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Winner of seven Academy Awards including Best Picture, Director, and Screenplay, this critical and box-office hit from 1973 provided a perfect reunion for director George Roy Hill and stars Paul Newman and Robert Redford, who previously delighted audiences with Butch Cassidy and the Sundance Kid. Set in 1936, the movie's about a pair of Chicago con artists (Newman and Redford) who find themselves in a high-stakes game against the master of all cheating mobsters (Robert Shaw) when they set out to avenge the murder of a mutual friend and partner. Using a bogus bookie joint as a front for their con of all cons, the two feel the heat from the Chicago Mob on one side and encroaching police on the other. But in a plot that contains more twists than a treacherous mountain road, the ultimate scam is pulled off with consummate style and panache. It's an added bonus that Newman and Redford were box-office kings at the top of their game, and while Shaw broods intensely as the Runyonesque villain, The Sting is further blessed by a host of great supporting players including Dana Elcar, Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould. Thanks to the flavorful music score by Marvin Hamlisch, this was also the movie that sparked a nationwide revival of Scott Joplin's ragtime jazz, which is featured prominently on the soundtrack. One of the most entertaining movies of the early 1970s, The Sting is a welcome throwback to Hollywood's golden age of the '30s that hasn't lost any of its popular charm. --Jeff Shannon ... Read more

Reviews (119)

An great comedy thriller classic.
When an ambitious Small Time Crook (Two Time Oscar-Winner:Robert Redford) steals $10,000 with his old age partner from an dangerous criminal (Robert Shaw), later on that day, The Crook discover his crime partner has been murder by the crime lord. Then The Crook meets his dead friend ex-partner a Veteran Con-Man (Three Time Oscar-Winner:Paul Newman), who seek revenge on the crime lord.

Entertaining comedy is directed by George Roy Hill (Butch Cassidy and the Sundance Kid, Slap Shot) and Written by David S. Ward (The Program). Winner of Seven Academy Awards for Best Picture, Best Director, Best Art Direction/Set Decoration, Best Costume Design, Best Film Editing, Best Score and Best Original Screenplay. The Film recieve Three Oscar Nominations, Including:Best Actor:-Robert Redford, Best Cinematography and Best Sound. The Sting has the Greatest Double Crossing in a Movie History, Complete with an Surprise Ending. Great Fun. Better to Wait for the Special Edition DVD in a Widescreen Version, which it will be 30 Years, Next Year. Grade:A.

The Quintessential Caper Flick
"The Sting" is an extremely well written story by David Ward ("Major League", "Sleepless in Seattle") and David Maurer about some smalltime grifters who attempt to swindle a mob boss. The film was nominated for ten Academy Awards in 1974 and won seven Oscars including Best Picture and Best Director. It reunited director George Roy Hill, Robert Redford and Paul Newman four years after their blockbuster, "Butch Cassidy and the Sundance Kid". Strangely, although Butch and Sundance made it to number 50 on AFI's top 100 of the century, this film did not make that list. This is even more surprising since "Butch" did not win the Oscar for Best Picture in 1970 ("Midnight Cowboy" won it that year).

While I think "Butch" is funnier and more exciting, this film is more intriguing with interesting character studies and some unpredictable plot twists. Hill does a superb job of weaving the elements of the caper together and giving it a depression era feeling. The humor is more ironic than hilarious, but it fits the story well. The period props, locations, and sets are excellent, and the costumes are perfect. The costumes were done by the legendary Edith Head, who designed costumes for over 400 films in her 50-year career. She won an Oscar for best Costume Design for this film, which was one of eight she won in that category in a career marked by an astounding 34 Oscar nominations. The music by Scott Joplin and Marvin Hamlisch is also fabulous, bestowing an early twentieth century flavor on the film, and giving Hamlisch one of three Oscars he won that year (the other two were for "The Way We Were" also starring Redford).

Where "Butch" was probably a little more Newman's film, this film clearly belonged to Redford. Redford, who was nominated for best actor for the role, is marvelous in the lead, giving his character a charming, lighthearted personality to go along with his scheming intellect. Newman plays almost a supporting role as the veteran conman Henry Gondorff, who assembles the team for the caper and oversees its execution. Despite the smaller part, Newman gives an electrifying performance with his conniving tough guy portrayal. Robert Shaw ("From Russia With Love", "A Man For All Seasons", "Jaws") is also terrific as mob boss Doyle Lonnegan. Charles Durning ("The Best Little Whorehouse in Texas"), Ray Walston (TV's "My Favorite Martian") and Eileen Brennan ("Private Benjamin") round out a splendid supporting cast with fantastic character portrayals.

This film is entertaining and fun with a tight plot and wonderful period renderings. I rated it a 10/10. If you have never seen it, you are in for a treat.

THIS ONE REALLY STINGS!
"The Sting" is a classic throwback to Hollywood's golden age: a fish out of water tale about a couple of con artists (Paul Newman and Robert Redford) who seemingly meet their match in a cheating mobster (Robert Shaw). As the police close in from one end and the Mafia from the other, the stakes become higher, the comedy more hilarious and the ultimate con, more rewarding. The supporting cast is a potpourri of stellar characters including Dana Elcar, Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould. Marvin Hamlisch provides a sophisticated score buttressed by Scott Joplin's ragtime jazz.

It is disheartening to see an Oscar wining Best Picture get so shabby a treatment on DVD. For starters, the film is presented in a full frame, pan and scan version only. The shortcomings of this format are that you are not seeing the film in a version director, George Roy Hill would have approved of. But apart from Universal's glaringly obvious oversight, the print quality of "The Sting" suffers from a poorly balanced color spectrum, age related artifacts, edge enhancement, shimmering of fine details and pixelization. Flesh tones are often weak and pasty. Blacks are rarely solid or deep. Fine grain can be excessive in spots. The audio is poorly mixed, sounding strident and tinny. There are no extra features.

Redford and Newman at it again
I just rented this DVD and watched the whole thing, but I've seen this movie several times before.

Johnny Hooker (Robert Redford) is a con artist who unknowingly swindles a lackey of crime boss Doyle Lonnegan (Robert Shaw). After Hooker's partner in the crime is killed, Hooker vows revenge against Lonnegan and seeks Henry Gondorff (Paul Newman), one of the best cons in the game to help in the big Sting. Hooker would love to do more than just hit Lonnegan for a lot of money, but "doesn't know enough about killin' to kill him."

