Reviews (2)

Unique, but good
This movie is very unique, which is good. It gets boring watching the same Godzilla from Japan. Godzilla is much more flexible in this film. Don't listen to anybody who says this movie is a waste of time, because they're crazy.

Ehh....
While this is a moderately good monster movie, this is a horrible Godzilla movie. It's virtually identical to "The Beast from 20,000 Fathoms". And another thing that bugs me about this movie is the total lack of research. In the film, the AH-64 Apache helicopter is shown as a one-man chopper with guns on either side of the cockpit. The real AH-64 is a two-man chopper with one machine gun mounted UNDER the cockpit. Also, the creature's claws are all wrong. Lizard claws are flat on the bottom, whereas the creature's are rounded, like birds. And whoever came up with that "within a year, these 200 babies could become 40,000" line should watch the movie again. The first one wasn't able to lay eggs until it was at least thiry years old. Thirty years seems like planty of time to hunt down and destroy those hatchlings. ... Read more

Reviews (1)

A must see !
See the beginning of the lone ranger. Good clean family entertainment. If all your after is to make fun of old movies this will foot the bill too! ... Read more

Reviews (75)

Sheer delight
For my money this is Blake Edwards' most enjoyable movie. I've viewed it perhaps a dozen times, and its combination of a peerless cast, fine songs, supremely witty script and sure-footed direction make this a real gem that I will never tire of watching.

Robert Preston (in a role originally intended for Peter Sellers) practically steals the show as Toddy, a gay nightclub perfomer in 1930s Paris. Preston's vitality and charisma make the character of Toddy so warm, humorous and believable that he feels like an old friend by the end of the movie. What a shame Preston made so few films! (We do, however, have his memorable aoppearance in SOB - another Edwards triumph - to be grateful for.)

Julie Andrews is perfectly cast, with her distinctive voice and seemingly ageless face and figure all contributing to a convincing portrayal of a supposed female impersonator. The rapport between her and Preston is a joy to behold, and one can only applaud their classy professionalism.

The rest of the cast is top-notch, and the film reunites Julie Andrews with James Garner 18 years after their first movie together, the 1964 Americanization of Emily. Garner shows a fine comic touch - as always - and Lesley Ann Warren is inimitable as his supremely irritating ex-girlfriend.

The film positively overflows with 1930s Parisian atmosphere and sophistication. In short, Victor/Victoria is a real treat that offers a little something for everybody.

Essential viewing.

Le Jazz Hot!
Although he has just recieved an honorary Oscar, Blake Edwards is often looked upon as a purvayer of low comedy. Although he is the genius behind such sparkling classics as The (original) Pink Panther and Breakfast at Tiffanys, many people frown upon him for his later films such as S.O.B., Blind Date and Switch (let's not mention the post-Sellars Panthers). Victor / Victoria falls, chronologically, between the two sets of films and, in my view, is Edwards at his peak.
Edwards directs his wife Julie Andrews (never better and that includes being a nanny and a nun), in a tale of a [woman pretending to be a man pretending to be a woman]. The central plot serves as an excellent backbone on which to hang a wonderfully farcical script, some hilarious set-pieces and the fantastic song-and-dance numbers (Bricuse and Mancini's score makes you wish they'd worked together more often).
Andrews, as I say, is flawless coming somewhere between the innocence of Poppins and the lewdness of S.O.B. and giving a fantastic performance. From under her very nose though, the film is stolen by the ever-watchable Robert Preston as Toddy. Preston brings great depth and love to a part that could quite easily have been, as he is refered to in the film, 'a pathetic old queen'. James Garner commendably plays the straight-man (in more ways than one!) with a twinkle in his eye and Lesley Ann Warren hilariously chews every bit of scenery she lays her hands on.
The script, which bears Edwards' name as a co-writer, is as witty and moving as anything written in Hollywood's 'Golden Era' and the musical elements have as much vibrancy as MGM's in their hey-day. Musical highlights include Le Jazz Hot and The Shady Dame from Seville (not to mention the riotous reprise as performed by Preston for the films finale). One-liners don't come much better than "A lot of men can't get it ... up to now, you've been fine", "You look like a raccoon" (you need to see it) and the entire scene in the restaurant that leads to the line "It is a moron who takes advice from a horse's arse" (Edwards regular Graham Stark at his dead-pan best).
The extras on the DVD are limited to trailers and a commentary. The commentary by Edwards and Andrews is informative, if a little disappointing considering the wildness of the film and mainly consists of Edwards enjoying watching the film and Andrews making sure that all of the on and off-screen talent is name-checked.
A real unsung gem that deserves to be seen as often as possible. Tell your friends!

JULIE ANDREWS! A LEGEND!
I remember sitting through it in 1983 in the theatre with Mama and Grandmother. We all LOVED it. With Poppins, Maria and Gertrude; Julie`s Victor/Victoria is HER BEST effort on celluloid. Leslie Ann-Warren, James Garner, Robert Preston, Blake Edwards, Henry Mancini & Leslie Bricusse ALL excell in this comedy. It may be a trifle long and the Hercule Poirot-imitation unnecessary; but it really is the last of the GREAT MGM MUSICALS(although it was shot i England, released by MGM). The set-designs are a treasure 2 behold.

One Big Riot
There is one word that best describes this film, and it's RIOT. The film is one big and grand RIOT. The cockroach-instigated riot scene in the restaurant is memorable. Mr Edwards shot this from the outside so that we get to see a third-person view of what is going on inside through the windows. Also, look at that RIOTY performance by Leslie Ann Warren: the scene where she walks down the train aisle spurting out vehement %$&*$# should be made a classic!! Again, this was shot using a third-person view so that we see inside the train windows but never actually hear her. The film delights in its RIOTS, we get the feeling that it makes fun of its characters in this way, albeit a tender way.
But beneath all the film's RIOTS, is a warm heart (highlighted by Henry Mancini's score.) This warm-hearted attitude transcends even through all those nightclub brawls; and I believe that without this formula, the film might not have been able to handle the issue of homosexuality so well. Excellent performances by Julie Andrews, James Garner, Robert Preston (in a delicious drag queen finale,) Leslie Ann Warren (show stealer) and the whole cast. The musical numbers are also winners. Certainly not for the Lazy Afternoon viewing, but for the Friday/Saturday night film. To those who are offended by gay contents, be warned, the film insists. This is one GAY & RIOTY film.

Blake Edwards - Musical Gender Bending At It's Best!
This is most definitely musical gender-bending at it's best!

Not many musical/comedies are produced nowadays, let alone good ones like Rocky Horror Picture Show & Little Shop Of Horrors to name a few that come to my mind.

This 80's musical/comedy is set in 1934 GAY and I DO MEAN GAY Paree! This film is quite unparalled in the fact that Victor/Victoria was a movie BEFORE it made it to The Great White Way. Julie Andrews played Victor/Victoria in both movie and on stage.

Great songs in - Julie's "Le Jazz Hot" & Lesley Warren's bimboesque "Kings Can-Can". The sexual chemistry is A+++ between Andrews & a sexually confused James Garner who plays "King Marchand" a Chicago club owner, who is so TOTALLY out of his element in Paris, let alone being sexually frustrated and confused over his crush on the beautiful, stylish and gay, Victor.

Great cast, great songs and a greater storyline with lots of slapstick comedy make Victor/Victoria a classic of it's time!

