or SUSPIRIA. And what's with the reggae music at the end?

Weird yet compelling little horror movie.
Weird yet compelling little horror movie brought by Dario Argento, Trauma was his first production done in America.The story is,in most of its part,typical of 80's slasher pictures, but the idea of a "Head Hunter" killing people around is somewhat original and also responsible for some of the most grotesque scenes I've seen in a horror movie(like the scene of a decapitated woman whose head keeps talking for a while).The usual Argento stuff is all over Trauma: the different and frantic camera movements, the violence and the strange characters.For those who like Euroshock films, Trauma is a good buy from Amazon[.com]. ... Read more

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Before there was Quincy and The Practice, there was Rumpole. Rumpole of the Bailey is, quite simply, one of the best television series ever and has served as a model for all law dramas that followed it. Edgy and satirical, Rumpole is based on John Mortimer's books of the same name. A determined and committed criminal defense barrister at the Old Bailey, or criminal court (whose clients have included three generations of the Timson family, among others), the antihero Rumpole is portrayed by esteemed actor Leo McKern. As champion of the downtrodden, the self-righteous Rumpole finds himself again and again in trouble variously with his wife Hilda, his peers, the head of chambers, and judges, to name but a few. A connoisseur of Wordsworth, cigars, and cheap liquor, McKern's usually disheveled Rumpole belies the character's dry sense of humor and astute skill as a barrister. The upwardly mobile Hilda is played by Peggy Thorpe-Bates, known for her Miss Toliver in Alcatraz Island (1933), and Justice Sir Guthrie Fetherston is played by Peter Bowles, known for his Richard DeVere in TV's To the Manor Born.

Volume 18 features two episodes. First, in "Rumpole and the Quacks," Rumpole battles the formidable Phillida in court to defend his doctor, accused of sexually molesting a patient. Next, in "Rumpole for the Prosecution," Rumpole takes on a rare role as prosecutor to investigate a policeman who may not have been properly charged for murdering a girl.

Typical of British drama, production values are low while the caliber of script-writing and acting is unsurpassed. A rare example of a television serial that is as appealing and engaging after watching it 10 times as it was the first. --Erik Macki ... Read more

Reviews (34)

A Comedy Classic with an All Star Cast!!!
I saw this movie on cable, several times, I watch it every chance I get, I don't personally own it, but it will soon come into my DVD collection. The main character is played by Danny DeVito who plays philandering, money hungry tycoon Sam Stone(Danny plays this character with such relish) who has made enemies of the couple played by Helen Slater and Judge Rheinhold, whom he has wronged. They retaliate by kidnapping his wife played by Bette Middler. Put it this way the kidnappers end up being the most likable characters in the movie, with all the manuevers done by Sam Stone, his mistress played by Anita Morris, her dumb as a rock boyfriend played by Bill Pullman, the Police Commissioner, and the unsuspecting wife played by Betty Middler, who hopes to be rescued by her husband. It is funny, intelligent and it takes you for a cool entertaining ride with it's plot twists.

An 80's comedy time capsule!
I hope everyone didn't forget that Bette Midler was the highest grossing female film star of the 80's! This is the classic that will prove how she got the attention. This was released after Down And Out In Beverly Hills which brought Bette back into popularity at the movies. In fact, Down... is probably considered her funniest movie. I think Ruthless outshines all her comedies. It's sooo 80's, too! Scene after scene, this movie moves along with no time to be bored. Acting is perfect by all. Although Danny and Bette are never seen together until the end, they look so cute together. Danny Devito wants his abrasive wife kidnaped! Judge Reinhold had his multi million dollar idea stolen from Devito. Devito's mistress wants his money. And did I mention the serial killer? Very funny! I hope this will soon be re-released on DVD!

Fumbling kidnappers join forces with victim
Bette Midler in yet another one of her pain-in-the-neck roles. The wife of a wealthy man (played by Danny DeVito) is kidnapped for ransome by a desperate young couple (definite novices to the kidnapping racket), only to learn that DeVito has no intention of paying up, as he had long been tired of his nagging wife. DeVito plays up the heart-broken husband to police, while Midler and her captors are devising a plan to get even with the s.o.b.