It's not easy separating a crime boss from his money, especially when he owns half the politicians and police. They have to take him without him even knowing he was taken. What follows is an exciting deception, carried out with professionalism and ingenuity.

I don't think the chemistry between Newman and Redford is quite as good as Butch Cassidy and the Sundance Kid, but it's still pretty darn good. Lines like this:

Redford (first seeing his arch-enemy): "He's not as tough as he thinks."
Newman: "Neither are we"

The story is classic. You don't exactly know who's who, and you wonder how they're going to pull it off in the end. Scott Joplin's ragtime music, although somewhat anachronistic, is effective at keeping the movie somewhat lighthearted. There are a couple of instances of swearing and a stripper with pasties on, which gives it a PG rating.

The reason for four stars is the fact that the DVD has NO EXTRAS, and the only option is the full screen version, no widescreen. A movie as good as this deserves better, which is unfortunate.

Overall, this is a great movie with great cinematography (transition wipe effects and some tracking shots) and phenomenal acting. Enjoy.

Widescreen?
I love the film, but why is this not available in Widescreen on DVD? There's been a Widescreen VHS, and I've seen it in Widescreen on Turner Classic Movies. I know it was shot in Widescreen, so how about it, Universal? ... Read more

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Disney had an unexpected hit with this predictable comedy about a smug lawyer (Emilio Estevez) busted for drunk driving and ordered to coach a sad-sack team of hockey-playing kids as community service. The kids triumph over their sundry problems, and Estevez's character grows up a little. End of story.A perfectly harmless movie for kids and adults who are giving their brains a night off. --Tom Keogh ... Read more

Reviews (22)

The first movie of the "Mighty Ducks" trilogy! 5 STARS!
When he was young, Gordon Bombay (Emilio Estevez) used to play hockey but when he blows a really big game, he quits. Now thirty, he's a lawyer who doesn't know anything about fair play or teamwork. When he gets arrested for drunken driving, he has to perform community service. And not just any community service, he has to coach hockey to kids! His team consists of Charlie Conway (Joshua Jackson), Greg Goldberg (Shaun Weiss), Dave Averman (Matt Doherty), Peter (J.D. Daniels), Gee Germaine (Garette Ratliff Henson), Jesse Hall (Brandon Quintin Adams), Connie Moreau (Marguerite Moreau), Dave Karp (Aaron Schwartz), and Terry Hall (Jussie Smollett). And they are an AWFUL team! Bombay hates the kids and doesn't try hard to coach them, and so of course the kids don't respect or like him at all. Will they ever be able to work as a team with Coach Bombay acting like the good coach he should be? And will they have enough time to make it to the finals against unbeatable team, Hawks? Also starring is Hans (Joss Ackland), Mr. Ducksworth (Josef Sommer), Fulton Reed (Elden Henson), Tammy (Jane Plank), and Tommy (Danny Tamberelli), Coach Reilly (Lane Smith), and Adam Banks (Vincent Larusso).

Great movie entertainment! I just love the whole Mighty Ducks trilogy! They teach great values about trust, teamwork, fair play, and as Coach Bombay used to say, 'all that other junk'. It's also very, VERY hilarious! Some parts you can just die laughing, for example when the kids get in trouble from the principal and are put under detention. The hockey games are pretty suspenseful and fun, too!

But there is a reason for the PG rating for this movie. Mostly it's because of language which at times is pretty bad. Also the kids in the movie are pretty naughty at times. I think the movie is best aimed for kids maybe 10 and up, great for adults, too.

Then of course there are the other two "Mighty Ducks" films. "D2: The Mighty Ducks" have Bombay again coaching the Ducks, this time there are going up against the world as Team USA! Some of the hockey players aren't in this movie, but they get some new teammates. In my opinion (though it's a very hard choice), this movie is the best of all three. "D3: The Mighty Ducks" has the Ducks getting a scholarship for Eden Hall academy. Their main adversary are the Warriors, the varsity team of Eden Hall. If you liked the first "Mighty Ducks", I highly recommend the next two sequels! I sincerely hope that Disney will have the whole trilogy on DVD soon!

Great fun on the ice!
Emilio Estevez scores the winning goal as Gordon Bombay, a smug, smarmy lawyer who is arrested for drunken driving and is ordered to do community service as the coach of PeeWee hockey team "District 5," a ragtag group of kids with doubtful playing abilities. He expects it to be hell, but instead he faces his own demons and learns about the importance of teamwork and what REALLY makes a winner. Typical cliched Disney fare, with Bombay redeeming himself in the end and we know even before watching it for the first time which team wins the grand finale, but nonetheless a harmless and inoffensive movie which children and parents will undoubtedly enjoy.

GREAT MOVIE!
I love this movie! I would reccomend it to anyone who likes hockey. So buy it if you like hockey and you won't be dissapointed!

one of the best hockey movies ever
I love hockey and I loved hockey before I saw this movie. this movie did help bring a lot of people my age into hockey to abd a lot of them didn't stay on the Mighty Ducks are a bunch of great kids who will keep kids and adults laughing and even though a lot of the on ice action is corny it is still cool to watch

mighty ducks...
I think mighty ducks is a great movie and its really funny. ... ... Read more

Description

The Master stows away on the Tardis as the Doctor embarks for Logopolis in search of a new Chamelon circuit. ... Read more

Reviews (30)

The Best
Logopolis is my second favorite Doctor Who episode. The Doctor decides to repair the TARDIS's chameleon circuit so the TARDIS will be able to change its shape again. He goes to the planet Logopolis but on the way he is chased by the watcher, a ghost figure. The Doctor is also being chased by the Master. The Master plans to take over Logopolis but his plan backfires and he and the Doctor half to team up to save Logopolis. The Doctor and the Master return to Earth, to the Pharos Tower to save Logpolis. But to put a long story short, The Master tricks the Doctor, and the Doctor falls from the Pharos Tower and hits the ground. The Watcher appears, and Adric, Nyssa and Tegan realize that the watcher is the Doctor's fifth body. This four part episode is Tom Baker's last episode in Doctor Who. The next episode is Castrovalva with Peter Davison as the new Doctor. This is a tape worth buying if you are a big Baker fan

