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This hit-and-miss 1988 comedy pairs John Candy and Dan Aykroyd in a story of one family's summer vacation all but ruined by the uninvited appearance of another, more loutish family. Howard Deutch (Some Kind of Wonderful) directs from a half-hearted John Hughes script, which reduces Hughes's jokes-and-epiphanies formula (The Breakfast Club, Home Alone) to true gaudiness. On the other hand, Annette Bening makes her screen debut here. The DVD release has a widescreen presentation, production notes, trailer, optional French soundtrack, and optional Spanish subtitles. --Tom Keogh ... Read more

Reviews (38)

Hilarious and lighthearted
Dan Aykroyd and John Candy are hysterical in this lighthearted comedy. Candy and his family go to a cabin in the woods for what Candy hopes will be a relaxing summer vacation. Soon after their arrival, Aykroyd and his family show up uninvited and take over. Over the course of the week, they meet a man who has been struck by lightning 66 times, a 100-year-old man who dies on his birthday yet still comes to the party, and a feisty local girl who toys with Candy's oldest son. Add to this a family of determined racoons with a language all their own ("What do they think we have these wonderfully dextrous fingers for?"), an unwelcome bat flying in the house ("It buzzed me"), a dump full of hungry bears ("Yogi and Boo-boo in the flesh"), and a bald-headed grizzly ("Big bear chase me!") and hilarity ensues. It's a movie you'll want to watch again and again.

ONE OF MY ALL TIME FAVORITES
I LOVED this movie and would recommend it to everyone.
John Candy takes his family for a relaxing vaction in the mountains. To his surprise his obnoxious brother-inlaw, played by Dan Aykroyd and his family arrive. They were not welcome visitors.
Poor John tries desperately to have a relaxing time despite a cabin full of unwanted company. Unfortunately everything bad that can happen does. Including in this is another unwelcome guest, this time a bat. I'm telling you, I laughed myself silly over this scene. Perhaps it is because I have had such an adventure and it was much more fun watching someone else go through it. Of course the attack of the bald headed bear has to rank up there as well, as John and his brother-in-law try to protect their family against yet another unwanted guest.
This movie is a laugh a minute and one that will leave you with a giggle in your heart. Feeling down? Get this movie!
Truly a legacy of the one we all will greatly miss, Mr. John Candy.

A Perennial Favorite
We watch this movie at least once per summer while at the lake in Wisconsin. There's nothing like it to make the entire family crack up laughing with nearly every scene. This movie is as much a part of our family summer vacation as the stay in the Northwoods alone.

You can't go wrong with this classic movie, The Great Outdoors.

One big laugh riot
I adore "The Great Outdoors". This is one of my favorite John Candy movies of all time. Yeah it is no Shakespeare but I wouldn't have it any other way. Dan Ackroyd plays the obnoxious brother-in-law who crashes John Candy's family vacation up in the woods at a cozy little resort. Dan brings his neglected wife played by Annette Benning and their identical twin daughters who are bit on the scary side. The results is a non-stop laugh riot. No many how many times I have watched this film, I still find myself laughing uncontrollably, especially when the raccoons comes out at night to raid the trash cans. I loved it when the young raccoon is told what hot dogs are made of. Anyone familiar with Doug Seuss's bears would know that this is one of the films that the late Bart the Bear made as the bald-headed bear. I loved the final interaction between John Candy's character and the bald-headed bear. It is one of the funniest scenes in the film, next to the water-skiing scene. One of the classic moments in the film is when the entire family goes out to dinner and John Candy decides to order the ol' 96er (this enormous chunk of beef). I personally love "The Great Outdoors". It remains one of my favorite movies from the '80s. It is pure physical comedy. There are a lot worse films than this if you ask me, namely Carrot Top's lone film "Chairman of the Board".

A Good Family Movie
This is a pretty good John Candy/Dan Aykroyd movie. While it's not as good as Uncle Buck or Planes, Trains & Automobiles, it's not bad at all. It's a great Summer/Family Comedy. It doesn't make me laugh and laugh, it's just fun to watch. I'll never stop liking it. ... Read more

Reviews (11)

Outstanding!!!! Literature comes to life!!
This is a great movie. Christopher Walken and Susan Sarandon are wonderful. Great acting, great direction. A must-see!

A Gem of a Film!
This is a great little movie. Originally made for PBS' AMERICAN PLAYHOUSE SERIES, it is a charming adaptation of the Vonnegut short story. Perhaps the best, and certainly the most likeable work that Christopher Walken has ever done.

Excellent Acting and teaching tool
I use this video in conjunction with a Shakespeare writing assignment I do in my English classroom. The students always mark this video as one of their favorites. They love the characters and it really helps them with their own performances--in acting and writing.

Bring this out on DVD!
A great, funny movie with some actors who went on to have amazing careers. I can't wait for the DVD. This is one of my favorite movies.

When Will It Be on DVD?
Someone once said that a good poem would "take off the top of your head." This little flick did that to me, when I was a young and impressionable student who stumbled across a PBS film festival, and I'd love to have the same experience again -- preferably with a DVD version of "Who Am I This Time?" Twenty years ago, I had no idea who Christopher Walken or Susan Sarandon were, but their understated yet passionate -- pulsating! -- acting left a big impression. Sit back, take a sip of a warm, fruity wine, and enjoy this little gem. ... Read more

Reviews (1)

Friendly witness to a changing West.
'Broken Lance' has many admirers, and there are many good things about this sober Western. The film has been called an updated 'King Lear' - an all-powerful, tyrannical father unwisely cedes control (land) to his children, all turning against him except for the youngest, who is the most ill-used - but the adaptation is loose and mercifully unliteral: there are no raging storm scenes or impertinently wise Fools, just a grandeur-exuding atmosphere of a great man and the power he created declining. Though filmed in Fox's ugly Technicolour - that muddy colour that would be called 'lurid' if it didn't yearn for the respectable - there is an intelligent compositional eye, filling the landscape with dramatic and symbolic imagery. The prologue is particularly striking - a moody young man, Robert Wagner, released from three years in prison, rejects a financial offer by brothers eager to be rid of him. The journey he takes into the past is one of progressive decay and danger - first he is forcibly brought to the governer, in whose building gleams an imposing portrait of his father. When he visits his father's land, with all its traces of former activity abandoned, he is shot at from a distnace by a man who turns out to be an Indian friend -- the surreal shot of a seemingly self-standing gateway in an empty plain points to the importance of this sequence, as a kind of mythical portal into another realm; when he finally enters his family home, it is a ghost house, a gothic ruin, its dereliction shrouded in shadow. Like the films noirs with which director Huac Dmytryk made his name, the movie begins with an end; a heavy air of fatalism hangs over the subsequent long flashback.

What probably most appeals to fans is the film's (relative) political sophistication - as a backdrop to the usual Oedipal structures is a portrait of the West as it moves from a mythical plane into the modern era. It especially highlights two problems that would blight the nation in the next century - race and advanced capitalism. Spencer Tracy is an Irishman whose second wife is the daughter of a Cherokee chief. He is too important a landowner to ignore, so the locals refer to her as Spanish; the wives of these friends are nevertheless terminally indisposed whenever he gives parties. Of his four sons, the elder three from his first marriage, his favourite is the youngest, Wagner, through whose eyes the film unravels, and on whom centres the crises of race (he is a half-breed who loves a WASP whose father disapproves) and property. The actual catastrophe of the film occurs when a copper company on Tracy's land dumps refuse in his river, poisoning his herd. A fight at their headquarters, in part sparked by a racist comment directed at Wagner, leads to a court case, to offset the risks of which, Tracy is advised to divide the land between his sons. The old pioneers who tamed the land have been superceded, leaving only division and hatred in their wake.