There are many hilarious scenes, and even some moving moments of emotional sweetness, but soon past the half-way mark the engines lose steam. By the time everyone reaches the finish-line, the hot-cake has definitely cooled off. Still an enjoyable piece of light-hearted comedy, slap-stick, non-sense and all.****

'I've been kidnapped by K-Mart!"
Extremely funny movie. Danny Devito plays the part of a husband who married his wife for her money and now wants to get rid of her (he's got a girlfriend on the side). Bette Middler plays the loud-mouth rich wife. Just when Devito decides to put his plans into action, she is kidnapped. He is thrilled and refuses to pay the ransom hoping the kidnappers will follow through on their threat to knock her off if he doesn't pay up. While he's laughing and celebrating, the police think he's mourning. The kidnappers find they've taken on more than the average kidnapped victim, especially since they are really a soft-hearted couple who felt Danny owed them for ripping off the wife's idea. Bette Midler is no tame, soft spoken woman.

The movie is one of those side-splitting comedies that is great from the start to the finish! Enjoy!

Ruthlessly Funny
Sam Stone only married his wife, Barbara, for her money. Now he's anxious to get rid of her. Before he can do the deed, though, someone does him a huge favor by kidnapping her. What could be better? All he has to do is not pay the ransom and his problem is solved. Barbara's bungling kidnappers find themselves stuck with a worthless hostage.

RUTHLESS PEOPLE is a very funny movie. It's well plotted, well acted and keeps you laughing all the way. While not quite a classic, it was one of the top comedies of the mid-80's and resurrected Bette Midler's movie career. My only caution is that this is definitely NOT a movie for kids. Crude language is scattered throughout and there is some blatantly sexual material. While it might offend a few people, it's pretty mild by current standards. You could see almost as much in a Super Bowl halftime show.

I've liked RUTHLESS PEOPLE ever since I first saw it at the theater. It's a first-rate adult comedy. If you'd like some laughs, this is a good choice. ... Read more

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Writer-director Woody Allen has produced yet another challenging and funny film, this time taking on the musical genre and bending it to his own unique vision. The result is one of the most charming films in recent years, as Allen assembles a typically sterling ensemble cast to evoke the romanticism of years past. This time, the large cast (including Alan Alda, Drew Barrymore, Goldie Hawn, Edward Norton, and Tim Roth) not only turn in funny and touching performances, but they sing the classic songs of the 1930s and 1940s themselves, and sing them very well. The plot centers on an extended family in New York and their various romantic entanglements, including Allen's pursuit of Julia Roberts through the streets of Paris and the canals of Venice. The musical numbers are the film's high point, displaying wonderful choreography ranging from a room full of dancing Groucho Marxes to a dancing couple in flight at the banks of the Seine. Everyone Says I Love You is a witty and entertaining fantasy, and a truly romantic escape. --Robert Lane ... Read more

Reviews (67)

Everyone, Including Me
In Woody Allen's film Everyone Says I Love You, one of the century's great filmmakers gets to make his own dream come true. Just take a listen to the soundtracks for Manhattan or Radio Days and you realize that all the Woodman's ever wanted to do was make a musical.

He's finally found a way. And by taking those timeless songs of Gershwin and Porter and placing them in the context of modern family life, Allen has created one of his most innovative comedies ever.

By its very nature, musicals showcase fabulous singers who are able to stop the world and belt out a tune. Not exactly in the realm of the possible. But by filling his scenery with non-singers, or actors who aren't known for their singing, Allen creates the possibility of song in everyday real life.

Take Holden (Edward Norton), for example. What he lacks in fashion sense, he makes up for in heart. When he goes to buy a rock for his lady love Skylar (Drew Barrymore), the jewelry store becomes a Gene Kelly musical, except Holden's no hoofer. He stumbles awkwardly through the dance number while the jewelry store employees play to the camera.

If it sounds fun, it is. But the two young lovebirds are but a minor diversion. Skylar's mom Steffi and husband Bob (Goldie Hawn and Alan Alda) are trying to keep their family together. Grandpa's gone daffy, their teenage son has up and joined the young Republican's (ick!), and Goldie's ex, Joe (Allen), is living in Paris and wooing an art historian (Julia Roberts).