Happy Watching! ... Read more

Reviews (1)

Film Without Alot Of Fun.
I really wanted to like this movie more than I did.I mean,how could a film about vampire brains not be good?Heh Heh.

Seriously though,I usually like movies like this but there just isnt enough here to recommend it.You dont get to see the creatures until the last ten minutes of the movie and even then they are very poorly animated.Theres just no excuse for that when you consider that they are nothing more than a brain with the spinal-cord attached.I suspect thats why the film makers choose to make the monsters invisible for the first hour of the movie.

As far as the acting is concerned,Marshall Thompson is his usual likable self and Kim Parker does a fine job playing the part of his love interest.The Professor though(I wont embarass him by mentioning his name)wallows in ineptitude like a pig in mud.I sat there half expecting him to wander off the set in confusion.

There are a few things to like about this movie.For one,the romance between the two stars of the picture is well developed and didnt feel thrown in at the last minute like it usually does in 50's sci-fi films.The ending isnt too bad either.It just isnt enough of a pay-off to justify sitting through the rest of the movie.

If you still cant resist purchasing the video,then go ahead.Just dont say I didnt warn you. ... Read more

Reviews (36)

"not just friends ~ they're blood brothers"
This tale penned by Angela Sommer-Bodenburg, with director Ulrich Edel, starring Jonathan Lipnicki (Stuart Little~Jerry Maguire) befriends a young vampire boy whose family needs an ancient amulet to become mortal again. They're not just best friends ~ they're blood brothers ~ as together they embark on a grand adventure.

Warner Home Video, presents an inoffensive kiddie movie ~ has enough special effects, magic and cheeky humor to keep the "Big Kids" (Mom/Dad/Grandparents/Aunts/Uncles) from squirming too much in their seats.

The soundtrack ~ "The Little Vampire: Music From & Inspired by (2000 Film)" ~ inclusive are 12 tracks of fun-filled-non-stop music, sure to satisfy the most finicky blood-sucker for all the evening festivities...check out my music review ~ see "Amazon.Com/Music" and look for me ~ both reviews will give you something to sink your teeth into!

Special Features: Cast/Crew Bios ~ DVD/ROM Features ~ Filmographies ~ Theatrical Trailer ~ Interactive Games/Menus ~ Scene Access ~ Web Access

Total Time: 94 Minutes...New Line Cinema...(2000)

NOT just for kids....
Although this movie will definitely appeal to children because the hero is only eight years old and has some great adventures, it has enough wit to keep older kids and adults entertained as well.

The Thompson family (mom, dad and son, Tony) is living in Scotland while dad designs a golf course for Lord McAshton. Tony is having a hard time fitting in and making new friends and begins having really vivid bad dreams about vampires. Then one night, the dreams turn to reality when a small vampire invades Tony's room, trying to hide from a Vampire hunter, intent on ridding the countryside of all it's 'undead' inhabitants.

Fortunately, these 'undead' are not really interested in munching on the human population all that much. They are all members of the clan of Sackville-Bagg who have found that there is a way in which they can become human, if they can only locate and recover a lost medallion by the time of the full moon.

With lots of help from Tony, they try to stay one step ahead of the Vampire hunter and complete the quest for freedom from vampirism.

Without doubt, Jonathan Lipnicki is one of the most charming and natural actors around. I have loved every role of his that I have seen and "Tony" is no exception. Whether he is 'vamping it up' with fake vampire fangs and a cape or joyfully flying through the air with his new friend Rudolph, he is a treat to watch.

The younger actors, Rollo Weeks, Anna Popplewell and Dean Cook as a rebellous teenager are also excellent and likable as the vampire kids. Other favorite characters are Richard E Grant and Alice Krige as loving parents to their little brood of vampirettes and the scene when they meet Tony's parents and charm them into a trip to the bluff is hilarious.

This is a really good, wholesome family movie that will entertain all the members of the family from the youngsters all the way up to Grandma. It's not saccharin sweet and has a little bit of an edge but is gentle enough that it won't give even the little kids nightmares.

I've viewed this movie several times and still enjoy it every time! This one is a 'keeper' and earns five stars from me.

Not a children's movie
I took my little nine year old brother to see this dud. What a terrible movie.

I was expecting a light hearted children's film and instead what I got was a mean-spirited adventure in Christian bashing with scenes that have no place whatsoever in a film aimed at a young audience.

The producer's bigotry against Christians is evident right from the start in its depiction of the so-called "vampire hunter".

He is easily the most disturbing character in the film. For starters his oversized crucifix looks like it was produced at a Las Vegas neon sign factory and his vehicle is a nightmarish cross between a mac truck and a steel mill. If this was meant to be funny, believe me, it wasn't.

The worst scene that I saw is when the boy at the center of the film gets trapped in a crypt and a rather large black rat begins crawling towards him.

I am flabbergasted that someone would think of this as legitimate children's entertainment. Graves and rats! Are you kidding me?! Absolutely despicable.

Throw in more nightmarish images of flying cows and children being given dead mice as gifts and you've got yourself one horrendously bad/disturbing movie that doesn't belong anywhere near impressionable youngsters.

I took my little brother and walked out of the theater rather than subject to him to any more of this garbage.

Shame on the people who made this.

the little vampire
I like the little vampire because i like Tony that plays the little vampire just because he hot,cute and i wan't to move to hallwood when i get older and i hope tony goes out with me.

adorable movie!
Yes, it is about vampires and adorable!
There are some cute scenes and phrases that adults appreciate, too.
My kids love it and so do I. ... Read more

Reviews (3)

An often immitated story line.
Boris is a quack prestidigitator whose premonitions suddenly begin to come true. One of the first of these kinds of stories possibly, but often immitated since. Reminicent of a One Step Beyond story. Worth a look though.

Karloff in excellent form!
Not too long ago, the classic early-sixties horror/suspense/crime series "Thriller" ended a highly-edited run on The Sci-Fi Channel, where it was tucked into the wee hours of the morning. To its credit, Sci-Fi showed all of the series' episodes, horror and non-horror, and in their original order, which made this episode all the more significant, as it was the first truly supernatural installment in the series, and an excellent one. The story is conventional but very cleverly done and wonderfully atmospheric, paving the way for such great entries as Robert Bloch's "The Hungry Glass" and Robert Arthur's "Pigeons from Hell." Karloff, who had a tendency to ham up such roles, is excellent here as the magician/seer who suddenly finds himself cursed with terrible powers. The ending, while unsurprising, is memorably tragic. One of the best!

Good Episode of a Sublime, Though Sadly Forgotten, TV Show
True fans of Horror who grew up in the 1960s and 1970s love this show. Even Stephen King, in his book DANSE MACABRE (p. 216 of the oversized paperback), calls this "the best horror series ever put on TV."

The show's host, Boris Karloff, obviously no stranger to the horror genre, stars in this particular episode, "The Prediction." It is a story about a second-rate magician (Karloff) whose "stage" predictions about the future suddenly start to come true. But when the old prognosticator warns that a secretly planned elopement will result in death, his assistant and her fiance think it's all a smoke-and-mirrors attempt to end their relationship. Though the ending to this story is a bit predictable (excuse the pun), the strong performance by Karloff makes it definitely worth watching. ... Read more

Reviews (19)

Excellent family film, both entertaining and substantial.
Those who have become accustomed to the virtually limitless possibilities of computer-generated special effects should learn to appreciate the "old ways," the by-now-primitive techniques that delivered the goods while working within the limits of the technology of the time. When you consider that Mysterious Island was produced in 1961, you have to marvel at the way the oversized creatures were brought to life in this film, thanks to the magical touch of Ray Harryhausen, the acknowledged master of stop-motion animation. But more than the special effects, this production is well-acted, beautifully filmed, perfectly scored, and intelligently written. Plus, it's an excellent way to introduce the kids to Jules Verne. I eagerly await the DVD release of this movie.