You have got to admire a Western that interweaves its themes intelligently and without sensation (although a ridiculous coda stand-off between two brothers nearly ruins the good work). The restrained use of music and the insistence on stillness (intimating burgeoning violence) adds a maturity to the action. The treatment of the Indians is sensitive for the time, with the relationship beween Tracy and Katy Jurado clearly signalled as a loving and positive thing. The title indicates the film's theme, the (1950s?) failure of authority, family and masculinity.

Still, I found the film unsatisfying. This is partly due to miscasting - Wagner is too wooden to carry the film's moral weight; his role should have gone to the nervy, brilliant Richard Widmark, riveting as his resentful older brother who finally turns against his father's abuse. But it is mostly due to the stodgy direction which often confuses the sombre with the plain slow. Compared to the similarly-themed 'Gunman's Walk', 'Lance' lacks verve or true insight. ... Read more

Amazon.com

A little drunk on its own arcane exotica as a gambling movie, Rounders is a film that takes us inside a world of high-stakes card players but falls short on such essentials as character development, relationships, that sort of thing. Still, it is a real curiosity, written by a couple of guys (David Levien and Brian Koppelman) who appear to know something about the dark underbelly of card hustling for fun and profit. Matt Damon stars as a reluctant law student who can't put aside his subterranean career of playing poker and blackjack for big money. After he loses his post-grad nest egg to a weird Russian kingpin (John Malkovich)--and also loses his disgusted girlfriend (Gretchen Mol) in the process--Damon's character turns to an unreliable old buddy (Edward Norton) for a dangerous game of sharking wherever there happens to be a game underway: frat boys, cops, bad dudes, you name it. Norton appears to be living out every young actor's fantasy of re-creating Robert De Niro's prototypical head case in Martin Scorsese's Mean Streets, and while his performance is burdened by obvious quotation marks, his estimable talent still shines through. Damon's charm and intelligence bring some oomph to the curiously flat proceedings, and while his hushed, soul-bearing scenes with Martin Landau (as a law professor who takes a shine to the kid) seem gratuitous, they're still nice to watch. Behind all this is director John Dahl (Red Rock West), who is not exactly at the top of his game here but who brings his distinctive toughness to the crime-noir tone. --Tom Keogh ... Read more

Reviews (121)

Interesting look at the world of gambling...
"Rounders" is an intelligent movie, being more subtle than gratuitous or violent. It follows the trials and travails of a young law student, Michael McDermott, who 'rounds', gambles, for a living and to pay for law school. He loses his whole payroll one night, and decides to quit rounding. Nine months later he is sucked back into the world of rounding when his mischievous and altogether slimy friend Lester 'Worm' Murphy gets out of prison.
The story is very much about finding one's place in the world, as Michael must decide between rounding and the law for his career, and must wrestle with his own fear and doubts about his chosen profession. It also provides a very fun look at the world of gambling and a sort of quirky philosophy that Michael follows. And I learned a couple new ways to play poker!
The movie boasts a well-written script and well-executed directing, as well as solid performances from Matt Damon and Edward Norton, a superb performance by John Malkovich and a heartfelt performance by Martin Landau.
Highly recommended.

makes you want to play poker
Entertaining, believable, if slightly repetitive, behind the scenes look at the high-stakes game of New York underground poker through the eyes of one fresh-faced kid with a dream (surprise, it's Matt Damon!), and his brother-like friend, Worm, whose integrity for the game is essentially non-existent. This movie was never boring for me, was filmed in just the right amount of time, and did maintain an extreme air of authenticity throughout. Then again, I'm no card shark, so I would have no idea if even half the jargon used in the film was real anyway
the film did manage to show us everything you ever wanted to know about the game of poker and more (I don't remember seeing a better poker movie in my life, but then again, I don't remember seeing many poker movies in my life.), and a greater insight into the mind of an addict (Any type of addict, if you really think about it.) and the price one could pay for extreme loyalty. I would recommend this film to all those who love the game of poker, and are interested in exploring the life themes of addiction and loyalty. Other than that, the film offers little else in the romance and/or suspense factors,

This is the movie that will make you want to play poker
Ive been playing for about 5 years now and love the game. Ive read many poker books and found this one to be very good. So I would suggest you buy this book and maybe a couple others and get to playing. There's really no excuse anymore - since anyone can access the internet.

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Rounders One of my all time favorite poker movies
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This will make you want to play
This is the movie that will make you want to play poker

Ive been playing for about 5 years now and love the game. Ive read many poker books and found this one to be very good. So I would suggest you buy this book and maybe a couple others and get to playing. There's really no excuse anymore - since anyone can access the internet.

If you are a new poker player and would like to start playing poker online at www.partypoker.com - make sure you use the bonus code: "AMAZON25" and you will receive $25 free on your first purchase at www.PartyPoker.com. You can also use the Bonus Code "AMAZON100" and you will receive a 20% bonus up to $100! If you already play at PartyPoker, you can also play at www.Pokerroom.com. Use the promotion code "100BONUS" and you will receive 20% up to $100 ... Read more

Reviews (28)

They don't get any better than this!
Salsa was a wonderful movie! It was a combination of my two favorite things: Spanish dancing and the eighties! I really enjoyed the scene in which the main character was doing a dance choreographed to the background of an auto repair shop! You might as well call him the Spanish Michael Flatley, because he is definitely Lord of the Dance!

Vamos a Bailar!
Personally I think this is the best movie ever made for dancing too. I remember the first time I saw this when I was 7 and me and my sister would try to learn the dance moves. I remember that I watched it so much that one day the tape busted. I was so mad at myself for a long time knowing that they would never play it on tv again. 10 years passed and there was this new thing of searching for videos online and thanks to the internet I was lucky to find a copy of this once in a lifetime movie. The movie is great and the actors are HOT!! Even thought the cutest one Kenny (Rodney Harvey) is dead now its still nice to see how gorgeous he was in the movie. I recommend that whoever wants to go back and listen to some hot music to watch SALSA a so called Dirty Dancing for Hispanics or Latinos!!!

Dont buy this movie for the acting; buy it for the dancing!
With a title like "Salsa," you can know what to expect from this movie, and this movie does not disappoint. A young love story, a love quadrangle, and a salsa contest are all plot points to get us to the next dance scene. Fortunately we don't have to wait long between drama interludes to get to all the fun and what this movie is all about! Don't buy this movie for the acting; buy it for the dancing!
Of course, this movie was made in the 80's so you'll see all the trappings of this decade woven through the movie. One could watch this movie as an 80's study. This isn't a detractor, however, from this great dance flick. You'll see bits of 80's specific dancing, 80's style salsa, salsa that transcends decades, "New York" style Salsa, "street" salsa, solo dance numbers, group "line" salsa, and multiple partner switching. Lots of the dancing is timeless and stuff you can incorporate today!
One of the features of this movie is the music performances done by multiple artists of the period. The most notable of them being one each from the amazing, late Celia Cruz and the amazing, late Tito Puente. They music performances are the backdrop for much of the dancing.
As with all forms of dance, there is snobbery as to how to dance "real" salsa. This is even addressed at one point in the movie when Rico, with his more "street" style and the club owner La Luna, with her more polished "New York" style tell each other that they're not sure if what the other is dancing is "real" salsa. Ha ha! The snobbery in dance is ever living!
You will recognise the club owner in the movie as the same actress in the movie Dirty Dancing who tried to steal patrick Swayzee's character from Jennifer Gray's. She is reprising a similar role here. Once again, though, don't get this movie for the acting/plot/drama; buy it for the dancing!
[Note One] the acting here isn't terrible and is certainly bearable, it's just not as high quality as that in Dirty Dancing which has a better plot and acting but is not as good in the dance scenes.
[Note Two] this movie has minimal Spanish; it is 95% in English. Most of the Spanish words are the basic ones we all learned from Sesame Street when we were kids.