Entropy increases
Contrary to the last reviewer, I cannot stop watching Logopolis! I'm already on my third viewing after buying it only a week ago. Tom Baker's final story as the Doctor was a very good one to go out on - it's a dark, ominous tale with good performances all round! Anthony Ainley makes his first full-fledged appearance as the Master (if you don't count his brief debut as the character in The Keeper of Traken), and he doesn't even laugh too often as he begins to do later in the series. Janet Fielding stumbles into the TARDIS as Tegan in a way reminiscent of Ian and Barbara in An Unearthly Child, the very first Dr. Who story - although it bothers me a bit that Tegan seems to accept the TARDIS's time travel abilities virtually without question. Tom Baker shows a great range of emotion, particularly when he must tell Tegan about the fate of her Aunt Vanessa. The closing scenes are good, giving us a final curtain call for not only the Fourth Doctor but also all of the companions of his era, and many of the enemies. And the incidental music maintains the story's ominous atmosphere admirably. Not one to be missed. The moment has been prepared for.

thank god he's finally gone!
I thought Baker would NEVER leave...his era is interminable, it just goes on and on and on and on....argh!
With this story, second in the brilliant Master trilogy (the first really deacent thing in Tom Baker's era in four years!!!)
we finally get rid of him. The story is so cool and does such a good job that we actually almost feel sad for a minute there, but its a massive releif when the sod fianlly pisses off once and for all so a good era can begin and the brilliant Peter Davison takes over. No more pulling faces, forced grins, bad puns, unfunny attempts at humor "Don't wana lose my arm, rather attached to it, so handy!" (yeah, right!) just a cool hero with real emotional depth and an occasional dangerous edge (shoots door open with flintlock and says "I never miss.."). And no more shouting at Leela and K-9 to "shut up" every five minutes to remind us that he has "authority". Yup, authority! "Leela, tell your friend to shut up!" "Leela, order K-9 to tell you to shut up" "No, shut up, K-9, listen... we'll finish that game of chess now." Yeah, I'm glad to see the back of him, good bye Thomas, don't let the door hit you in the ass on the way out! Peter Davsion has finally arrived, long live Peter Davsion, the real King of Dr.Who!

"'Standing on their heads', is an expression!"
OK, I've watched this episode a million times and love it! However, I still have a number of unanswered questions... Did "The Watcher" arrive in a third TARDIS that materialzed around the London Policebox, and simultaneously, the Master's TARDIS, causing the gravity bubble and an almost infinite regression of time machines? Or, was "The Watcher", simply a projection of the Doctor's future self? If the latter, was indeed the case, why did he look so freaky? OK, back to the infinite regression deal... How in the world could the Doctor enter into the last TARDIS and then be on the outside of the Policebox? Now, I could see, if the TARDIS he was in, dematerialized back around the original Policebox, subsequently, allowing the him to exit the main doors back to the outside. Some have speculated, the Doctor exited through another door, but that would've only brought him out the other side of the TARDIS Adric was standing outside of. And, even if that were possible, how could Adric possibly heard everything that was going on? Then, to top it all off, Adric goes inside the last TARDIS, leading him to the outside of the Policebox, where, upon re-entering with the Doctor, the last TARDIS has dematerialized and the Doctor's is there instead!! What the heck kind of circular reasoning is that?? But, as for the stuff I can fathom... I really like this episode, because it gives a peak at other areas of the TARDIS, such as the cloister room. I did, however, think the one in the 1996 Telemovie was way more cool! Of, course, being that they weren't on BBC's shoe-string budget helped out, I'm sure. So, I hope they release this one on dvd, with updated special effects. And, by that, I don't mean the McDonald's, soft, icecream effect in "The Five Doctors". C'mon guys, get real! We're in the 21st century, here! I hope, too, the audio will be remixed into 5.1!

Singing the Language of Numbers
Most regeneration stories are specifically meant to wrap up their era. It had to be in "The Caves of Androzani", for example, that we learn why Peter Davison wears celery on the lapel of his blazer. It's why we could only learn of the Doctor's origins in "The War Games". However, for my all-time favorite "Doctor Who" story, I make the argument that "Logopolis" worked just as well as the pilot for a new series of Tom Baker adventures.

If you had to isolate one image to explain "Doctor Who"'s fall from grace in the 1980s, it's Anthony Ainley. The final actor to play the Master on the BBC also held on to the role the longest, dragging his hammy character kicking and screaming alongside four different Doctors, until he was fat and possessed by the spirit of the Cheetah People. Although this may have been a fitting end for the character, some of us preferred Roger Delgado, all dignity and cigars.

In 1981, though, Anthony Ainley was magically new. In "The Keeper of Traken", he played the Doctor's friend, good guy Tremas, whose body was stolen by the decaying Geoffrey Beevers. A rejuvenated Master sneaks away into his TARDIS, chuckling, whispering, "A new body, at last. A new body. At last". That disembodied chuckle is all that remains, fading into the electronic scream of the end credits. More, please!

Director Peter Grimwade, who showed up with a zillion directorial flourishes, wisely kept the Master off-screen for more than half of Tom Baker's swan song. Menace is restored to the character for the first time, since, oh, "The Mind of Evil", because we can't see him, just hear him off-camera, as another character dies, shrunken to a corpse. Music composer Paddy Kingsland, the best there was in 26 years, punctuates the revelation of each doll-sized body with another mini-electronic scream.

When the Master finally does appear, in Part Three, we learn he's been working to a plan even since before Part One: follow the Doctor to Earth, leave deadly calling-cards, and then stow away on board to Logopolis to steal the Monitor's secrets for himself. But it's there the Master is beaten: for Logopolis is the keystone of the Universe, holding the moment of heat death at bay through sheer force of chanted numbers. And the Master's technological interference has caused the city to crumble to dust, unleashing an entropy field that will reduce the Universe to ash within hours. It's the Doctor's utterance that the Master is "mad... utterly mad" that finally convinces us this is the most dangerous Master we've seen in years.