Even the worst singing, that of Allen (a mouse squeak) and Roberts (can you say tone deaf?), works somehow. In Everyone Says I Love You the commonplace collides with the extraordinary in an alternate universe that's just this side of heaven.

Charming, Funny --- not what you expect from Woody Allen
When I first saw this movie advertised, I was puzzled as to what the concept was--- a musical comedy by WOODY ALLEN? I enjoy Woody Allen, but usually his movies are really crude and disgustingly sexual. But this film was a breath of fresh air. It was witty and funny--- but best of all the performances were wonderful. The concept of the movie is somewhat fuzzy, and the plot is uneventful, but that doesn't matter when you see the wonderful job Alan Alda, Goldie Hawn, Edward Norton and Drew Barrymore do to entertain you throughout the film. The camera movement is erratic at times...but the scenery of both New York, Venice, and Paris is dazzling. The music and the singing performances are--- uniquely done... but very endearing. You should watch this movie if you like simple, charming, witty and slow-paced films. Not a lot of thinking or intelligence is required to watch this movie, and thats the best part. This film is a no-brainer, and many will enjoy this wonderfully acted movie.

Careful what you ask for
I got this movie to satisfy my curiosity. The concept sounded interesting, and it boasted some normally bankable (or at least watchable) cast. Unfortunately, I did not care for the film. Oh, it was well made, and had fair acting, but it just failed to interest me. The songs were not very catchy tunes, like say, something from a "real" musical like "Fiddler on the Roof", "The King and I", or "My Fair Lady", etc. Drew Barrymore had a large part, but was in the lower range of acting, and her singing was dubbed. Natalie and Gaby were under used. Alan Alda and Goldie had decent voices, but again, weak songs.

I had a hard time swallowing Julia and Woody as a couple - though she did say she was crazy - did I miss something else? The most interesting part was seeing two MASH alumni in the same scene for about 10 seconds. For those who don't know why it was rated R, it is because of the rap lyrics. No other swearing or nudity.

I'm being generous with 3 stars. It seemed to be a personal experiment rather than a committed movie. Oh, well - curiosity satified. Waiting for "Take the Money and Run" to arrive.

I loved this movie, it made me laugh so hard...
It is a musical, and it is not a musical. There are songs in the movie, but it is not distracting from the movie, and the songs do not take up too much time. The movie is hallarious. The first time I saw this movie I was laughing for days. There is a scene where the girl is in the kitchen of her fathers house, heartbroken, singing a song about how she is "done with love". In the middle of the song it switches from the upper class white teenager and her tears to a black rapper who uses some of the same lyrics, but delevers it in a completely different manner. I had beer comming out of my nose I laughed so hard. This is a must see!

ONE OF WOODYS BEST
EVERYONE SAYS I LOVE YOU. I can not believe I never saw this movie before. A musical comedy. It's now one of my favorite Woody pictures. Right up there with Love and Death, A Midsummer Nights Sex Comedy, Bloodhounds of Broadway, Manhattan and those other ones that I like. It was worth the price of admission just for the Hurray for Capt. Spaulding in FRENCH number ! Ooo LA LA . A party in Paris Xmas eve and EVERYONE as Groucho Marx. Woody Goldie Ed Drew ect... everyone EXCEPT for Allen Alda, how sweetly ironic that the man who did BAD Groucho imitations all thru MASH was sick in the hotel. NICE touch Woody. ... Read more

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In 1893, Sir Arthur Conan Doyle's weariness with his most famouscreation, Sherlock Holmes, led him to write The Final Problem. The plan was to bring Holmes face to face with his most cunning and vile adversary, Professor Moriarity, in a showdown that would bring a graceful and ennobling close to the Holmes saga. In time, Doyle allowed popular pressure to change his mind, and he brought back the sleuth. But this Granada Television adaptation of The Final Problem truly seems like Holmes's last bow and gives no hint of things to come. The drama is certainly engrossing: Holmes (Jeremy Brett) has been on the run in London for days, barely avoiding assassination attempts by Moriarty's lieutenants while international lawmen work with him to shut down the brilliant villain's crime organization. Moriarty, apparently, is the only one to escape Holmes's tightening net, leading to an extended chase across Europe and a fateful confrontation at Reichenbach Falls in Switzerland. Eric Porter makes for a dark, wicked Moriarty, his weathered face a window onto all the destruction the character has left in his wake. Typically, Brett and David Burke (as Dr. John Watson) are a perfect reflection of the dynamic duo Conan Doyle had in mind. --Tom Keogh ... Read more