The Robby Rosa Movie with Some Salsa
The story is about a young man of Puerto Rican descent named Rico, his high school-aged sister and widowed mother. Rico needs to sweep everybody off the floor of the La Luna Club in order to win a chance to go to Puerto Rico to compete for the "King of Salsa" title. Along the way he faces some challenges with family, friends, dance partners, and love interests.

Like the series of movies made with Elvis, Salsa is a movie that presents many contrived excuses to have the main character dance.(Speaking of Elvis, his non-salsa hit "Blue Suede Shoes" also is in the movie) The high points are cameos by Salsa legends like Celia Cruz and Tito Puente among others, who provide a chance to view and listen to pre-1988 salsa tunes by their original artists. There are non-salsa songs plus a lot of free-style dancing. The acting, plot, filming, etc. should have been much better. Instead of a cinematic masterpiece, this is a 1980's dance movie, but that's what you expected from the title.

However, Robby Rosa, who plays "Rico" often jumps from salsa to his own free-style dance, much to the dismay of one of his dance partners in the film and fans who watch the movie expecting to see good salsa dancing from the main character.-and this movie centers around "Rico".

Two scenes were particularly upseting. (1)The opening of the film has Rico and his male co-workers provocatively dancing with each-other. A female dancer appears briefly but she quickly vanishes, as the men get along. At this point we almost thought we had mistakenly gotten a gay-male movie instead of a dance movie (2) Rico's shower scene and naked tush later in the film also were not keeping with the title/theme of the movie.

The title should be "Robby Rosa as Rico and Some Salsa Dancing" rather than "Salsa"

so oldies
well, it was a good idea for dancing and such, but i was rather bored with the older characters...good music though! ... Read more

Reviews (8)

Outstanding movie! DVD please!
Great movie for fans of Eric Fleming! Eric is fantastic as usual! All fans of the Rawhide series should see this movie! The story is great and the entire movie is superior to a lot of movies they are making today (2004) because there weren't a lot of special effects so they focused more of character development and storyline. The issues of morality and the bold interactions in this film are simliar to those seen in the Rawhide series. A lot of classis old west confrontations in this movie. This should be on DVD.

A vampire rides tall in the saddle.
Altho not a good film, this effort from the very end of Universal's SF/horror cycle deserves a footnote for establishing, more or less, the minor sub-genre of the horror western. (There actually had been a few films in the Thirties which fit into this category, but they were forgotten by virtually everyone until being released on home video.) Michael Pate (a sort of sinister James Coburn) is effective in the role of a vampire menacing folks on a ranch. This particular vampire is perfectly capable of walking around in the sunshine (hey, no fair!) and the fact that the climactic destruction of the vampire takes place in broad daylight greatly lessens the film's effect. Worth a look for horror fans, however.

Curse of the Undead (1959)
Great horror film (also known as "Mark of the West) coming at the end of Universal's Horror/Scifi period. There are no giant bats, howling dogs, torch bearing villagers or black capes in this unique vampire tale. There is, however, an eerie, hair rising score by Irvin Gertz and a nontraditional background for a horror film. Taking place in the old, wild west we are introduced to a vampire, played by Michael Pate, who can walk around bathed in the full strength of the sun (without erupting into flames) and only uses a coffin for those occasional naps.

Curse of the undead
It was as good as any of the Universal horror flicks. I bought it because of Eric Fleming. He was a good actor.

Curse of the Undead
In 1959 I was watching the new TV series RAWHIDE, and when I read in the newspaper Eric Fleming starred in this film, I went to see it. I fell in love with Eric, and from that day on, I collected everything I saw on him. The feelings all came back when I saw the video at Suncoast in 1996. I bought every copy they had. The film was as good as any other Universal horror flicks. I really paid no attention to the plot, as I was too busy looking at Eric! ... Read more

Reviews (26)

Fabulous movie; why no wide screen?
A non-typical "Elvis Movie" with charming story line, terrific acting by The King, great supporting cast with Authur O'Connell, Joanna Moore (Tatum O'Neil's mom), Simon Oakland and Roland Winters (who Elvis movie fans will remember as Elvis' father in "Blue Hawaii"). This movie could have been the pilot for the Beverly Hillbillies with Elvis as a Jethro Bodean meets Peter Sellers "Chauncy The Gardener" from Being There character. Elvis fans will love his performance, particulary as the family's lawyer in the courtroom scene near the end of the film. Very tourching performance.

Great bit of rock trivia from this movie: Florida native Tom Petty met Elvis on the set of this movie when he was a kid and was inspired to pursue a career in music. Also, Bruce Springsteen often referenced this movie from the stage during his 1985 Born In The USA Tour and performed his own version of the title track, "Follow That Dream".

I've waited several years for this movie to come out on DVD and have seen it before on Turner Classics in wide screen; it was wonderful. Why on earth MGM is releasing the DVD in full screen format is a complete mystery. What a disappointment. Great movie, lousy format.

Elvis delivers a great comedy performance! One of his best !
Elvis is in great form in "Follow That Dream",and this film shows just how wonderful his acting can be when given a good script to work with! The songs: "What A Wonderful Life", "I'm Not The Marrying Kind", "Sound Advice", "Follow That Dream" and "Angel" are among some of Elvis' best movie songs! Another song called "A Whistling Tune" was recorded for this movie, but was dropped before the film's release. It was re-recorded and included in Elvis' next film "Kid Galahad".I was very pleased to see "Follow That Dream" coming out on DVD...however, you guys at Amazon need to correct the technical details above concerning the DVD release! You have it listed as being available in Full-Frame only, when it is actually both Full-Frame AND Widescreen! I was very dissapointed when I first read this information here, and didn't realize that it was ALSO in widescreen until I saw a copy at the store! A great film with wonderful performances by the entire cast, which includes Arthur O'Connell, Ann Helm and Simon Oakland!

Great Fun
There are only three Elvis films that I enjoy: King Creole, Jailhouse Rock, and Follow That Dream. While the first two are great musical dramas from when Elvis still had the air of rebellion about him, Follow That Dream is a piece of comedic fluff like most of his later films, but one which avoids being as formulaic or sickly sweet or filled with terrible music as are most of those later films.

In this one Elvis plays a true innocent who is somehow still ignorant about the ways of the world despite being a vet. He and his family (including some orphans they are looking after) build a homestead on government land which happens to be prime real estate and find themselves in the position to legally obtain ownership of this land. As a result they become the targets of organized crime and feds (who can tell them apart?) who want the land. Elvis also finds himself the target of a crackpot social worker looking into the welfare of the orphans who seeks revenge after he innocently spurns her advances. Elvis gives a really fun performance as a naive character who is so positive in his outlook that when somebody shoots at him he automatically assumes it was an error.

The film pokes great fun at bureaucracy and greed, but it maintains the optimistic outlook that good guys will win in the end. Such an innocent perspective tends to turn off many fans of social satire who find such things too escapist, but what most cynical viewers miss is that much of the innocence is tongue in cheek, and I personally see nothing wrong with optimism so long as it doesn't interfere with realism. If you enjoy, e.g., the film Harvey, then this might be your cup of tea.