But Ainley's not the only revelation in this story. There's Tom Baker. Just listen to his dialogue, especially in the early TARDIS scenes alone with Adric It's so dense, and delivered so rapid-fire, so naturally. We are now a million light years away from the Tom Baker who worked with Louise Jameson and Mary Tamm, trampling all over the script, clearly bored with proceedings. This Baker loves the script, giving the dialogue all sorts of inflections, loaning the Doctor a whole new scared dimension. "Nothing like this has ever happened before." It's something to say that a man could so compellingly reinvent the character in his final hour, when he could well have gone through the motions as if this were "The Power of Kroll".

The sense of newness is also borrowed from the supporting cast. Matthew Waterhouse, surprise of surprises, is compelling; witness his constant questioning of the Doctor in Parts One and Two. He even pulls an audience, getting thoroughly confused by the script: "We're going to measure Logopolis too?. When Tegan and then Nyssa arrive in Part Two, Adric starts to exhibit the bossy I'm-in-charge nature that made him so unbearable for most of Season 19, but one senses that Baker would have kept him in line. Even working with Janet Fielding, an actress he really didn't need to know at all, Baker planted the convincing seeds of a Doctor who really wanted to time-travel with this young flight attendant. It's a shame he never worked with either of them again.

And then there's the script. Chris Bidmead, with his emphasis on hard-sounding science, helped mold the "Doctor Who" of not just the 1980s, but the '90s as well. But his script in "Logopolis" far exceeds in quality any book out of the technobabble-drenched Simon Bucher-Jones oeuvre. Not only is "Logopolis" full of phrases like "unraveling the causal nexus" and "my biomechanisms are unaffected", but it's also got poetry: "And now the world I grew up in, blotted out forever"; "We are beyond recriminations... beyond everything", and my understated favorite: "Time has changed little for either of us, Doctor. You continue to roam the Universe, while we persist in our humble existence on this planet."

Special praise must be reserved for John Fraser, who, as the Monitor, played quite possibly the smartest, least hammy character in 26 years of "Doctor Who" guest turns. He has no rants, no over-the-top bursts of comedy. He's just a smart guy who knows more about what's going on than the Doctor, and actually saves the day with his computer code: he just has the good graces to die early in Part Four. That's done so Tom Baker can save the Universe and then fall to his death. Just when we were looking forward to at least another season of this exciting new Doctor. ... Read more

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El Dorado doesn't quite have the scope or ambition of Howard Hawks's greatest Westerns, Red River and Rio Bravo. But this relaxed picture, made near the end of Hawks's marvelous career, still shows the steady, sure hand of a master. Hawks reunites with John Wayne, playing a hired gun mixed up in a range war; Robert Mitchum is Wayne's old pal, now a sheriff in the midst of a hopeless drunken bender. James Caan, in one of his first sizable roles, plays a kid who can't shoot straight and wears a funny hat (every character in the movie makes fun of this hat). As the plot moves along, it begins to resemble Rio Bravo rather closely ("I steal from myself all the time," Hawks was fond of admitting). But in El Dorado the heroes are a bit older, their powers a bit weaker; at the end Wayne must revert to a bit of subterfuge in order to get the drop on the steely gunslinger (ice-cold Christopher George) he needs to put down. As relaxed as the movie is, Hawks and Wayne and company are in good spirits, with plenty of broad humor and easy camaraderie on display. Hawks and Wayne would make just one more film, the disappointing Rio Lobo, before ending their fruitful partnership. --Robert Horton ... Read more

Reviews (41)

A GREAT 1960'S WAYNE WESTERN!
Paired with Robert Mitchum, El Dorado is essentially a remake of Howard Hawks' earlier Rio Bravo (with writer Leigh Brackett updating her own script). John Wayne, instead of sheriff, plays an aging gunman, who is getting too wise for the game. Robert Mitchum, as the drunken sheriff, takes over the role of the drunken Dean Martin, and James Caan is the fresh faced greenhorn last played by Ricky Nelson (thankfully, Caan doesn't sing). Hawks and Brackett take their time in setting up this story, giving Wayne and Mitchum plenty of backstory, before the stand-off in the town of El Dorado.

In this movie, Thornton is offered a job by land grabber Ed Asner to take out the Sheriff of El Dorado and run the rightful landowners off their land. Thornton refuses and instead goes to El dorado to help his friend against the other gunmen Asner hired led by Nelse McCloud played by regualr Wayne Co-Star Christopher George.

Caan plays Mississippi a young man who cannot use a gun and is given a sawed off shotgun as his weapon. Arthur Hunnicut plays Bull and essentially takes over the role that Walter Brennan played in "Rio Bravo".

The movie has a great deal of action as well as humor as Wayne and Caan and Hunnicutt attempt to sober up the sheriff. Wayne and Mitchum had great chemistry together and even though the Duke was aging, still commands the screen in this movie.

Lots of fun.

The best Wane flick
This is my all-time favorite John Wayne flick. Most lists I see list "The Searchers" as the best, but I disagree. This is essentially a reworking of "Rio Bravo", but you get better co-stars here with Robert Mitchum and James Caan. Plus you don't have the unrealistic sing-a-long that occurs in the middle of "Bravo"

In this movie Cole Thornton (Wayne) is a hired gunman in town to help out in a range war. Before he goes out to meet his new boss, Bart Jason (Ed Asner), he meets his old buddy J. P. Harrah (Mitchum). Harrah convinces Thornton that he'd be fighting for the wrong side.

Later, Thornton is in another town, where he meets up with Nils McCloud (Christopher George), who is off to El Dorado to take the job Thornton turned down. McCloud tells Thornton that Harrah is now a hopeless drunk, so of course, this being a Wayne flick, Thornton has to ride to the rescue.

Along the way he is accompanied by Alan Bedillian Traherne ("Yeah, that's why most people call me 'Mississippi'.") and Bull (Arthur Hunnicut). The end is a shootout worthy of the name.

A Very Entertaining Western
EL DORADO has a lot of good elements such as an interesting story, gripping suspense and above all excellent acting. Besides John Wayne in the role of a professional gunfighter and Robert Mitchum as the sheriff of El Dorado, the film has a strong supporting cast which includes James Caan, Charlene Holt, Paul Fix, Arthur Hunnicutt, Michele Carey and John Mitchum. The latter is the younger brother of Robert Mitchum. In this movie John plays a bartender. He has more than 200 movie and TV appearances to his credit as well as stints as a singer and song writer.