Thrilling sequel to "20,000 Leagues Under the Sea".
Producer Charles Schneer produced this sequel to Jules Verne's "20,000 Leagues Under the Sea" with art direction and special effects under the capable hands of Ray Harryhausen, whose stop-motion creatures are the highlights of the movie. A giant crab, an equally large prehistoric bird and a mammoth bee are but a few creatures that show up in this version, which is faithful to the Verne source material in major plot elements but differs in many details such as the addition of the giant creatures and the incorporation of a love interest.

Composer Bernard Hermann contributed an effective soundtrack that highlights the dangers that the castaways face, but the movie is almost "wall to wall" music, with the brassy main theme repeated again and again. Hermann is arguably the best, most influential soundtrack composer in motion picture history but here his music seems to be repeated and overused to the detriment of the movie.

The film opens during the the Civil War with a very well rendered escape sequence from a Confederate prisoner-of-war camp in Richmond, Virginia. The direction, music and Harryhausen's great effects work all come togther here to produce a truely thrilling escape sequence that opens the film and ultimately places the characters on the deserted, doomed Pacific island. The bulk of the movie takes place here as we see how the castaways survive on the desert isle and learn the ultimate fate of Captain Nemo and his famous submarine, the Nautilus.

This movie is a bit more character driven than most Schneer/Harryhausen efforts, with some emphasis placed on the internal conflicts of the castaways, but ultimately the Ray Harryhausen creatures and special effects steal the show.

Good retro fun
Somehow, everything about this movie screams "Saturday afternoon". It has an improbable plot, effects from a simpler era, and the good winning out over the morally ambiguous.

The only fair way to judge this movie is in its own context, now more than 40 years old. At the time, Harryhausen's stop-action creatures were the height of special effects. The giant crab, bee, and other creatures could not have been done any other way. Rays from "electric gun" may have been scratched directly onto the film. Again, it looks unsophisticated to today's eye, but matches the rest of the movie very well.

For its time, though, this movie has a few fairly modern features. The one black actor had about as much of a role as the others, even though Jim Crow was still alive and kicking. There was a skimpy-skirted female lead with a habitual need for being saved. The other woman, however, was one of the more competent members of the group. She was used to a life of ease, but quickly showed her competence at handling support functions for the team, and under primitive conditions. Maybe she did "women's work", but she did jobs that needed doing and she got past her aristo background to do them. About the only complaint we ever heard was that her gun jammed at a crucial moment.

There's no high moral or deep art here. There is good fun. It's a little dated, but that is just part of its charm.

great family entertainment
My kids love this movie and my wife and I like it, too. It's not a great movie, both because it has a rather creaky Jules Verne plot, and like most Harryhausen movies it sometimes becomes too enchanted by the "movie magic" to pay enough attention to the actors, but these are not things that your kids will mind, and you probably won't be bothered by them, either. What the movie does have is the same thing that is one of the strengths of Verne's books, which is its "larger than life" feel. I was always transported by his books into a world of high adventure, and this movie does that for my kids (and it takes me back there, too).

The performances in this movie are all solid (and Herbert Lom is very good as Nemo), and the special effects are interesting and entertaining. And it might interest your kids in the book, which is even better.

A CLASSIC ALL TIME MASTERPIECE, ON DVD!
Yes in deed, the great classic as I watched as a kid. A group of people who find themselves stranded on an uncharted deserted island. Wigh gigantic animals, engaging story line. And yes this is out on DVD as I have just purchased it. ... Read more

Amazon.com

Best known as the episode featuring the first interracial kiss on television, "Plato's Stepchildren" remains a disconcerting story in which our Star Trek heroes are reduced to playthings for psycho-telekinetic fiends. The Enterprise proceeds to the planet Platonius in response to a distress signal, and find that a race of people with special powers live there, having created a society loosely based on that of ancient Greece. These Platonians can force outsiders to act against their wills, and when Captain Kirk (William Shatner) attempts to prevent the Platonian king from holding Dr. McCoy (DeForest Kelley) indefinitely, he and Spock (Leonard Nimoy), Uhura (Nichelle Nichols), and Nurse Chapel (Majel Barrett) are made to perform for their captors. Much discussed by the show's producers before shooting commenced, a kiss exchanged between Shatner and Nichols crossed a certain threshold in network television, where such a thing had been previously unimaginable. Still, Shatner's own recollection (from his memoir, Where No Man Has Gone Before) is accurate when he states that the scene is so compelling dramatically that the color of the actors is almost beyond notice. What does not go unnoticed, however, is the sensitive performance of Michael Dunn, the dwarf actor best known as Dr. Loveless from The Wild Wild West.--Tom Keogh ... Read more

Reviews (8)

A bit below average, if groundbreaking, episode
Another menacing and sadistic 3rd season episode, this time involving an Ancient Greek-like people
with telekenetic powers. This is one of those episodes-there would be many more ahead--that doesn't have a lot to say. It is most noteworthy for the kiss between Kirk and Uhura (too bad it had to be forced upon them), the absurdly camp antics performed by Kirk and Spock in particular, and the icy malevolence of Parmen and his cohorts. Whatever moral the episode conveys could probably best be summarized as "absolute power corrupts absolutely." There's nothing very deep about the crew's 'escape' either, although they are able to teach Alexander some valuable lessons before they go.

Wonderful episode!!!!!
"Remember, Cupid's Arrow kills Vulcans."

The line above was spoken by Parmen, leader of Platonias. I like this episode because it is a very good episode. I highly recommend this to future Star Trek fans.

Watch this one for Michael Dunn, not the interracial kiss
Having always enjoyed Michael Dunn's performance as the evil genius Dr. Loveless on "The Wild Wild West" it is his appearance as Alexander that makes "Plato's Stepchildren" a memorable Star Trek episode for me, and not the infamous first interracial kiss on television between Kirk and Uhura (I think he missed her lips). The Enterprise responds to a distress call from Platonius and discovers the people have telekinetic powers. Finding McCoy's medical knowledge useful, the Platonians refuse to let him or the crew leave. After being forced to perform like fools, Kirk and Spock figure out that the source of the Platonians' power is a substance called kironide and figure out a way of turning the tables. I have read Plato and these people sure seem more like decadent Romans that heirs to the political philosophy outlined in "The Republic." Then again, you do get to see Spock trying to control his anger after being humiliated by the Platonians. But in the end this is Dunn's episode, achieving great pathos as the court jester of the Platonians because he is the only one with the power. Dunn and Shatner have a couple of very strong scenes together, no matter what you think of the rest of the episode.

A few good laughs keeps this episode from being a dud
There's an evil man named Plato who wants to use the crew from the Enterprise as entertainment once Dr. McCoy and the others refuse to stay on the planet with Plato and the Platonians. The only defense that Captain Kirk, Dr. McCoy, and even Spock have is to try and not pay attention to the powers that Plato and his servants possess. But their powers are stronger than expected. Plato and his sidekicks have the power to make people do things they don't want to do by controlling their minds.