Only 2 stars because it's not Anamorphic
There are a lot of complaints from people who thought this DVD would not be widescreen, however,no one has mentioned it is not Enhanced For Widescreen T.V.'s. MGM is releasing a lot of films this way to save money. If this bothers you as it does me then send an email to MGM.
I really like this movie but am very disappointed with the format. When you have a widescreen T.V. in the future you'll curse MGM.

I made a mistake in a early Review of this Release.
This Version of Follow that Dream DOES contain the letterbox transfer as well as the full screen version. I withdraw my earlier review, which was in response to others on this board that insisted the movie was being released in Full Frame only - This is very much incorrect. 5 Stars. Joe has left the building. ... Read more

Reviews (199)

The Best Historical Film of the Year (2001)
THIRTEEN DAYS is simply outstanding! One of the best historical films I have ever seen! It is even more "History" then "Hollywood".

I think the Cuban Missile Crisis is one of the most important events in American History. However, many younger Americans know so very little about the very important events depicted in this carefully planned and conscientiously researched film.

Steven Culp's portrayal of Robert F. Kennedy was simply uncanny. It has got to be difficult to act as a person so many people know so well. I thought his performance was fabulous. Kevin Costner played the role of presidential aide Kenneth O'Donnell. His performance was very good however; his Boston accent was terrible and really does get on your nerves, especially in the beginning of the film. Bruce Greenwood plays John F. Kennedy and does this great president justice.

I highly recommend the infini film DVD version of this movie. The Beyond the Movie features are wonderful. The Historical Figures Commentary features archival audio of John F. Kennedy, Robery McNamara, P. O'Donnell, Pierre Salinger, Sergie Khrushchev, and many others. There is a 48 minute documentary entitled "Roots of the Cuban Missile Crisis" which features film footage from the era along with modern interviews covering post World War II United States and Soviet relations. There are also historical biographies of all the major figures in the movie too.

If you enjoy historical movies this one is a must see!

On The Brink
In October 1962, the world came closer to nuclear extinction than it ever had before or would again. When a U-2 spy plane photographed the installation of Soviet ballistic missiles on the island of Cuba, the United States and its president John F. Kennedy were faced with a monumental dilemma: how to force the Soviets to withdraw the missiles without touching off World War III. That is the story ingeniously told in the terribly underrated political drama THIRTEEN DAYS, one of the best films of that type since ALL THE PRESIDENT'S MEN.

Seen through the eyes of JFK presidential adviser Kenneth O'Donnell (Kevin Costner), THIRTEEN DAYS is a fascinating look at the machinations that went on in the highest circles of power in Washington during that traumatic time known as the Cuban Missile Crisis. Bruce Greenwood, known prior to this for playing bad guys (DOUBLE JEOPARDY; RULES OF ENGAGEMENT), gives an extremely credible portrayal of John Kennedy, who finds himself caught between a rock and a hard place. On one side are the Joint Chiefs of Staff, led by staunch Cold Warriors General Max Taylor and Dean Acheson, pushing for an invasion and surgical strike against the missiles. On the other is the president's own conscience, for he knows that anything as rash as what the Joint Chiefs are leaning hard on could mean the end of life on Earth.

Alongside Greenwood's sterling performance, Steven Culp portrays his brother Bobby Kennedy with the right tact and straight-forward believability. Costner's heavy Boston accent is not always credible, but this is only a minor flaw in his performance as Ken O'Donnell, which is otherwise quite good. A true standout performance is Michael Fairman's portrayal of UN ambassador Adlai Stevenson, a former presidential candidate and an old "political cat" who denounces the Soviet Union's stonewalling at the United Nations in front of the world--"Yes or No?! Don't bother to wait for the translation"; "I'm prepared to stay here until Hell freezes over, if that's what it takes!"

David Self's screenplay is very cagily based on White House tapes, documents, and memos from that two-week edge-of-the-seat rollercoaster ride the human race had to endure. It all comes together under the crisp, taut direction of Roger Donaldson, who directed Costner in 1987's NO WAY OUT. Even though it is a rather long film at 146 minutes, it plays like Great American theatre, the kind that Hollywood has somehow left behind in its rush for big bucks.

Like any film drama based on real events, besides the slight fictionalizations, a person's knowledge of these events might make THIRTEEN DAYS predictable. But the reason these kinds of films work is not so much the end result as to finding out how the end result was achieved. That is the real triumph of this movie, and why it ranks very close to ALL THE PRESIDENT'S MEN, in my book.

Boring
I saw this film in a history class I was taking and it definitely was not viewed for the sake of accuracy, more as a comparative piece to an actual historical documentary and I must say I found the documentary of still pictures & voice overs more entertaining. I struggled to stay awake during this drag of a movie.

Spell binding from beginning to end
I had seen this movie only in bits before on TV but had never seen the whole thing. I recently purchased it and within the last week have literally watched it again and again. I can only vaguely remember hearing the words "Cuban Missile Crisis" when I was 8 years old and had no idea just how close we came to WWIII. This is an excellent, attention holding film. I loved Kevin Costner in this and also "JFK - a must see also". Both Greenwood and Culp did a wonderful job of portraying the Kennedy brothers. I would highly recommend this movie. Use both this and JFK to educate your children, if you can get past the foul language somehow.

COMPARE THE CUBAN CRISIS WITH IRAN-CONTRA
"Thirteen Days" re-created the Cuban Missile Crisis, elevating the Kennedys to virtual sainthood while painting Curt LeMay as an advocate for nuclear holocaust. It was a fantastic picture, like many of them, but in it is an interesting scene in which Kenny O'Donnell, played by Kevin Costner, tells a Navy plot to lie to LeMay about being shot at, because LeMay would supposedly have ordered a strike if he had been. The film paints this lie as the right thing to do because it advocates the Kennedy's position, which was to maintain level heads and a calm demeanor. However, in 1987 Ollie North was excoriated by the Left for lying about the funding of anti-Communist guerrillas, which was Reagan's position. Funny about that.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Reviews (85)

Defined 80's/ Teen Angst
This movie pretty much solitifies the saying nice guys finish last as in Gary's story. Gary is the typical nice guy with the best friend who gets all the girls. Sounds like high school. The film is very entertaining about three horny high school guys trying to get action. Gary the nice sucker for romance who falls for the new girl in school Karen. But womanizer popular Rick gets a hold of her first and of course the fat kid who gets Rick's left over girls. Basically Gary does everything to try and win the affections of her and helps her out but she ends up going back to the sleezy Rick in the end. I remeber watching this movie as a kid loving the music great soundtrack. Entertaining, humorous, & defining movie of the 80's pre John Hughes teen angst film I recommend seeing at least once. One of my favorite 80's movies.

The Last Great Movie
"The Last American Virgin" has to be the best movie ever made. Lawrence Monoson, became "Gary", and captured the hearts of many. This movie will make you laugh, as well as it will make you cry. This movie brings to life issues of your typical teenager, from sex, to drugs, to yes even abortion. Every boy dreams of the day he loses his virginity...not "Gary". He just dreams of the beautiful new girl in town. Shhhh, have I said too much, probably not, this movie being 20 yrs. old I can not imagine who hasn't seen it. If you haven't you should not waste anymore time...this is the best movie my generation has ever seen.

WOW, I almost forgot to mention the awesome soundtrack this movie has...from "The Commodores - Oh No" to "Blondie" to "The Human League" to "The Cars" and who could ever forget the unforgettable theme song...."Quincy Jones - Just Once".
I hope this review is helpful....enjoy this movie, when I finally got my hands on a very good copy, I watched it repeatedly.