Robert Mitchum can play a drunk trying to cope with a hongover as well as anybody in movies. Howard Hawkes is best remembered for his direction of SERGEANT YORK.

I always thought that EL DORADO deserved a high rating even though it failed to receive any Oscar nominations in 1967. The Academy award competition in that year was dominated by BONNIE AND CLYDE, THE GRADUATE and IN THE HEAT OF THE NIGHT.

ONE OF WAYNE'S BETTER 1960'S WESTERNS
El Dorado is basically a remake of 1959's Rio Bravo with Robert Mitchum playing the Dean Martin Role and James Caan playing the Rick Nelson role as a young gunman. The Trio are joined by Mitchums deputy "Bull" in trying to protect a family of rancers from an evil land baron trying to run them off their land.

It's classic Wayne with lots of humor mixed in with the action. Wayne and Mitchum were very good together and Mitchums scenes playing the drunken sheriff are very funny.

Ed Asner plays the evil land baron with Christopher George as his hired gunslinger who wants to challenge the older Wayne to see who is faster on the draw.

Not as good as Rio Bravo but better than Rio Lobo which was basically yet another re-make of the same plot.

Decent remake
I got the feeling that Hawks was sitting around one day wondering what movie to make next when he happened upon the Rio Bravo script and, as a joke, suggested making it all over again. The movie execs, sniffing money, said why not and so El Dorado was born.

Wayne reprises the Wayne part, Mitchum the Martin, Caan the Nelson and Hunnicutt the Brennan. Wayne is noticeably older and paunchier and doesn't quite have the chemistry with Mitchum that he had with Martin but it's not a bad effort. Hunnicutt's deadpan delivery is almost as amusing as Brennan's moaning and shrieking. James Caan is a better actor than Nelson if perhaps not so easy on the eye.

Buy both movies, watch both and love both. ... Read more

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Brian Henson directs his late father's creations in the Charles Dickens classic, the best known (and most oft-filmed) Christmas story of all time. Michael Caine plays the old miser Scrooge with Kermit as his long-suffering but ever-hopeful employee Bob Cratchit, Miss Piggy as Cratchit's wife, and a host of Muppets (including the Great Gonzo as an unlikely Charles Dickens) taking other primary roles in this bright, playful adaptation of the somber tale. Or at least it starts brightly enough--the anarchic humor soon settles into mirthful memories and a sense of melancholy as the ghosts of Christmas past, present, and future take Scrooge on a journey of his lonely, wasted life. Michael Caine makes a wonderful Scrooge, delightfully rediscovering the meaning of life as fantastic creations from Henson's Creature Shop (developed specially for this film) take the reins as the three ghosts. While the odd mix of offbeat humor and somber drama undercuts the power of Dickens's drama, this kid-friendly retelling makes an excellent family drama that adults and children alike can enjoy. --Sean Axmaker ... Read more

Reviews (118)

Odd with the muppets, but the best by far!
Sure, the muppets mixed in with a Christmas classic it does sound sort of strange, but it works out beautifully! While this story is warped into too many emotionally sterile versions(like Scrooge, in the seventies or so, Mrs. Cratchet wasn't even mourning Tiny Tim! Albert Finney Could NOT act and the music, most of it, was terrible!)this one really focuses on the humanity of the story and characters. Human emotions were finally shown! Michael Caine was excellent as Scrooge. The love between him and Belle was really believable(when he joins her at the end of her song, you can tell he has repeated her parting words ever since; he MUST have loved her!). Emily Cratchet was finally mourning her son(THATS what a real mother would do!), and Bob Cratchet's speech about being parted from a loved one is a fact of life is one of the most touching moments. The score to the movie, why didn't they make a soundtrack?! They each tie into their scenes so well that if they were removed, it would just be missing something; When love is gone is one of the saddest, most beautiful love ballads ever heard and its sequence is equally heartbreaking; no wonder Scrooge (and Rizzo)was crying when Belle left, he must have loved Belle very much and seeing it happen again...it would break the hardest heart, it did with me, and I'm 17 and hardened through and through, although I do care about others! I just can't go past that scene; its too much! This movie is just SO touching! I highly recommend it!

Ridiculously accurate!
At first, its easy to be skeptical of the idea of this classic of literature being portrayed by a frog, a pig, and their assorted friends. Believe it or not, however, this is probably the most touching rendition of "A Christmas Carol" I have ever seen! Although the Muppets present things in a light and sometimes downright silly way, the characters are so incredibly likeable that I really "got" the point of the story from watching this version.

The video features sarcastic humor and visual jokes and will make you laugh from beginning to end. At the same time, you can't help but care for all the characters, and you really are concerned for Tiny Tim and his family, almost forgetting that they are frogs and pigs. The video transitions neatly back and forth from humor to sensitivity. Although obviously this video is not completely accurate to the details of Dickens's version of the story, the spirit that he was trying to convey is definately present. Aside from the adorable plot, the music in this movie is wonderful! The songs are touching and memorable, and the fact that they are sang by rats and vegetables is just an added bonus. "It feels like Christmas" is absolutely adorable!

Don't think this video is just for kids either! Even my father couldn't help but chuckle at the dry humor of Gonzo in his role as Charles Dickens. This is a video that the family can watch and rewatch together, and should become a part of anyone's Christmas tradition.

I love this dvd!
My kids and I both adore this video. Around the end of November it suddenly begins to enter into our movie rotation, and we watch it a lot of times when its no where near Christmas times! And I can stand that! This movie is adorable, and a good way to expose kids to Dicken's legend.

I highly reccomend this!

Despite DVD flaws, still a great movie!
This is probably the best of the Muppet Movies. It was a time right after Muppet creator, Jim Henson had passed, and everyone was determined to keep the Muppets alive. This determination shows in every performance. No one settled for less than perfection. The result, a WONDERFUL movie.

Unlike "Muppet Treasure Island," which was heavily altered from the original novel, "Muppet Christmas Carol" remains faithful to Dickens' classic. Very few liberties were taken (the most noticable is Jacob Marley has become Jacob AND ROBERT Marley, roles perfectly suited for Stater and Waldorf--the "balcony guys"). Other than that, much of the prose and dialog from the original novel is intact.

Granted, the DVD version is not the original widescreen version, but manufacturing flaws aside, it is still a GREAT movie.