"Plato's Stepchildren" isn't that good of an episode, it's basically just an average episode at its best. However, there are a few hilarious parts that keep it from being a complete dud, such as when Plato makes Kirk and Spock dance around foolishly, and when Spock just can't quit laughing.

I recommend any fan of Star Trek to at least watch "Plato's Stepchildren."

Exploitation is wrong, and so is Shatner's acting
I've got to give the show and its fine crew of writers credit where credit is due, not just for the impact of Kirk and Uhura's kiss (the first interracial kiss in television history) but for their overall message in this episode.

With the help of the unimaginally indulgent, remorseless Platonians, they sent across a substantial message in a flash of sparkling outfits, thick makeup (particularly in poor Chris Chapel's case) and Will Shatner's staccato and over-the-top acting:

Exploitation is wrong.

True, this is a lesson we all learned years ago in Kindergarten with the Golden Rule, but, not surprisingly, in the midst of the guilty excitement of gossip and the build-'em-up, tear-'em-down philosophy of the media, we all tend to wander from that message.

The Platonians used Kirk, Spock, Uhura and Chapel, putting them into humiliating, and what would have inevitably become fatal, situations purely for their own amusement. One can find similar parallels in the mass media market today. Indeed we do seem to receive some sort of pleasure in seeing some of our favorite actors, writers, personalities, etc. put into embarrasing situations.

Kirk and the gang, as always, represent the new world of equality, virtue and harmony throughout, even when consumed with hatred for their capturs.

One has to wonder just who the Platonians represent.

One Schlocky Note: Shatner slapping himself silly, cracking the whip, and...well just *being* in the episode seemed to be one big campfest for him this time. Congratrulations Bill, you should be proud. ... Read more

Reviews (5)

Slightly below average
This below average show concerned a hemoglobin-seeking space cloud from Kirk's past. The episode certainly has a couple things going for it; like The Doomsday Machine the episodes explores obsession with past mistakes and the quest for redemption. Evidence of Kirk's fallibility and capacity for introspection are always welcome, and his humane decision to give Garrovick the second chance he never received himself is poignant. Unfortunately, the story itself is not terribly engaging. Call me shallow, but it's hard to get excited about these gaseous clusters! (see/don't see Metamorphosis and the Lights of Zetar as well)

Kirk as Ahab in search of the great gaseous creature
"Obsession" is another of those Star Trek episodes inspired by Melville's "Moby Dick" with Kirk in the Ahab role this time around. Three members of a landing party are killed on Argus X by a gaseous creature that drains all the red blood cells from their bodies. Kirk abandons the Enterprise's mission to deliver desperately needed drugs to another planet, claiming this same creature attacked the crew of the USS Farragut 11 years earlier. Kirk had been a member of the crew and holds himself somewhat responsible for the deaths of 200 crewmates. However, he neglects to share all relevant information with the crew, which makes Spock and McCoy doubt the captain's judgment. Of all the episodes where Kirk goes over the deep end, this is the lamest of the bunch. The air of mystery which makes his every deed look suspicious is too contrived, as does the ending when he finally comes to his senses. But there is a nice scene when Spock and McCoy confront Kirk about his actions, so this episode does have some nice moments.

The Best story ever on the Captain of the Enterprise.
William Shatner delivers his best performance ever on Star Trek in this story of the Captain meeting the same cloud creature who murdered the captain and half the crew of a starship Jim had served on 11 years before. His obsession soon almost blinds him to the safetly and needs of the Enterprise crew, until Spock and Bones help Jim see matters clearer. Eventually Jim with the help of his former captain's son (Stephen Brooks) are able to destroy the creature with a matter/antimatter bomb and both men return to the Enterprise safe.Written by Art Wallace. Directed by Ralph Senensky. Music Composed and Conducted by Sol Kaplan.

Kirk encounters an earlier enemy and becomes obsessed
"Obsession" tests Captain Kirk's character more than just about any episode of the original series. While on a planet, he smells something that smells familiar. He soon discovers it's the same cloud, or creature, that killed many people including his commanding officer that he was real close to. Now, Captain Kirk must fight off his anxiety and past memories and find a way to kill the creature.

Another interesting aspect is that Kirk's former commanding officer's son is now onboard the Enterprise in order to give Kirk a helping hand. Kirk is obsessed with killing this cloud and this episode is worth seeing so you can see if he can get rid of this 'obsession.'

"Obsession" is a good episode and I recommend any Star Trek fan to get it. It showcases one of William Shatner's best performances as Captain Kirk.

Good KIRK Analysis
"Obsession" begins with a classic TOS teaser. Kirk and Spock beam down to a "planet" with three redshirts to obtain a mineral they need. They have found a very good sample and are about to beam up when Kirk smells a familiar, ominous odor. He knows that whatever is emitting this odor is dangerous. Kirk, Spock, and the redshirts go off to find where the odor is coming from. The classic part--the three redshirts are killed by the alien of the week, a dangerous cloud.

"Obsession" is a wonderful character study of Captain Kirk as he faces demons from his past. This cloud killed 200 men on the USS Farragut, when Kirk was a luitenant. "Obsession" is very entertaining and quite dramatic in places. This is one of the most character driven plots the series has provided. This is definatley a winner. ... Read more

Amazon.com

The standard-bearer for the entire Star Trek canon, this episode begins with a medical accident that leaves Dr. McCoy (DeForest Kelley) a paranoid madman. Leaping through a time portal to Earth's Great Depression of the 1930s, McCoy causes disastrous changes to history that include the disappearance of the Enterprise. Captain Kirk (William Shatner) and Mr. Spock (Leonard Nimoy) must follow him and undo whatever disruptive action he took centuries before. There, Kirk meets a kindly social worker, Edith Keeler (Joan Collins), with whom he falls in love before realizing that her fate is the key to a restored future.

A shattering drama, "City" brings out the best in the cast and production teams, looking like a feature film that found its way onto television. The background on this show is equally compelling and sometimes hysterically funny, beginning with a highly fanciful script by Harlan Ellison (including a scene with cast members riding a carousel that passes in and out the side of a mountain) that was either rewritten by series creator Gene Roddenberry or producer Gene L. Coon, depending on who's telling the story. Ironically, Ellison's original version won a Writer's Guild award, while the revision captured a Hugo, but the real prize is the episode itself. --Tom Keogh ... Read more

Reviews (21)

Not the book but a classic
In the program McCoy accidentally injects himself with substance that makes him paranoid and is compelled to leave the ship for the planet they are near. Through a series of events he goes through a portal to old earth (depression era). Some how he changes history and the Enterprise disappears. So the mission is to retrieve McCoy before he changes time. This naturally includes a love interest (Joan Collins.)

Read the book first (ISBN: 1565049640). This is not a serialization of the program; it is the original written script. You will be surprised at the transformation from a Harlan Ellison novel to a Star Trek episode (28).
To fit the mold of the series McCoy replaced a drug dealer. The first thing Harlan asked was that if this was, that if clothes were stolen that they did not look like they ware miraculously a perfect fit. And Spock stops Kirk from saving Edith. Kirk would have given up the future for love.
Now watch this episode, and yes the changes were necessary and this is one of the best.