Memorable Teen Comedy/Drama...
This film predates the recent flood of brainless teen comedies by almost twenty years, yet it remains one of the best examples of the genre.
The film relates the story of three friends embarking on a quest to get laid. Along the way, Gary (Lawrence Monoson), falls in love with a pretty new student, Karen (Diane Franklin). Unfortunately, Gary's affections are not returned and to further complicate matters Karen begins dating Gary's best friend, a shallow and macho womanizer. When Karen gets pregnant, Gary comes to the rescue hoping to win Karen's heart.
What separates this film from the other teen comedies is substance. The film alternates between hilarious comedy and emotional drama in the last thirty minutes making for a truly unique film. The comedy bits are very memorable including a rendez vous with a nymphomaniac, salsa dancing latina and Gary's encounter with an overweight young lady whose bra will just not co-operate. Unlike many comparable films the acting is top notch also, Monoson and Franklin are terrific in particular. Interestingly enough both would work in the horror genre, Monoson in the forgettable Friday The 13th IV: the Final Chapter and Franklin in Amityville II: The Possession. The film is fueled by a great eighties soundtrack featuring diverse artists like Tommy Tutone, U2, Devo and REO Speedwagon.
Though the DVD is very bare bones, the picture quality is fantastic and the audio is acceptable too. A theatrical trailer is included.

Based on an Israeli film I have never heard of, The Last American Virgin is highly recommended to those searching for a good, raunchy laugh.

Not a good movie, but worth watching!
I remember being a kid in the 80's and knowing that this movie was coming on late on HBO or some cable channel, me and my little sis would get excited! We loved it at the time. It was on the other night on HBO again, and now being an adult, I realize how lame the whole movie really is. BUT, it brought back so many memories and that's always a great feeling. I also think that the soundtrack is awesome, especially The Cars 'Since your gone'!

Greatest Eighties Movie
Just finished watching this movie for the first time in years... still love it. Diane Franklin is beautiful. ... Read more

Amazon.com

You have a classic tale full of drama, passion, and adventure. A tale of universal archetypes that speak to everyone. A tale that has remained unfailingly popular for thousands of years. Why not spice it up with a wacky mechanical owl? Such was the thinking behind Clash of the Titans. Maggie Smith, Laurence Olivier, and Harry Hamlin (one of these things is not like the others...) star in a toga-ripper about a valiant hero, capricious immortals, and lots and lots of giant stop-action monsters. Perseus (Hamlin) is the favored son of the god Zeus (Olivier), but he has unwittingly ticked off the sea goddess Thetis (Smith). Just to make things worse, Perseus falls in love with the lovely Princess Andromeda, who used to be engaged to Thetis's son. Soon Perseus is off on one quest after another, with Zeus helping, Thetis hindering, and lots of innocent bystanders getting stabbed, drowned, and squished. Of course, the whole thing is just an excuse to show as much of Ray Harryhausen's stop-motion animation as possible, and good thing too. It's an old technique, but it still looks pretty darn cool, and it means the cast can just relax and do a bunch of reaction shots. Don't use this one to study for that big classical mythology exam, but if you just turn your brain off and enjoy the Kraken, it's pretty good fun. --Ali Davis ... Read more

Reviews (95)

classic Harryhausen epic; finally on DVD
I remember watching this film in awe and rapture the first time when I was at school, studying Greek mythology. This classic good-defeating-evil story is always a dizzying adventure from start to finish.

CLASH OF THE TITANS tells the story of young Perseus (Harry Hamlin - TV's "L.A. Law"), the illegitimate son of the god Zeus (Laurence Olivier). Perseus discovers his ultimate destiny when he is mysteriously transported to the city of Joppa. There, he learns of the fair Princess Andromeda (Judi Bowker), who is doomed to live her life challenging suitors with impossible riddles, given to her by the deformed Calibos.

Perseus solves her riddle, and is about to marry her, when the angered patron goddess of Joppa, Thetis (Maggie Smith), denounces the union and orders that Andromeda be chained to the foot of the sacrificial stone in a month's time, to be fed to the last of the Titans, the Kraken.

Perseus must find a way to defeat the Kraken, and sets off on a perilous quest to discover the answer...

Gorgeous romantic-adventure. Laurence Rosenthal's score perfectly captures the mood of the movie. Ray Harryhausen's stop-motion effects look quite obvious in this new digital age, but serve their purpose wonderfully.

Also starring Burgess Meredith, Claire Bloom, Ursula Andress, Sian Phillips and Flora Robson.

The DVD includes the featurette "A Conversation with Ray Harryhausen", "Map of Myths and Monsters" feature and the trailer. (Single-sided, dual-layer disc).

Greek Epic Myth On DVD: Fantasy Of High Calibre
1981: Ray Harryhousen made the special effects, monsters and clay "creations" for this Greek epic myth about the heroic deeds of Perseus. Harryhousen had previously made the magic possible for such films as "Jason and the argonauts", another film revolving a Greek myth, and the sci-fi classic "Earth vs. the flying saucers." Harry Hamlin, tv actor from the 80's series L.A. Law (and a hot hunk I had a crush on as a girl), makes an impressive performance as the confident, toga-wearing, muscle-bound, swordsman Perseus, who defeats monsters, including the three headed dog from Hell and the sea monster Kraken.

British actress Dame Maggie Smith (from Sister Act films and Hook) and the esteemed British actor Laurence Olivier play the roles of the goddess Thetis and Zeus, who are involved in a bitter feud. Zeus protects Perseus, as he is his son by a mortal woman, but Thetis is upset that Zeus shows no mercy to the deformed Calabos, her son, who was once a handsome prince. Calabos has the princess Andromeda (Claire Bloom) under a dark spell. She will be married to the man who solves the nightly riddles she is given. Perseus solves the riddle and becomes engaged to Andromeda. But when the queen Cassiopeia elevates her daughter's beauty above that of their patron goddess Thetis, Thetis becomes so enraged she puts Andromeda in a tight spot. She will be the sacrificial victim for the hunger of the sea monster, the Kraken. Perseus journeys to the Underworld, defeates the snake-haired Medusa and with his friends, the old wise man, the winged white horse Pegasus and a robotic owl (who chirps and buzzes almost like R2D2 in Star Wars). He frees Andromeda, who as the classical myth dictates, was chaind to a rock by the sea, and the ending is a very happy one.

Thanks to the fine acting by Harry Hamlin, whose heroism comes through as shining as Perseus (not to mention his good looks), Andromeda (Claire Bloom), Maggie Smith as the vindictive goddess and Zeus (Laurence Olivier) as an eloquent, authoritarian king of the gods. The London Symphony Orchestra fills the soundtrack with lofty themes, romantic melody and dramatic highlights. One of these highlights is the moment when Perseus tames Pegasus. This film was a classic in the 80's and is still great to watch, especially with the magic of DVD. A must have for fantasy fans, a great addition to fantasy films. Look for "Jason and the Argonauts" with Harryhausen effects, equally a match to this film, although dating from an earlier time, the 60's.

not for the new school kids
its hard to say what a child born in the last ten years will think of this film. they'll probably laugh. and realistically unless you're a film student studying stop motion techniques im not sure any adult would enjoy it either. its target audience is children of the seventies who originally saw this film in the theaters as a youth. i am within this group and i love this film. for most 80's kids Clash of the Titans was the first film to convince us that greek mythology was as cool as Indiana Jones. granted, the film took some liberties with the history and added some characters that didnt exist but it was all done with good purpose. even in the 80's the film was really aimed at kids and only Ray Harryhausen's stop motion animation drew in the adults. the story was weak and the acting was passable but visually it was breathtaking even by today's standards.