Reviews (7)

The Final Problem
If you're reading this review, then I am sure you are already familiar with the story so I'm not going to bother telling you what it's about. I'll just give you my opinion of it. It wasn't entirely faithful to the short story but it was great nevertheless. Oh and Jeremy Brett is the definitive Sherlock Holmes.

Fasten your seat belt
This is a fast moving, suspenseful, finale to Conan Doyle's long running series (or is it?). Like The Hound, The Final Problem combines beautiful scenery (albeit the Swiss Alps instead of the English countryside)with a great story. The sequence of Moriarty and Holmes in the latter's rooms on Baker Street is unforgettable as is the climax at Reichenbach Falls. A must for any fan of this series.

Jeremy Brett as Sherlock Holmes
Mr.Brett was the finest Sherlock Holmes ever!! He created the escents and mannerism that are that of Holmes. Every case I have seen is truly a winning performance. You cannot go wrong with any of these tapes or DVD's

Jermey Brett is the best Holmes yet!
Being a major Sherlock Holmes fan for some years now, I am quite picky on what I consider a "good" portrail of Sherlock Holmes. Jermey Brett is the most true to the inner character of Holmes that I have ever seen. He has that quirky smile that just tugs at you till you end up grining as well. This episode is one of my top favorites! With the amazing chemistry placed between Jermey Brett and Eric Porter(Moriarty), you feel the cold respect as well as the irking hatred that lies under the characters exteriors. From the entire eposode my favorite scene is at the very end. Watching the waterfall as the two bodies of Holmes and Moriarty flail in the air in slow motion as they plunge downwards. A very emotional scene. Even though I know the outcome of the story, and that of the next, I always have to see the "The Empty House" directly afterwards. Absolutly superperb!

You must also watch THE EMPTY HOUSE
...immediately after seeing this one! I had to, just to be really sure that Holmes did indeed return from the Reichenbach Falls. This show contains one of the most spectacular stunt shots I've ever seen--it does really look like the end for the great detective. Of course he manages to escape, even if his creator would have preferred it to have been otherwise. Eric Porter is an absolutely terrifying Professor Moriarty. The verbal 'non' duel between him and Jeremy Brett's Holmes--in which each one already knows what the other is going to say-- is beautifully staged and acted. This is one of my four favorite episodes of the Granada series. I should point out that Patrick Gowers' moving violin theme adds so much to the last shot, you can actually feel emotion for the death of a fictional character. An outstanding episode of a great series. ... Read more

Reviews (2)

EXCELLENT CHASE SCENES!!
This is a great movie, if you are looking for a good 50's era flick. There are plenty of great car chase scenes (mercs, fords, chevys, & an awesome lincoln) and a few good songs to boot. An all around good movie.

Red-hot rockabilly,smokin' tires and moonshine aplenty!
Andy Armstrong reaches far back into the hills and glens of smokey mountain moonshine running in the late '50's. The sounds of throaty engines bellowing down tranquil leaf-strewn winding backroads are punctuated only by wailing sirens, howling tires, booming gunshots and broken glass. Attention to detail is stunning,as the viewer is transported back in time to a back-woods struggle between family tradition, stormy relationships,personal pride, federal law. Classic rock-a-billy music from the Sun Record studio accompanies this vintage look at the emotions and reckless courage behind a dangerous battle to stop the flow of white lightning, once and for all, and the price that had to be paid. A smorgasbord of vintage 50's memorabilia with a kickin' rock-a-billy soundtrack awaits eager nostalgia and car buffs. Well done! Too bad it is no longer available in Canada for purchase... ... Read more

Description

From the woods of Wisconsin and the plains of Kansas to Minnesota, the Ingalls fight to build and hold onto a new home, facing the danger of an untamed wilderness on the American frontier of the 1870's.