I can't believe it
I really can't believe it. I've waited for so long for this DVD and now I know that it is a "edited version" of the original film. WHAT? I should buy a cutted version of the movie? Are you crazy? Selling this, Walt Disney is fooling us all. It's like to buy a "Mona Lisa" by Leonardo da Vinci with just the face and without the body, the hands and the mountains. I wonder what you guys had in mind. One of the most beautiful film ruined by someone without brain. They' ve even cut some scenes!!! I'm sorry for Amazon, but I hope nobody will buy this dvd until the Disney band will reflect on their deeds and their sins. And this is even a special edition, yeah, a special trick. And someone still wonder why people keep downloading the films in internet... ... Read more

Description

"I have come to destroy you Doctor, once and for all?" The Earth is in terrible danger! The Master is back with an evil scheme to destroy humanity and silence the Doctor forever. His plan? To awaken the awesome power of the Nestene-a ruthlessly aggressive alien life form. Once mixed with plastic, they will form into faceless automatons, a willing army of destruction easily controlled by the evil Time Lord himself. This is the terrible threat now facing the Earth-the terror of the Autons. Aided by the Brigadier and his enthusiastic new assistant, Jo Grant, only the Doctor can combat their evil power, but first he must defeat the Master? Originally transmitted in color January 2nd-23rd 1971, this four part adventure starring Jon Pertwee was lost in its original form. Only a black and white version and an edited color American NTSC standard version remained until now when technology worthy of the Doctor himself has reconciled the two, synchronising them into one full color version. ... Read more

Reviews (13)

I am the Master... and you will obey me!
I am the Reviewer, and you will read this. You will read this... you will read this...

One year after the events of Spearhead From Space, the Doctor has to deal with the Autons again, because a surviving Nestene energy unit that the Brigadier loaned to a museum has been stolen by his arch-enemy, the Master. The Master, a Time Lord like the Doctor, plans to use the globe and a radio telescope to broadcast a signal to invite the Nestenes to victory where they failed before. He also commandeers a plastics factory run by the weak-minded Rex Farrell. Anyone whom he can't hypnotize, he dispatches in ruthless ways, as he does with Mr. McDermott and Mr. Farrell's father. The Doctor, meanwhile, gets a new assistant, the clumsy but adorable Jo Grant, and is drawn into the crisis upon hearing of a raid on a radio telescope research center. Thus begins the opening story of Season Eight, Terror Of The Autons, a classic of classics.

The scene of a Time Lord in a suit, bowler hat, and brolley appearing in mid-air with the noise of a materializing TARDIS borders on the surreal. He and the Doctor trade barbs, but the newcomer is here to warn him about the Master.

Katy Manning, as the cute, blonde, clumsy, and kooky Jo Grant, made her debut here and she's one of the reasons why the Pertwee era is my favorite in the series' history. The miniskirts would come much later, but this is a taste of this season and the ninth and tenth seasons. She accidentally ruins one of his experiments, and the Doctor, who calls her a "hamfisted bun vendor," for that mistake, demands that the Brigadier get rid of her. Jo proves herself worthy by procuring some much-needed parts for him. She eventually becomes one of his longest serving and most beloved assistants.

Roger Delgado is a suave villain and throughout his appearances, I found it hard to hate him. He was charming unlike Anthony Ainley's slimey and odious rendition. Pity he came out in only eight stories and died in a tragic car accident in 1973, thus barring any possible returns to Who.

The troll doll, which raised the ire of viewers, is an ugly thing, which makes it all the more menacing as it stalks the elder Mr. Farrell. The scene of fake policemen (Autons) ordered by the Master to kill the Master and Jo also got angry complaints from Scotland Yard. Gosh, how I love controversial programs, and those that portray policeman (even fake ones), as villains. Yes, I'm still judge the police over the Rodney King, Malice Green, and Amadou Diallo incidents.

It's interesting how our overwhelming dependence on plastic was made plainly clear, and how we'd be in a death trap if anything plastic could come to life and kill us. Strangled by my headphones, impaled by a flying CD,... and I hate to think what the toilet seat would do.

This is also the second of three stories whose colour episodes were lost and had to be recreated using a black and white PAL, a colour NTSC version, and synchronizing the two. The video has a film-like quality as a result, and gives it a nostalgic 70's look.

One of my favorite Who stories of all time, not only because of the return of the Autons, but the debut of Katy Manning as Jo Grant and Roger Delgado as the Master. Richard Franklin also makes his debut as Captain Mike Yates and a possible love interest for Jo, a concept that was never realized. And the late Michael Wisher, best known as Davros, makes his Who debut in this story.

I am the Reviewer, and you will watch this story... you will watch this story... watch this story...

Sequel to Spearhead... ushers in the Doctor's "Best Enemy"
The Nestenes are back and this time they are helped by one of the Doctor's own people, "The Master". The Master steals the last surving Nestene unit that a Museum loaned from UNIT HQ. The Master finds a nearby radio telescope the reactivate the Nestence unit, and then takes over a family owned plastic factory to make Auton bodies and other plastics for the Nestene to use in their attempt to take over Earth. When Doctor Who fans talk about the Master they always bring up Roger Delgado, and why not. Delgado's Master is a con-man, a talker, a man that shows his vanity(his weekness), and most imporantly someone who can completely control the minds of people (more less), including the Doctor's new companion Jo Grant played by Katy Manning. Delgado does not dispoint in his frist story as the Master and after watching it, you will say Delgado "IS" The Master. The attacks by the Nestene are much better in this story, ranging from the Autons who are more frighing in this story, to killer dolls, and plastic flowers, even the telephone cords are lethal. This is the last appearance of the Nestene, but it's the first of many confrontations the Doctor will have with the Master. If you love this kind of Doctor Who adventure, you'll love "Terror Of The Autons".

Don McCullen

Let a thousand flowers bloom!
If only Mao knew!

Combining a ride of almost Magical Mystery Tour proportions this third Doctor adventure combines the evil Master with the Nestenes to produce another action packed thriller.

Whereas the first Auton adventure made us look twice at dummies, I mean mannequins, in this story the plastic combining Nestene conciousness develops a whole new series of lines, including telephone cables, daffodils and oversized masks.