EXCELLENT
This is my all time favorie Harryhausen film. The story and acting are good and the effects are amazing even today! I love the characters here and the creatures from the mythology we all love. This is a great addition to anyone who loves a good escape or a great fantasy adventure! The Dvd presented is pretty good as the digital transfer is good, not perfect but good and the film is in widescreen uncut and in its original form. An A in my book!

Simply an excellent viewing experience
"Clash of the Titans" is a movie which I'll never get tired of, no matter how many times I've seen it. It just has it all: a great story, adventure, romance, excitement, mythology, and countless other qualities which make it such an enjoyable film to watch over and over again.

One thing that especially stands out about "Clash of the Titans" is the special effects. I don't care what anyone says, no multi-million dollar CGI special effect can ever be as cool as the stop-motion special effects used in this movie. Some might say that it's dated. Well perhaps it is, but they did such a great job in creating the monsters (especially Medusa) that one can only marvel at them. And the fact that this movie is over 20 years old makes it even more impressive.

The DVD presentation isn't superb but it's definitely more than substantial. Image and sound quality have been improved quite a lot from the old video format. Bonus features are good but one can't help feeling that more could have been included, perhaps some deleted scenes. Still, this excellent movie finally being available on DVD is reason enough to be thrilled. ... Read more

Amazon.com

"Ladies and gentlemen, the motion picture you are about to see is called The Naked City." With a helicopter shot slowly closing in on Manhattan, producer Mark Hellinger's staccato narration introduces the film ("It was not photographed in a studio . . .") and continues throughout like a documentary commentator with a literary flair. It's a conceit that serves this police story nicely, giving the patina of realism to this deglamorized look at the work of the homicide squad. Barry Fitzgerald reigns over the film with his jovial good humor as a veteran detective investigating the murder of a high-living model. He has few clues and fewer suspects, until he cracks the story of big-talking Howard Duff and throws some light on his shady past. Jules Dassin, who had just come off the shadowy, expressionist Brute Force, peels away those flourishes to shoot in a straightforward style influenced by the Italian neo-realists and the contemporary American newsreels. The film is rich in supporting performances by soon-to-be-famous character actors--Arthur O'Connell, James Gregory, Paul Ford--but the city itself becomes the film's most vivid character. Shot entirely on location in New York City, the distinctive cityscape looms over practically every shot and injects the film with a defining sense of place (cinematographer William Daniels won an Oscar for his work). You can see the roots of The French Connection in the bustling city scenes and the exciting foot chase finale on an elevated walkway. --Sean Axmaker ... Read more

Reviews (7)

A Turning Point In Film Noir Style
There are two styles of Film Noir. Fueled by writers like James M. Cain, Dashiell Hammett, and Raymond Chandler, the first style emerged in the 1940s and was characterized by a cynical, often witty tone; anti-heroes, dangerous women, and assorted criminal elements; and complex plots that emphasized betrayal and moral ambiguity. It was also photographed in a remarkable visual style that combined glossy production values with atmospheric emphasis on light and shadow--and films like THE MALTESE FALCON, THIS GUN FOR HIRE, MILDRED PIERCE, THE BLUE DAHLIA, and DOUBLE INDEMNITY remain great classics of their kind.

But after World War II public taste began to change. Things that could only be hinted at in earlier films could now be more directly stated, and as audiences clamored for a more gritty realism the glossy sophistication of 1940s Noir fell out of fashion. The result was a new style of Noir--photographed in a grainier way, more direct, more brutal, and even less sympathetic to its characters. And the 1948 THE NAKED CITY was among the first to turn the tide. The sophisticated gumshoe, slinky gun moll, and glossy production values were gone; this film felt more like something you might read in a particularly lurid "true detective" tabloid.

In an era when most films were shot on Hollywood backlots, THE NAKED CITY was actually filmed in New York--and while filmmakers could film with hidden cameras sound technology of the day posed a problem. But producer Mark Hellinger turned the problem into an asset: the film would be narrated, adding to the documentary-like style of the cinematography and story. (Hellinger performed the narrative himself, and his sharp delivery is extremely effective.) The story itself reads very much like a police report, following NYPD detectives as they seek to solve a dress model's murder.

For 1948 it was innovative stuff-but like many innovative films it falters a bit in comparison to later films that improved upon the idea. The direct nature of the plot feels slightly too direct, slightly too simple. The same is true of the performances, which have a slightly flat feel, and although Barry Fitzgerald gives a sterling performance he is very much a Hollywood actor whose style seems slightly out of step alongside the deadpan style of the overall cast. Even so, the pace and drive of the film have tremendous interest, and while you might find yourself criticizing certain aspects you'll still be locked into the movie right to the very end. Particularly recommended for Film Noir addicts, who will be fascinated to see the turning point in the style.

GFT, Amazon Reviewer

Dear God, why wasn't she born ugly?
I can't remember another movie that took as many chances as THE NAKED CITY and successfully pulled it off. It doesn't look quite like any movie I've seen before and doesn't play quite like any other movie.
The story is simply enough - a young model is found murdered and the Homicide Squad is called in to solve the case.
Even before the murder, though, we're introduced to something new. We're given and aerial sweep and pan shot of the skyline of New York City. A voice over narrator emphatically tells us that this movie was NOT photographed in a studio; the stars perform "in the streets, in the apartment houses, in the skyscrapers of New York City itself." And so it is. No matter how well the set is designed, you can usually spot it as quickly as you can CG animation, and this ALL looks like NYC to me.
The casting is out of the ordinary, as well. I mean, Barry Fitzgerald as top-star in a crime story? Come on. Get serious. Yeah, maybe if you want a pleasant little slightly inebriated Irish chap - but a homicide detective? Yeah, right.
But it works. Fitzgerald is just right as Lt. Daniel Muldoon because this movie doesn't rely on Mike Hammer-ish brutality, or a brilliant and intuitive crime solver. I think the film makers here were looking for a cast who could meld into the city rather than rise above it, and Fitzgerald is a surprising and inspired choice.
This is a movie about dusting for fingerprints and putting evidence in plastic bags. It's about wearing out shoes interviewing potential witnesses and striking out 90% of the time. The Fitzgerald character works because he fits into the world better than a major star would have. The film-makers seem to be striving for a documentary feel to things (I trying not to use the term cinema veritie here).
Scenes are bracketed by location street scenes - hordes of people entering a subway station, a horse-drawn milk cart and milkman on a quiet city street, two young women admiring a gown in an upscale store window.
There's a price to be paid for relying exclusively on location shots. There are a few scenes that sound like the voice recording were done in an echo chamber. And the film has a flat look to it (not all that bad for a noir-ish crime drama.) The reason we can tell studio shots so quickly is because they look good - the photographer has control over lighting and light sourcing.
If there are detective movies and gangster movies and any number of other sub-genres in the Crime category, I guess you'd call this a police procedural movie. There are a couple of punches thrown and a few guns fired, but for the most part attention lingers on characters and procedures. This is one of the first movies, to my knowledge, that seems to recognize that crimes are more likely solved in the lab than in the brain of an inspired crime fighter.
I unhesitatingly recommend this to everybody. For crime and noir buffs, this is a must see.