A Christmas They Never Forgot - After a sudden, fierce snowstorm traps all the members of the Ingalls family inside the little house on Christmas Eve, they pass the time by exchanging stories about their favorite Christmases of the past. ... Read more

Reviews (5)

Very good Christmas story
Excellent "Little House" video with great music, sensitivity, love, and family. This video has everything. =) When the family gets snowed in on Christmas Eve, they pass the time by retelling stories of their most memorable Christmases in the past. Each flashback was touching and entertaining. My favorite stories were those of Almanzo and Hester Sue. Almanzo was just so adorable, I laughed, and Hester Sue had an extremely bittersweet story to tell. Yes, the flashbacks are short, but they're enough to give you a fairly good background on the individual character. Don't miss this "Little House" edition--it's a great video to watch, both at Christmas and throughout the year.

Wonderful Christmas Episode, Beautiful Music
This is a beautiful episode where the family reminisces about their favorite Christmases in the past. It's sweet to see Almanzo as a little boy, and also Caroline as a little girl. My favorite aspect is that Michael Landon brought in a special group of choral singers for this episode and the music is amazing, absolutely beautiful. It's a wonderful family video that really conveys the true holiday spirit.

Little House On The Prairie - The Christmas They Never Forgo
I have seen all the Little House On The Prairie Shows. You can't go wrong with these. It shows how families & friends stick together through thick and thin. Teaches good family values that have been lost over the years. It shows how hard it was to make a living in the 1800's and how family and friends pull together to help one another. You will cry and you will laugh.

Not what I expected!
I love everything that is connected with Laura Ingalls Wilder, and was looking forward to this video. However, it was just filled with reflections and short flashbacks. I would prefer to see a movie that actually developed one of these flashbacks rather than this. I was also hoping to give the Ingalls bug to my daughter. This video doesn't allow you to watch any particular character long enough for that. I probably would have bought this eventually but only after I purchased the other available videos.

I love it! I really recomened it for all Little house fans!
Little House on the Prarie is a wonderful show! I've loved it ever since I was a little girl! And it has the love of a famiy in it! ... Read more

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After destroying 4 billion people in the Malurian star system, a 21st- century NASA probe called Nomad--carrying friendly greetings to whateverunknown, extraterrestrial race might find it--has a violent encounter with theEnterprise, nearly blowing the starship out of space. Hoping to sidestepanother attack, Captain Kirk (William Shatner) and Mr. Spock (Leonard Nimoy)invite the diminutive, computer-driven, impossibly powerful spacecraft aboard tolearn how its peaceful mission was supplanted by a program to destroy life.Written by John Meredyth Lucas, who was intrigued by the idea of a sentient,almost godlike machine that turns against its creator, "The Changeling"transcends, fortunately, Star Trek's cash-strapped special effectsdepartment to become a compelling drama. (Let's just say that Nomad lookslike a cross between the Tin Woodman and a 1960s beach radio.) Particularlymemorable is Spock's mind-melding scene with Nomad, in which the Vulcanis shaken by the probe's chaotic memories of being captured by a machine planetand given destructive impulses. Frequent Trek director Marc Daniels wasparticularly proud of the way his crew made Nomad appear capable ofindependent movement: There was one model for hanging from a wire, a second forstanding on a floor, and a third for riding on a dolly (to get a sinister,point-of-view traveling shot). If "The Changeling" sounds vaguely familiar, itshould: The script was rewritten as the basis for Star Trek: The MotionPicture. --Tom Keogh ... Read more

Reviews (7)

Uninspired
This episode, which features a confused and destructive floating robot, is an unspectacular offering. Like several episodes, it ably enough explores the unfortunate fact that technology is fallible, and that even with the best intentions, things can and do go wrong. This ship-based episode is less exciting than some of its neighbors, although there are a few dramatic scenes. On the negative side, the idea that Uhura could be rapidly re-programmed would be laughable if it wasn't so insulting to her. Also tedious is Kirk's outwitting of Nomad. And just how did NOMAD manage to mesh so smoothly with 'the other.'? Shouldn't he look a little the worse for wear? As a final gripe, I'll note that NOMAD wasn't much of an actor, although I suppose he didn't have much to work w