The Doctor and Jo and the irrascible Master provide an action packed adventure story which grabs the attention throughout. The plot is strong with few of the flaws which characterise a number of the Pertwee episodes and there is a sort of surreal side too which prompts the comparison with Magical Mystery Tour. The notion of the flowers that kill with their lethal plastic projectile to suffocate their victims is not that far fetched an idea especially in view of the assasination of the official in London by an assailant armed with a poisoned tipped umbrella.

This must be a strong condidate for transfer to DVD soon.

One of Pertwee's best.

"An old aquintance of yours has arrived, the Master"
This is such a great Doctor Who episode. In introduces the Doctors greatest and most hated enemy the Master. Roger Delgado gave such a great performance as the Master.The Doctor is also dealing with a new assistant the perky Jo Grant. Both filmed and acted so greatly this is one of Jon Pertwees best.It does drag a little at points but is still a great great episode. Were introduced to the Master and find out a little more of the powers the time lord uses such as mind control. powers that hte Doctor uses so seldom. For those Who dont follow Doctor Who as well this is a good episode to have. Only in early novels do you find where the real hate between these 2 comes in. It seems the master is responsible for the deaths of the Doctors wife and daughter. Since the time lords refused to bring the master to justice becasue they didnt want to get involved the Doctor took his grandaughter and stole a TARDIS and set out for earth(An unearthly Child). Thus beginning his travels. The Doctor has always respected the genius of the Master but deplored his evil ways and resents that he wastes his talent and existence on the persuit of evil. Thsi episode shows the Master for what he is . Only interested in controllling others and unleashing as much havoc as he can. His opposite is the Doctor Who wishes to help all he can although hampered by his morality and sense of fair play. But as shown over and over the Doctor is always able to just be slightly one step ahead of the master.

Doctor Who at its best!!
This episode is only second to "The Three Doctors" as being the best of the Pertwee Era as the Doctor. This episode has it all. It introduces a new assistant (Jo Grant) and also the Doctors arch nemesis( The master). Its an episode from beginning to end that is both enjoyable and a little scary. A fine performance by all. This episode marks what could be called the master series since he too becomes trapped on earth. If you like Doctor Who then this is a great episode to buy. It has cinematic quality to it. Great episode indeed. ... Read more

Reviews (7)

Hello Frisco Hello
This is a wonderful movie, I love this movie, if you like mucicals you've got to have this one. 1943, but its truly a classic. I saw it on T.V. and I just had to have it and you will too!!!!!!!!!!!!!!!!!

Faye Wows Them in San Francisco
"It's fifty cent hack ride down to the bottom of Nob Hill but it takes a million dollars to get back up."

Such are the memorable words of John Payne, musical performer and production impressario, in "Hello, Frisco Hello." Payne's musical review with romantic interest Alice Faye along with Jack Oakie and June Havoc achieves success along San Francisco's Barbary Coast. The ambitious Payne, however, has much more in mind. He wants to become a major player in the ritzy Nob Hill scene. Faye has the common sense to know that Payne is getting in over his head, but is powerless to stop him when he meets society matron Lynn Bari. She has a social name and standing but is currently broke while Payne believes she is his key to cracking the big time so they unite.

Alice Faye impresses moviegoers because of her inner sincerity as well as her unswerving loyalty. When Payne ultimately strikes out with Bari, who tells him bluntly, "I never said I loved you," Alice, after a successful performing run in London, sneaks money to drunken visionary Laird Cregar, who had previously panhandled Payne, convincing him that the money is no more than a loan, and that he will eventually strike it rich by finding gold. Payne, immensely prideful, accordingly believes that his own gold earnings are bankrolling his shows, not the fiercely loyal Alice. Eventually Cregar reveals the truth by accident when he has had too much to drink...

From San Francisco with Love...
I love this film! It's a mythical and musical romp through San Francisco (as seen by 1943 Hollywood.) It's survived the test of time and changing sensibilities remarkably well unlike other movies of the era...just lots of toe-tapping music and campy stage settings of SF landmarks.

Faye knocks 'em for six on the Barbary Coast
Hollywood legend Alice Faye was at the peak of her career when she made this costume musical drama. She is knockout in all her numbers, particularly so in the title song, and "Doin' the Grizzly Bear."

In this one, she is reunited with one of her favourite co-stars, the darkly-handsome John Payne, and the comedy relief comes from old timer Jack Oakie, and June Havoc, who was the character Baby June in the musical "Gypsy" - the sister of the famed Gypsy Rose Lee, who walked out on Mama Rose while a teenager to find fame in Hollywood! A tuneful musical, beautifully photographed in Technicolor. Miss Faye never looked lovelier.

why doesn't your review include list of all musical songs
wish i could understand why all the songs in this movie aren't listed-since thats what most people are interested in-in reviewing this movie! ... Read more

Reviews (14)

Book and a movie
I picked up the book "The Mammy" at a bookstore on a whim. Flipping through it to make sure it would be appropriate for a young friend, I found myself completely entertained by this woman who despite having 7 children herself, is still charmingly ignorant about "organisms". I had to read sections out loud to my family so they could figure out the reasons for my delighted chuckles. Recently and suddenly widowed, she struggles to make sure her children are taken care of and have pride in themselves. Her challenge to explain life to her children as they enter puberty, poverty and the vulnerability of being a family without an adult male are funny at times, but would be heartbreaking if we did not also feel that Agnes Browne does not WANT us to feel sorry for her or her family.
Only later did I connect this book with an Angelica Huston picture I had heard about but never seen, called "Agnes Browne". Needless to say, I had to watch it.
Initially, it was hard for me to see the patrician Ms Huston in such a downtrodden role, but eventually, I began to see her AS Agnes Browne.
Agnes' relationship with her friend Marion is one of the true great friendships of sisterhood, making it all the more hilarious in the car scene and all the more heartbreaking at the end of it.
If I had to pick at this movie at all, I would pick at the lessened extent to which her children are just as much victims of being poor and fatherless. And I was so hoping that Harry Webb (AKA Cliff Richard) would make an appearance. In the movie, Tom Jones comes to fulfill the lifelong dream of Agnes Browne. A most deserving heroine.