EXCELLENT, REALISTIC NOIR.
THE NAKED CITY is New York: a metropolis of playgrounds and police precincts, fire escapes and brownstones, neon lights, subways rushing during rush-hour & fire hydrants sprinkling the streets on a sweltering summer day. Definitely not a city constructed on a Hollywood back lot: this film benefits immensely from location shooting. The film is a series of powerful scenes, first depicting the murder of a pretty, man-hungry larcenous young model, and then detailing the efforts of the cops to sniff out her killers. Eventually, they unravel the case culminating with a thrilling chase sequence across the Williamsburg Bridge from Manhattan's Lower East Side into Brooklyn. The fact that big-name star weren't cast in the film add to its appeal: this curiousty adds to the realism of this film. Highly innovative for 1948 was the cinematography technique used: the camera crew worked from inside a van equipped with a one-way mirror which enabled them to film the city while remaining invisible to the passerby: this technique has inspired scores of films since.

Top Notch Police Procedural
This movie really stands out as being different from the usual noir crime story of the past. One observant reviewer already pointed out the difference in the realism conveyed here as opposed to the Hollywood stylized reality of its contemporary "The Big Sleep". You won't find any tough talking detectives slugging down a shot of bourbon in the middle of the day and conversing with a tough dame like Lauren Bacall in a dialogue, which no one would ever have in real life. What you have here is a police story with cops who get up in the morning, kiss their wives good-bye, and go to work. The work can be frustrating and tiresome; a lot of walking and asking questions around town; many leads are followed and few pan out. At the end of the day they ride commuter trains back home in the heat and humidity. They get home and kiss their wives hello. There is a dynamic here that is very different from modern police crime dramas as well. How many times today do we see the same tired and clichéd characters and relationships in police movies? The chief of police is always a jerk. The hero cop has to solve the case in spite of the chief's meddling and hostility (sometimes he's even suspended and has to solve it on his own time). The hero cop is a disillusioned veteran who is probably divorced and lives alone with nothing but cold pizza and beer in the fridge. Does this sound familiar? Throw in a partner who is probably a rookie learning the ropes and probably gets shot in the shoulder during the last chase scene (don't worry it's always just a flesh wound). You want realism? Use the four letter word whenever possible. Aren't we all tired of that by now? See this movie if you are.

Another reason to see this film is because it was shot in the streets of New York around 1948 and from the first shot where we see the Empire State Building before it had the antennae added, it offers us a glimpse of the city that has changed and will never be the same. If you knew New York around this time, or if you are just interested from a cultural perspective, you'll enjoy the views of the city streets where milk is still delivered in horse drawn vehicles and every one seems dressed to the 9s.

Dark As Tar!
The naked City plays out like no other film noir eve made. Unlike other noir's that explore a vast landscape the Naked City turns NYC into a fully fleshed out character. In this vision NYC is the home of run rampant jewel thieves, beautiful women and wisdom filled cops. But it's the overwhelming sense of reality adn open ended didalogue that blasts this gem off the screen. Unlike many Noir's Naked City has no problem placing the action in the day light which is glorius. Taking the gloss and sheen off the actor's faces and replacing it with sweat and urgency as they chase criminals; over the years this technique became standard. THe film begins with a shocking image of two men corvorting over a woman's dead limp body only to take off in numerous plot twists and turns as a winding road. To follow film noir is to love it the reverse of good and evil with extended laps in judgement and violence with in the world of irony. The naked City is a prime example of brilliant film making; a precise plot, elegant cinematography and brilliant acting and casting. This film is a little seen gem that has to be viewed now! ... Read more

Amazon.com essential video

This highly entertaining update of the 1960s television series stars Harrison Ford as Dr. Richard Kimble, a man wrongly convicted of the murder of his wife, and Tommy Lee Jones as the federal marshal who pursues him after Kimble escapes during a train wreck. Director Andrew Davis (Under Siege) oversees some dazzling stunts and effects: the train accident alone makes the film worth seeing. But the real draw is the film's complement of strong personalities in Ford and Jones, each playing intrepid characters out to get their man. This is one of those rare films where everything completely clicks. The DVD release includes optional full-screen and widescreen presentations, cast bios, Dolby sound, optional French soundtrack, and optional French, Spanish, or English subtitles. --Tom Keogh ... Read more

Reviews (126)

Fugitive is Dr. Richard Kimball: Go get this movie.
If I were stranded on a desert island and all I could have was my abysmally sparse movie collection, I would make sure "The Fugitive" was in it. Thankfully, it is. This is one of the most entertaining and engaging movies ever, far superior to a lot of movies playing these days. For the few of you who don't know the plot, I'll run it past you without spoiling much...

The story revolves around a Chicago surgeon named Dr. Richard Kimball (Harrison Ford) who is convicted of murdering his wife (Sela Ward). He pleads innocent, claiming that a one-armed man committed the heinous crime (the opening sequence, showing the murder in flashback style, is chillingly realistic). Well, no one believes the good doctor's alibi, and he is sentenced to death. However, after his prison bus crashes into a train, he escapes back to Chicago to find the murderer, while keeping away from US Marshal Sam Gerard (Tommy Lee Jones) and his team of deputies.

Having never seen the old TV series, this movie was nevertheless fantastic. The thrills just keep coming, as well as the tongue-in-cheek humor, courtesy of Tommy Lee Jones and Joe Pantoliano (as Cosmo, Sam's deputy), who really steal the show in a lot of scenes. The screenplay is obviously very sharp. The train-and-bus wreck will take your breath away, as will the waterfall sequence. Aside from these action scenes, it's great that this movie is shot in Chicago, one of the greatest cities in North America. Sorry, personal bias, I loved Chicago when I visited a couple years back. The acting is very well done, and the characters are very three-dimensional. Sometimes it feels like you're watching a modern "Les Miserables". Nice transition from action thriller to action-mystery as the film enters its second half. If you follow the plot, which is fairly easy to keep up with, the ending will shock you. All in all, "The Fugitive" is definitely worth the bang for your hard-earned buck. If you haven't seen this wonderful piece of movie-making, do so ASAP.

Quality-wise, the DVD is pretty good. Director Andrew Davis does a cool little documentary on how the train wreck was filmed.

MOVIE-10/10
DVD EXTRAS-8/10

Ford hits another home run
Ditto what that other reviewer said: this is another great Harrison Ford vehicle. They really DON'T make movies like this any more. It needs not typical DVD additions, not cut scenes, not trailers, or interviews.

Back in the day, Wednesday morning school was dominated by the discussion of the latest episode of "The Fuge" from the night before. This is the only film I can think of which actually did justice to the classic television show from which it sprang.

Tommy Lee Jones is a fantastic U.S. Marshal Sam Gerard. He appears not to be obsessed with the capture of Dr. Kimble (as was his television predecessor, portrayed by Barry Morse). Nonetheless, we get the feeling that he brings the same determination to every case he has. Ford once again is the "everyman" (if a doctor who gets sent to prison for killing his wife and then escapes can be thought of in those terms) who prevails through all manner of adversities. [As an aside, I wonder how well Ford could stretch himself - could he ever be convincing as a real bad guy, like a John Malkovich or Anthony Hopkins?]

This movie has a lot of pluses. It is a great story, updated from one of the sixties' best shows. Sure, there were great stunts. The bus crash/train wreck was stunning (made even more so by seeing Ford almost comically hobbling along, trying to outrun the carnage while wearing leg shackles).

However, it is the competition between the two dogged adversaries Jones and Ford that makes this work. They are one real pair of incredibly strong personalities- (and screen presences) Nothing better than the sequence in the dam early on with Ford protesting his innocence and Jones equally sincere reply "I don't care". Both smart, even though Jones hides his behind a gruff and self-deprecating exterior. The good and decent Doc must be determined (after all, it is his can on the line), but seeing him persevere - hiding his own persona in a hospital, evading the police while tracking down the one armed man is intense, even though we know the outcome.

Great editing; especially when we think the Marshals are getting close to the big bust, and we find out that they are actually making a collar across town.