Okay, it's dated, cheesy...but still the classic Trek
To the New Age Trekkies who are journeying with Captains Janeway
and Archer, the old crayola-colored helm and styrofoam planet sets of the original Star Trek series may seem "cheesey" (got that from a college Soph). However, it is the chemistry of the original crew, Kirk, Spock and Mc Coy, as well as all the crew,
that started the Star Trek Phenomenon. "City On The Edge Of Forever" epitomizes this chemistry. Future generation Star Trek episodes have tried to emulate this original Emmy winning "back in time on earth" formula (most recently "Enterprise, Carbon Creek" in which "I Love Lucy" is extolled), but the fact is, the sentiment, the feeling, the heartwarming relationships in this Joan Collins guesting episode have never been equalled. If you never saw the original Star Trek, if you never felt the chemistry that started it all, this is the episode to buy and enjoy.

I agree. Absolutely the best of the original Star Trek
episodes. Maybe even the best of the "time travel" genre. I love the original Star Trek, over & oover & etc. Production values low but the stories are so superb & original it doesn't matter. But this episode is the best of those. Joan Collins was once a babe & this is her best work. The Star Trek series that have followed have used & reused the the plots from the original merely requiring some rewrite. But they haven't attempted this one. How could they? The world-wide depression, the rise of facism, WWII pending, all are actual events from history. They must be allowed to proceed or the world that Kirk & Spock know will never exist. Pretty heady stuff for a t.v show.

Let's get the he*& out of here
The final issue in an unprecedented string of six consecutive well-above average episodes was probably the greatest of them all. Here we have the classic episode in which The Triumvirate pass through a portal into Depression Era Earth, where they must try to reverse changes that have been made to history. This episode in addition to being packed with tension, somehow feels more professional than most other episodes; as one reviewer noted, it truly does feel like you're watching a short movie. And while most of the other past/parallel Earth episodes relied primarily on the comedic aspects, those are clearly secondary here (all though by no means absent). This is a serious show, and the actors and production team took it as such. Kirk's love affair with Keeler is probably Trek's most convincing, and it is no coincidence that she is one of the strongest female characters to appear on the show (the lack of more was in my opinion perhaps Trek's greatest failure). And lets face it, for the climax of the episode everything gels; the scene simply feels 'right' to an extent almost never witnessed on network TV. We feel Kirk's choice and his loss, but realize it had to be. Sacrifice. The tone is carried over perfectly to the final scene, in which Shatner issues the final, bitter and disgusted line of the episode perfectly.

Sweet
I think that this is a nice love story, but not great science fiction. Joan Collins doesn't seem convincing when she says what she thinks the future will be like. It's a "chick" episode! ... Read more

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Writer Norman Spinrad had in mind a futuristic Moby Dick when heconjured up this story, though things didn't quite work out that way. Theoriginal idea was that the Enterprise would encounter an obsessive, Ahab- like captain whose Starfleet crew had been destroyed by a planet-killing robotship, and who sought revenge by taking command of James T. Kirk's vessel for aprivate hunt. Alas, the tough-as-nails actor Robert Ryan proved unavailable forthe guest spot, and Trek producers cast the more visibly vulnerableWilliam Windom instead, softening the script accordingly. "The DoomsdayMachine," as a result, falls short of its potential. The story still concernsthe destruction of life aboard the starship Constellation and Kirk'sinability to beam back aboard his own ship. But, while a major conflict betweenWindom's unsteady character, Commodore Matt Decker, and that of Spock (LeonardNimoy) for control of the Enterprise is entertaining enough, one yearnsto see a real showdown. (In karmic terms, that face-off took place later inStar Trek: The Motion Picture, between then-Admiral Kirk and Decker'sson, Captain Will Decker, played by Stephen Collins.) Also a little dubious isthe tubular robot ship, which is supposed to look both mechanical and organic,yet resembles moldy cannoli. --Tom Keogh ... Read more

Reviews (20)

MAYBE THE BEST ORIGINAL STAR TREK EPISODE
I can't resist writing the review of one of the most exciting, action-packed, interesting science fiction hours ever done. Forget the fact that modern CGI could do special effects 20X better; this story of the Enterprise versus an hugely powerful alien planet killer while Kirk and the crew face off against the obsessed Captain of the destroyed starship Constellation (Matt Decker, played by William Windom) makes for great drama. Never have the stakes been higher for Kirk ( perhaps except in "City on the Edge of Forever", which is a more personal story, this is a pure Kirk, crew and the Enterprise adventure) as the Captain, watching helplessly on a viewscreen, sees his beloved crew and ship facing imminent destruction inside the fiery maw of the tremendous planet killer.
The fantastic score, quick pacing and terrific performance make it a standout SF episode comparable to any series. It isn't perfect, some may consider the planet killer a cornucopia in space, but it is one of the most satisfying episodes of Trek with a terrific moral about superweapons. It has an air of immediacy and freshness even today. If you don't have all the episodes already, you should have this one. Even casual fans like it. A side note:
compare the ability of the Enterprise to withstand attack in this show to subsequent movies. After the first film, the ship was evidently depowered. This episode almost borders on comic book level combat, but it works because it puts the larger than life characters in a situation where you're not sure they can make it.

Definitely one of the best episodes
In "The Doomsday Machine," Captain Kirk and the crew find an injured ship with a commander that has just witnessed his whole crew die aboard his ship after a tube-shaped creature in space attacked his ship. Kirk has to do what he can to help the ill and paranoid commander whom he has a lot of respect for, while also keeping the Enterprise a safe distance from this galactic creature that can eat whole planets.

"The Doomsday Machine" isn't my favorite episode of Star Trek - The Original Series, but it's definitely one of the best. It has great acting, especially by Spock, good effects, and it's exciting. If you like the classic episodes of Star Trek, get this episode now!!!

A Top-Notch Nail Biter
This is The Original Series' most intense episode, and still elicits nail-biting even after numerous viewings.

While other reviews have given us the story line in brief, suffice it to say that with it's limited budget, this episode holds up well and upped the bar for all TV Science Fiction to follow.

"Doomsday Machine" went over budget due to special FX issues, and up to it's time was the most FX-laden TV show in history. It was also one of the most expensive to produce, and was a trying project for Star Trek's 60's-era FX house to complete. Fortunately, a local toy store had a model of the "USS Enterprise" for sale, which was quickly purchased, burned with a cigarette lighter, and stressed to look like a destroyed Starship "Constellation", thus saving thousands in new model building. One can clearly see that the "Constellation" is a toy when viewed from behind as it flys into the Planet Killer's fiery maw. Very well done!

William Windom's whigged-out portrayal of Commodore Decker is absolutely perfect and adds tension to the plot. The Planet Killer itself, while frequently panned for it's papier mache-look, is terrifying for the time and well done, in my opinion. It appears malevolent, albeit coldly computerized, and massive. The sound effects of this episode and the music round out a first-rate episode.