This one is a winner.

A classic action thriller
What makes "The Fugitive" such a successful and superior film is that it knows what it is: an action/mystery film. It makes no attempt to make itself bigger or more intellectual than it is (as did the American version of "The Vanishing"). Harrison Ford, surprisingly underplaying the role of Dr. Kimball--others might have overworked his grief and angst--turns in a brilliant performance. And the always reliable Tommy Lee Jones does an icy, sparkling job as Kimball's persuer, US Marshal Sam Gerard. So good a performance that he earned a well-deserved Oscar for it.

The other key to the movie's success is Andrew Davis' dazzling direction. He keeps the pace frenetic for a good deal of the film, and the pot is always kept boiling. Close calls and intense chases keep the tension and suspense at fever pitch. "The Fugitive" will endure for a long time as a classic action thriller.

I did not kill my wife
That is well known sentence from this action hit which put an Oscar in hands of Tommy Lee Jones. Somebody killed dr. Richard Kimble's (Ford) wife, but all clues are against him. After all, who can be stupid enough to say that - One arm man did it?! His escape after bus accident will be his second chance to proove his innocents. But, that will be damn hard. Especially because after him is federal marshal who "doesn't care" about anything, except to bring the fugitive back (by any costs). Kimble will discover that he was in strong net made of lies and conspiracy, and that his only way out is to find proofes to clear his name and bring killer in front of justice. Jones supposed to be a good guy, but you'll hate him all the movie (well, it's not his falt, he's just good actor). Harrison is great, older, but still in good shape. Since Indiana Jones, he never has better role than this. You'll be right next to him, trying to solve the puzzle, hoping that he will succeed to find who ruined his life. Excellent story, good locations and ideas. Definetly collection material.

Train Wreck of Action
This is one of the best-crafted action/suspense films I've ever seen. I've viewed this many many times and have been rewarded each time by picking up on different subtle nuances.
Every element of this film works in unison and are what make this a great film and give it the punch that it has. There's the story which is as finely crafted as they get, a cast that couldn't have been any better (and boy do the actors deliver in their performances), tight pacing, great photography, and some unbelievable effects.

This is a modern masterpiece! ... Read more

Amazon.com

Of the many film versions of Victor Hugo's novel, this classic from Hollywood's golden year of 1939 remains the best, rivaled only by the 1923 silent version starring Lon Chaney. In his triumphant attempt to create a performance as memorable as Chaney's, Charles Laughton played the lovelorn Parisian hunchback Quasimodo under a disfiguring costume and gruesome makeup that rendered the actor almost unrecognizable. The result is a gripping and heartfelt portrayal of the misshapen bell ringer who falls desperately in love with the beautiful gypsy Esmeralda (played by Maureen O'Hara). The lavish production also greatly benefits from exquisitely moody black-and-white cinematography, brilliant medieval set design, and the atmospheric direction by German expatriate William Dieterle, whose style was heavily influenced by German films of the era. --Jeff Shannon ... Read more

Reviews (24)

Laughton is Amazing
Charles Laughton is one of the great actors of all time. Watching this version of Vitor Hugo's novel it is not hard to see why. Laughton looks like he was born to play Quasimodo, the deaf and disfigured bell keeper of Notre Dome Cathedral. Wearing heavy face make up and a body suit, Laughton literally transformed himself to play the part. This novel has been adapted several times for the screen , but this is the best one. The performances are on the whole excellent. Particularly Cedric Hardwicke as the cold Chief Justice of Paris. Maureen O'Hara also gives a strong performance as Esmeralda. The direction of William Dieterle is very good, although he concentates a little too much on the subplots at times. On the whole this is an excellent film, that despite it's age, hardly seems dated. The story is a timeless classic and so is this film. Watch it just for Laughton's performance.

Grim,filled with pathos and terrific acting!!
This version of "THoND" is in my opinion,the best ever made.Charles Laughton epitomizes all the sadness,frustration and anguish the Hunchback feels when he falls in love with the beautiful Gypsy girl who showed him kindness..The supporting cast is wonderful,with Sir Cedric Hardwicke excelling as the Chief Justice who falls under the spell of the lovely Gypsy girl,Esmeralda,played gently and kindly by Maureen O'Hara.
When you begin watching this movie, you forget it is Charles Laughton.The make-up he wears is grotesque,and he is unrecognizable,but even through all the make up you can feel the gut-wrenching emotions he so ably portrays to the viewer.
Any classic film lover will most certainly already have this masterpiece on his/her DVD shelf.If you don't already have it,please give it a try.You will not be disappointed.Then,after you watch it,check out"The Beauty and the Beast," by Jean Cocteau,1948.Another classic love story not to be missed.

Hugo's Hunchback: Outer Ugliness Hides Inner Beauty
When director William Dieterle transformed Victor Hugo's THE HUNCHBACK OF NOTRE DAME to fit the big screen, he succeeded in capturing the power and sweep of an age that was characterized by individual examples of humanity lost in a sea of inhumanity. Much has been said about the universality of the Beauty and the Beast theme that has marked many past and future books, movies, and television series. Here, Dieterle makes use of the considerable talents of Charles Laughton as Quasimodo, Maureen O'Hara as Esmeralda and Sir Cedric Hardwicke as Frollo, all of whom play out their lives against a brute Parisian government that seemed determined to crush any opposition. One of the less acknowledged aspects of the Beauty versus Beast contrast is the theme that the beauty of Esmeralda and the beastiness of Quasimodo are not limited to those two alone. The very system that wrecks the lives of the poverty-stricken populace puts on a facade of saintliness that makes its inner core of corrupt ugliness all the more stark.

O'Hara's Esmeralda is sweetness personified. She is a lovely gypsy woman who unhappily catches the eye of a lecherous Chief Prosecutor, sanctimoniously played by Hardwicke, who commits a murder only to frame Esmeralda, who has rejected his advances. Hardwicke plays the Chief Prosecutor in a way that brings to mind every corrupt official who has ever been caught with his hand in the till. He sees nothing wrong with using the full weight of his office to humiliate and condemn a woman who has done nothing to deserve this. Enter Quasimodo, a hunchbacked and deaf bell ringer whose appearance frightens others to the same extent that Esmeralda's captivates these same others. Early on, she takes pity on him by giving him water after a savage lashing. Later, he shows that his inner being is far more decent and sensitive than the hypocrites that cry out for his blood. The trial that condemns Esmeralda as a murderous witch says a great deal more about the repressed ugliness of the judges even as they mouth pious and empty phrases that can only caricature but not capture the spirit of their criminal justice system, which in any event, stacks the deck against anyone whom the church accuses of misdeeds. Frollo's perfect diction,his sonorous phrasing, and his impressive robes linger in the audience's mind as a truly terrifying symbol of evil. The people of Paris themselves have two faces as well. As Quasimodo is being whipped, nearly every voice is raised against him. The mob of Paris was as unthinking then as when, centuries later, Madame Guillotine lopped off countless heads during the French Revolution. Yet, these same Parisians could storm a church where they mistakenly believed the King's soldiers were headed to arrest Esmeralda and take her for hanging. The theme of outer appearances hiding its inner opposites makes an unexpected appearance when Quasimodo intervenes and kills many of these same Parisians who want only to save Esmeralda from the King's soldiers who have been given new orders to save her. The final scenes of THE HUNCHBACK OF NOTRE DAME are full of unforgettable savageries made even more unforgettable by their lack of necessity. Quasimodo laughs maniacally as he repells the church door crashing mob. At the end, only Esmeralda finds a measure of closure as she is reunited with her lover. But for Quasimodo, all he has is the certainty th