A conflict between regulations and what is right
The longevity of Star Trek is due in large part to the ideas inherent in the plots. Social and political messages were embedded in the shows and it was only the cover of a science fiction story that allowed them to be aired on network television at that time.
In this episode, the fallacies of thermonuclear weapons are examined. A powerful, robotic and self-sustaining weapon wanders into Federation territory. It severely damages one starship, killing everyone but the commander (Commodore Decker). Kirk and the damage control party beam aboard the crippled ship to determine what happened and Kirk stays behind while Decker and McCoy beam back to the Enterprise.
The story then becomes one of military discipline on the part of the Enterprise crew and obsession on the part of Commodore Decker. In agony over the loss of his command, Decker assumes command of the Enterprise and orders an attack that all but he knows is hopeless. The tension between Spock, Decker and the remainder of the Enterprise crew is intense, as they try to resolve the conflict between adherence to regulations and what they know to be right.
The conflict is resolved when communication is reestablished between Captain Kirk and the Enterprise. Decker is relieved of command and he unintentionally shows the crew of the Enterprise how to destroy the robot. This episode also has one of the most intense resolution scenes in the original series. William Shatner properly underplays his role, staying calm and collected, when it would have easily been possible to put too much stress into the scenes.
This is one of the best episodes in the original series. It is tense, well-acted and shows how critical adherence to regulations is to the crew of a star ship.

Above average, but overrated
I've always felt this good episode, in which a(nother) deranged captain pursues a Doomsday Machine (flying doobie?), was a bit overrated. The episode certainly has its share of action, and thought provoking themes. The latter include the dangers of 1) technology and 2) hubris and obsession in the wake of a loss. One problem is that William Windom is no Gregory Peck; his Ahab is over the top. The episode is also somewhat sterile, with too much of the Doomsday Machine and the music that follows it everywhere. Yet even this monotony somehow adds tension as the show builds to its climax. A good episode, but somehow not quite as dramatic and momentous as it aims to be. ... Read more

Reviews (4)

The wonderful Dutch people
After watching this movie, I felt a lot more better about the german occupation in Europe. I thought almost all of europe were against the poor jewish people, but now with The Attic, you learn more about Anne and the hiding, and what went on outside the walls. Miep Gies is very loyal to her country in Holland, but when some of her best friends, who are in misfortune just because they are jewish in the german occupation, she knows must do something to stop her friends from being harmed. While they are in hiding above the office she works for, which happens to be owned by Mr. Frank, one of the men that is hiding, Miep becomes closer to Mr. Franks daughter Anne, and encourages her to do something she just might give up on, keeping a diary. Outside the walls of the Secret Annex, the Dutch people are protesting against the germans and their degration towards the jewish people, but end up getting bad consicouenses just for doing what's right. Miep and the other 4 helpers to the hiding occupants hope the war will be over soon because things are getting worse. This is a much more accurate version of Anne Frank information. The diary of Anne Frank was hardly accurate at all. The annex wasn't even right. In this movie, you get to find out more of Anne and the others that's more accurate then you ever did before. Lisa Jacobs was great as Anne Frank, and Mary Steenburgen was beautiful as Miep, and very good. I hope it comes out on DVD soon.

Courage and love in the midst of oppression
Mary Steenburgen gives a deeply sympathetic and loving portrayal of Miep Gies, the woman who hid Anne Frank and her family during the German occupation of Holland.

The subdued color until the final bright scene, the music, the low key acting with only one dramatic outburst in the film, all give the feeling of great oppression. The horror of being occupied by foreign power in your own country is constantly portrayed. Juxtaposed to this oppression is the strength, courage, and love of one woman.

Anne Frank herself isn't portrayed as the beautiful child we've seen in other versions. She is rather plain and quiet, but there are scenes when she does blossom out as one mature for her years with her own sense of strength and courage.

We don't, of course, see the whole story of the Franks, because the focus here is on the woman, Miep Gies. The movie is based on a book by the woman, a book I hope to read in time.

This is not exactly an entertaining movie, nor is it a morbid or dreary experience. It does portray not only the plight of the Jews, but also the plight of the Dutch people. And it is good that we emphasize with the people of that time. Present generations don't realize that it could have happened here. If a few battles had gone another way, if Hitler had paid more attention to Rommel, our history could have been drastically and unimagineably changed. And so it is good for us to watch what a captive nation is like.

No, this isn't entertainment in its strictest sense, but it does have an uplifting feeling at the end and is quite worth the watching, to make an understatement.

A Very Moving Telling of the Tragic Event
This movie focuses a lot on Meep, played very well by Mary Steenburgen. It tells the story of the Franks from before they move into hiding to their capture and deportation. While it does not cover as broad a time span as the recent tv movie about Anne Frank, it does give a pretty accurate portrayal of the lives of those involved in the hiding of some Jews in a hidden annex.

A gripping story of courage & the horror of war!
The actors in "The Attic" provide viewers with an engrossing look at the horrors of the Holocaust as it applied to the families in the Secret Annexe as well as the bravery of the Dutch people who served in the Underground. Portions of the story were filmed on location at what is now known as the Anne Frank house in Amsterdam. As a teacher, I used the film as a follow up to the study of "The Diary of Anne Frank". My students were curious about the people who helped the people in the Secret Annexe. By the end of this film many of the students had tears in their eyes even though they knew what the ending would be. They found it easy to relate to the characters and the shock and grief at what befell the occupants of the hiding place. Since the story is told from Miep's point of view, we are given a fresh perspective of the Franks, the Van Daans, and Dr. Dussel. Miep had a special friendship with Anne Frank and her memories of the time Anne and her family spent in hiding let us see more of the personalities of the group. If you were not previously convinced about the horror of war (and the persecution of the Jewish people), you definitely will be after viewing this film. ... Read more

Reviews (12)

Okay, sure
When one watches this video he is granted with something that is not obtained through reading a book or the trial transcripts--facial expressions and body language. It is humorous that all these scumbags, in their arrogance and god-like facades, who are trying to kill Mumia are very nervous on the tape, stuttering, getting lost for words, etc. It almost seemed as if they could not remember the lines they were told to read. I wish I could have rubbed their palms and felt the sweat drip off of them. The prosecuters seemed plastic, talking mannaquins. And those who were in defense of Mumia were calm and collected. I don't know what happened on the night in question; I am not that arrogant to assume so. What I do know is that this man deserves a new trial. If everyone thinks he is guilty and the evidence stacks up against him, then give him the trial he deserves and don't hide anything and justice will be served. That is if you are so certain that he is guilty. The fact that this man has been kept alive for so long and at the same time has not been granted a new trial makes me think that the system is hiding something. This case is something that goes deeper than race for all of you who claim that "Philadelphia has elected many black mayors, just look at Mayor Street." Seeing that it is not the mayor, but the FBI and COINTELPRO--people that have spread misinformation about other radicals such as Abbie Hoffman who exposed the Vietnam War as nothing more than a means of Wall Street to make more blood money--who want Mumia dead, that is a very weak statement that really holds no weight. Mayors are just puppets for those behind the curtains. Mumia deserves a new trial. Why not give it to him if the courts are so convinced he is guilty. What are they scared of? And I am not forgetting Faulkner either. I feel sympathy for his family. Now all of you who want to remember him and should realize that if an innocent man is in jail that means a killer is walking the streets and justice will never be served. Two innocent people would have died from this whole event, not just one. It is the FBI and COINTELPRO who insult Faulkner and his family, not Mumia's supporters. Give him a nre trial. One that is fair an just and has no holes. For similiar cases, study the case of Sacco and Vanzetti, and the Rosenbergs.

Lack of a "fair" trial does not equal innocence
As a hardcore progressive activist (involved in the peace movement, oppose the death penality, etc.), I've followed the Mumia situation for quite some time. However, I've been troubled, not by the pro-death penality advocates, but by the Pro-Mumia movement itself which has repeatedly relied upon lies and manipulation to make a case for Mumia.

There are claims made in this documentary that don't hold up to scrutiny.

The caliber of the gun "not matching" the murder weapon: This claim is based on a hand written note of the initial doctor who saw Faulkner's body who had very little training in ballistics. Afterwards this doctor retracted his statement and stated quite bluntly that he was just guessing. Those trained in ballistics have stated that the bullet that killed Faulker did indeed come from the gun owned by Mumia. It was in fact Mumia's gun which killed officer Faulkner. Did Mumia pull the trigger? We can't be 100 percent sure.

Mumia's brother has not testified on his behalf nor made ANY - EVER - public statement in defense of Mumia. And Mumia's brother was at the scene of the crime. Mumia activists state that the brother won't come forward because of fear of reprisals. This just doesn't make sense. Mumia has been on death row! Couldn't he make a video statement taped in another country which won't extradite him should there be any ramifications from his actions?

Mumia's confession: Pro-Mumia activists claim that the police officer who quotes Mumia confessing to the killing only came forward months after the fact. The argument is that a confession of this importance should have been reported immediately and that this kind of behavior indicates a possible fabrication given the delay. This seems to make sense on its face. However, there was another witness to this incident. A hospital security guard reported within a day or so that Mumia had confessed to the shooting. Pro-Mumia activists point out that the guard was a "friend" of Faulkner. OK, maybe that creates bias, but the fact of the matter is, the guard's statements destroys the attack on on the delayed police report - because there was no delay. This doesn't mean that no one is lying, of course.

The trial: There is in fact evidence to show that Mumia did not receive a fair trial. However, as pointed out by others, Mumia certainly didn't help his case by being disruptive. The man seemed almost intent upon angering the judge and doing everything possible to have himself removed from the court room.

Eyewitnesses: This is perhaps the most problematic portion of either side. Some say Mumia did it, some say he didn't. Some say there was a running man from the scene of the crime. Just about all the witnesses have ulterior motives and could be dismissed as lacking credibility.

Many people don't realize this, but Faulkner had on his body a driver's license which had not been called into the police department. The obvious conclusion is that this license belonged to a third suspect (Mumia, his brother, and someone else). Tracing this license, the police discovered that it belonged to a man with a solid alibi - but he had loaned it to another man who was a friend of Mumia's brother. Voila. Now you have the "running man." Unfortunately, this man has been dead for many years now, killed in an apparent gang shooting.

So did Mumia do it? And did he receive a fully fair trial? The evidence points straight to Mumia as the shooter. However, none of this means he got a fair trial or that the police didn't lie to make their case.

The problem is, Mumia has come to represent much more than a single event. Progressives of all stripes bring this case up as evidence of police lies and manipulation. This is unfortunate. Mumia's case is not as clear cut as activists make it out to be. Even worse, the constant arguing of his innocence damages the credibility of an entire movement which opposes the death penalty and the rampant racism within the US justice system. More than any other case, Mumia has come to represent to death penalty advocates the overall "lies" of the progressive left.

This documentary only contributes further to the damage.

Not accurate
...I covered the Mumia trial. He did everything he could to sabotage his own defense. Mumia insisted again and again to a weary Judge Sabo that John Africa, founder of MOVE, represent him in the murder trial...even though John Africa was not a lawyer. A shooting that takes place in the wee hours of the morning in a shady center city neighborhood will NOT have very savory or perfect witnesses. This one did not. But if Mumia was defending his brother from Officer Daniel Faulkner, why didn't Mumia's brother testify on Mumia's behalf? Why was Faulkner shot in the head with Mumia's gun at point blank range? This documentary is a one sided mess. Mumia and Officer Faulkner deserve better.

A very controversial video!
Why do people rate this video so low? What are they afraid of?

Throughout the world there are millions of people who have shown their support for granting Mumia a new trial. Amnesty International, European Parliments, Nelson Mandela, are among many groups and individuals who have submitted statements of support for Mumia or expressed concerns about the fairness of his original trial. Ossie Davis, Ruby Dee, Mike Farrell, Whoopi Goldberg, Rage Against the Machine, Beastie Boys, Ed Asner, support Mumia's cause.

If Mumia is guilty like some people say then no one will believe him....right. If he is guilty as they say then why are they opposed to a new trial (just to make sure justice was initially correct....especially with such irregularities in the first trial). If he is guilty then a new trial will only enforce that.

You'll see: Witnesses that were not allowed, others that were "credible" when bribed or coerced and then later, when they want to tell what really happens, they are now termed "incredible" and are arrested for warrants they never knew they had. Forensic tests that dont match. Evidence disappears. Cops all of a sudden remember a "confession" two weeks later after the death of Officer Faulkner. By all means check out the original transcripts at the late Officer Faulkner's website. You'll see Judge Sabo (the same judge who has presided over every court challenge Mumia has made to appeal his case and was even brought out of retirement for one of Mumias appeals) deny Mumia's constitutional right to represent himself in court (as he felt his state-appointed lawyer, who was inexperienced in capital murder cases, was not capable of representing him).

"The choice, as every choice is yours. To fight for freedom or encagement, liberty or slavery, life or death. Spread the word of life far and wide. Talk to friends, read and open their eyes - even to doorways of perception you feared to look into yesterday. Hold your heart open to the truth." -Mumia Abu-Jamal

Listen to him speak before you make up your mind. Dont pre-judge Mumia Abu-Jamal on some review on some website....

Well-meaning but woefully inaccurate
Before you click the "NO" button, read the following all the way through.

I have no doubt that supporters of Mumia Abu-Jamal's bid for clemency mean well. I myself have grave reservations about the death penalty's place in society. Yes, the criminal justice system is flawed, and the wrong people can be railroaded.

What I do not have reservations about are Mumia's guilt in this particular crime.

I am annoyed at the way people who analyze this incident factually are labeled as "racist." For that reason I am submitting this review anonymously. I do not consider myself a racist by any stretch of the imagination, but I do feel that someone who kills a policeman in cold blood is guilty of a crime, no matter who they are. No credible mitigating circumstances have ever been shown in this case. To that end, I submit that this documentary is only helping spread a lopsided, factually distorted view of the incident.

To wit:

1. "Mumia never received a fair trial." In fact, Mumia attempted to dismiss his own lawyer and represent himself, or failing that have a man appointed to the position who had no experience with law (MOVE leader John Africa). Mumia repeatedly disrupted the courtroom with his outbursts and refused to call two key material witnesses for the defense to the stand. If anyone is responsible for Mumia not getting a fair trial, it was Mumia himself, who sabotaged his own defense time and again.

2. "The bullet that killed Officer Faulkner was a .44, while Mumia's gun was a .38." This was based on a misreading of preliminary notes made during the officer's autopsy, which was never intended to be entered into evidence and was later corrected by ballistics. Why this particular piece of information keeps being repeated is puzzling; ballistics has since shown that the bullets that killed Faulkner matched Mumia's gun (which he owned and was registered to him) to a high degree of accuracy.

3. "Witnesses reported seeing another man kill Office Faulkner and flee the scene." None of these witnesses supplied evidence that directly contradicted the testimony of other, more substantiated witnesses (as well as the heavy weight of the physical evidence).

4. "The jury was stacked." Mumia and his lawyer had a free hand in choosing the jury, 33% of whom were black (an accurate reflection of the racial makeup of Philadelphia). They approved a great many white jurors to deliver a verdict of guilty.

5. "Mumia was coming to the aid of his brother who was a victim of police brutality." The brother, who was being pulled over by the officer in question, has never spoken in Mumia's defense. Four on-the-scene eyewitnesses show that the brother (who sustained only a cut behind the ear) assaulted the officer first. [The officer was shot in the back, in the chest, and then in the head at close range -- allegedly in "self-defense."]

And so on. Nothing in this documentary was derived from the public records of the trial, but has been taken directly from Mumia's supporters.

I understand how emotionally charged this case is, but that is no excuse for shoddy scholarship -- or total absence of same.

Get the facts, not the propaganda. ... Read more

Reviews (43)

Eastwood returns to directing
Eastwood's directorial debut was "The Unforgiven", a stylistic return to the glory days of the western. This time he has entered a new one, films about the death penalty. Eastwood plays a barely-sober hack newspaper reporter. His character is very enigmatic, although I think that was much more to do with Clint than with the story. He is walking a fine line between being a brilliant asset to the paper and being fired. You see, he has a tendancy to go on crusades, and he is about to embark on a fresh one with his current writing assignment. His job is to write a "human interest sidebar" about the execution of an accused murderer. The problem is, Clint thinks he's innocent. Is Clint stupid for going off half cocked? Is he just being reckless with his career, or is he brave in standing up for what he beleives is right? These are the questions the film asks us to contemplate as Eastwood gets clues and revelations about the case. I like to see Eastwood in this type of role, which is quite similar to that burgler one a few years ago. A low key guy struggling with his role in life. Quiet and subdued, he constantly wonders about what is the right thing to do. I was never a fan of "Dirty Harry", or those Sergio Leone films. We see a rare raw side of Clint Eastwood the man here, instead of Clint Eastwood the cardboard cutout. The title says it all, this is realistic, not superhero fantasy.

Worth seeing for stellar supporting cast performances
This is a decent, if not stellar, movie rental for those who like mystery/morality plays. I rented the video and then bought a previously-viewed copy to keep because of the fine support performances by Isaiah Washington and Lisa Gay Hamilton; these 2 tug your heartstrings with their portrayal of a loving couple facing the ultimate separation of an enforced death penalty. If you have the patience to sit through all the side stories (and there are way too many) told to illustrate that Clint's character is an aging hack without a personal life or moral conviction to speak of, then you'll see some great acting by Washington and Hamilton, as well as James Woods as Clint's editor. Other stupid side stuff: the inclusion of Clint's ex partner, their daughter, and his current wife in cameo roles and some haggling-for-money-sexual harrassment scenes by a homeless man intended to be humorous but which were just annoying and dragged the movie out still further. In conclusion, this film needed a much tighter editor/story but the supporting cast still makes it worth viewing.

Clint Is Still Number One
Clint Eastwood's 1999 release, True Crime, was based on an Andrew Klavan novel and filmed in a style that reminds me of movies made in the late 70's or 80's. As I watched the first few minutes, my first thought was that poor Clint was to old to portray the part of Steve Everett and this movie had been a waste of money. At first, it actually kind of "creeped me out" watching him come on to the beautiful young women in the movie, but you cannot always judge the movie by your first impressions. Steve Everett is a cheating husband, a horrible father, a recovering alcoholic, and a womanizer, but he is, first and foremost, a newspaper reporter with a "nose" for the truth. His boss, Bob Findley (Denis Leary), assigns him to cover an execution as a human-interest story. Bob has a hard time working with Steve, knowing that Steve has been sleeping with his wife, and struggles to maintain a professional office relationship. Steve has a hunch that Frank Beechum (Isaiah Washington), a black man convicted of the murder of a pregnant white girl, is innocent, but only has one day to come up with evidence before the execution takes place as scheduled. The plot to this movie is predictable and has been done in other movies many times, but Clint Eastwood's skill as a director turns this otherwise "dog" into a suspenseful thrill ride. The performances of Isaiah Washington and Lisa Gay Hamilton are precise and moving. James Woods is hilarious and Francesca Fisher Eastwood, Clint Eastwood's daughter in real life, is adorable. Michael Jeter, Michael McKean, Bernard Hill, and Diane Venora also give great performances and help make True Crime a very good movie that is definitely worth 127 minutes of your time. Oh, and about my first impressions, I was wrong, Clint is not too old for the part or the beautiful young women. Clint is still number one.

Eastwood Is The Man
Another great Eastwood directed film with terrific performances by everyone in the cast especially (i.e. Isaiah Washington, Lisa Gay Hamilton and James Woods). Eastwood is one of my favorite directors ever. If you are in any way familiar with an old radio show called "Nightbeat" this film is very similiar. This one has a very suspenseful ending.

A RACE TO THE FINISH
Okay, let's get two sore points out of the way: Yes, Clint is really a little too old for the leading role, especially in pairing him with such young ladies; and yes, James Woods goes way over top in his cartoonish role as Alan, the editor in chief. But, aside from that TRUE CRIME is an astounding work for the director Eastwood. The real stars of the picture, however, are Isaiah Washington and Lisa Gay Hamilton. As the doomed but innocent Frank Beecham, Washington controls his performance, making him both heartbreakingly real. No overacting here. He uses his face, his body, his voice to convey the hopelessness and fear of his impending execution for a crime he did commit. Hamilton as his wife, Bonnie, has a very demanding role, and her grip on this character is unbelievably subtle and intense. Some real tear-jerking scenes in this one. Hard to believe Washington and Hamilton were overlooked at Oscar time. Denis Leary is exceptionally good as Eastwood's boss who finds out his wife is sleeping with Eastwood. Leary could have taken this over the top, but he again controls the anguish, jealousy (both professionally and personally), and doesn't resort to familiar tactics. Bernard Hill as the warden, Michael Jeter as a key witness, and Michael McKean as a really scuzzy minister also do well.
Also, the lovely song voiced by Diana Krall, should have made it to the Oscar nominations too! Her voice reflects the hopelessness and despair of the film's script. The writers should also be commended for its faithfulness to Andrew Klavin's excellent novel.
A very good film and worth seeing.
IT MAKES YOU STOP AND THINK ABOUT THE DEATH PENALTY. ... Read more

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Kirk reluctantly agrees to play along with a Federation test of a new supercomputer, designed by the brilliant Dr. Daystrom (William Marshall, the booming baritone stage actor most famous for Blacula) to run a starship almost single-handedly. It does its job too well, locking the human crew out of ship operations and using deadly force during the Federation war games. Spock and McCoy continue their now-legendary banter about man versus machine while Kirk muses over the obsolescence of his own command. Marshall is excellent as a former-boy-wonder genius banking his reputation on this breakthrough, treating his creation like a son. That's not too far from the truth: designed after his brain pattern, this thinking, reasoning, learning machine carries with it the insecurities and desperation of its creator. The fears of the emerging digital revolution explored in The Ultimate Computer in 1968 remain today: what is the fate of man in the face of technological efficiency? Films from 2001: A Space Odyssey and Colossus: The Forbin Project to Demon Seed and The Matrix have echoed these themes, and this Trek episode--primitive special effects, zero-budget sets, and all--stands up to them quite nicely. --Sean Ax