If I could give it more stars I would....The year's best
Having discovered Brendon OCarroll's The Mammy and The Chislers, I was delighted to hear the first book had been made into a movie with Angelica Huston. This is a wonderful movie of a woman's learning to live after the death of her husband. You suspect Agnes Brown has never asked too much of life, or her now departed husband. She struggles to survive and to keep her family fed and together. At her side are the seven children, the neighborhood and her dearest friend Marion. The friendship between the two women is the heart of this film. I was moved to tears as I watched the two of them laugh and cry, and cling to one another for support. There is also a blosseming friendship/romance with a new resident of the neighborhood, and a truly terrifying resident in the form of the local small town loanshark. Early in the film is one of the funniest funeral scenes I have ever witnessed, leaving me laughing out loud. But the heart of this movie is the elegent Angelica Huston as Agnes and the bighearted Marion, played by Marion O'Dwyer. Their friendship is the lynchpin of this film, and will make you want to call your best friend.

Fantastic acting and heartwarming story
I was watching the movie on the WE network and just had to order the DVD. This was fabulously done and a real "must see" by those
seeking tounge-in-cheek romantic drama.

We Love Agnes and Anjelica, Too
Agnes Browne is so fine from beginning to end it will give you a prolonged organism (if you don't understand thst, view the video for a clue).

A realistic look at life in Dublin in the '60s
Agnes Browne is one of my favorite Irish films of all time. Set in Dublin in 1967, it is about the struggles of Agnes, played by Academy Award winner Angelica Huston, who also directed the film, A Moore Street fruit and veg stand vendor, whose husband dies in an auto accident, and she is left to raise their seven children. Anjelica had much of her early education in Ireland, so she knows about Irish life, and made sure that her film was loaded with realism. My wife was born and raised in Ireland, and says that Anjelica's Dublin accent was flawless. She was not so kind about other American acresses, playing Irish parts, like Julia Roberts in "Michael Collins," or Cameron Diaz in "Gangs of New York." The language in this film might seem a little strong to somw viewers, but it is very realistic for Dubliners, so it adds to the film's quest to just "Tell it like it is." Huston surrounded herself with experienced Irish actors, led by Marion O'Dwyer, who plays her best friend and fellow street vendor Marion. The friendship between these two is one of the highlights of this amazing film, but the interaction between the two of them with other venders carries a lot of weight also. In her situation, Agnes was bound to have financial problems, and went to local gangster "Mister Billy," who thinks nothing of dealing with children and has an unorthodox collection system, and no sympathy for the poor souls he lends money to. Overall, this film keeps drawing you in, and makes you want more, which is why you feel kind of sorry when it ends, because you want it to continue. My wife and I watch Agnes Browne whenever we need a pick-me-up, and we always feel better after watching it. ... Read more

Amazon.com

Director Henry Hathaway never hesitated to return to a picturesque location that had served him well. There's no more striking example than his sequel-in-spirit to the enchanting early-Technicolor Trail of the Lonesome Pine (1936). This time, the enchantment is darker, just as Charles Lang Jr.'s stunning cinematography represents a quantum leap in sophistication over Trail's pleasant pictorialism. The long-running Appalachian feud of the earlier film is replaced by a spooky familial curse that has almost literally poisoned one Ozark household and could perpetuate a tragic cycle of violence and vengeance in another.

John Wayne would win an Oscar under Hathaway's direction three decades later (for True Grit), so it's all the more noteworthy that his performance in this singular yet neglected film--as a son sworn to kill the father he has never met--was his most complex to date. Perhaps Wayne was challenged by the company he was keeping, including New York stage veterans Betty Field (as his tomboy love), James Barton, and Marc Lawrence (cast against type as the mute, lightning-struck cousin who dotes on Wayne's every move). Or maybe it was the prospect of sharing the screen with that old lion and premier Western role model, Harry Carey. There's also powerful work by Beulah Bondi, who as a matriarch from hell all but gives off sulfur fumes, and by the amazing Marjorie Main, playing a blind woman who sees for the first time on a mountaintop above the clouds. Get ahold of this movie, and it will get a hold on you. --Richard T. Jameson ... Read more

Reviews (1)

An Interesting and Unusual Film
Shepherd of the Hills is a fine film with wonderful colour photography of stunning mountain locations. There is a real sense of remoteness about the places filmed, which is vital for the story, for the people living in the hills have had little contact with the outside world and are thus unaware of things like personal cheques and telephones. Their lives are governed by such things as superstitions, curses and long-running feuds and they try to keep the outside world out. Thus they resent excise men, intruders and any strangers.

The story of the film revolves around the appearance of one such stranger, Harry Carey. John Wayne may be the nominal star of the film, but the larger and more important role is Carey's. Carey was once a major silent Western star, but his more familiar roles to modern viewers are smaller parts in such films as Mr Smith Goes to Washington, and later Wayne Classics The Angel and the Badman and Red River. It is a great pleasure to see him in a major part for his acting is subtle, quiet and undemonstrative. Wayne admired and learned a lot from Carey, their scenes together are some of the highlights of the film. The acting of the whole cast is in fact one of the main reasons to watch this film. There are many familiar faces giving fine performances, including Marjorie Main, as an old blind woman who regains her sight, Beulah Bondi as a vicious matriarch and Ward Bond, who sometimes seems to be in every other film made during this period. Also worthy of special mention is the beautiful Betty Field who is adorable as Wayne's girlfriend trying desperately to tame his wildness.

Shepherd of the Hills can be described as a sort of Western. It has many typical Western features, fistfights, shootouts, but it also has many elements which are unusual and surprising. This film is really worth getting for John Wayne fans and it is surprising that it is not better known, for it includes one of his best performances. ... Read more

Reviews (78)

The Hitcher is some seriously bad company...oh, yeah!
This is my favorite Rutger Hauer movie. His persona fits this role perfectly. With a good supporting cast, a well-written screenplay and an excellent musical score, Hauer drives his audience along the twisted path of a psychotic hitch-hiker who kills just about anyone who is unfortunate enough to meet him.

C. Thomas Howell plays a young man by the name of Jim Halsey, who is delivering a car to a customer in San Diego. As he travels across a lonely West Texas highway at nite, he's having trouble keeping awake and nearly runs afoul of a big-rig. When he catches a glimpse of a rain-soaked hitch-hiker (Rutger Hauer) standing on the shoulder, he stops to pick him up, against his better judgement, figuring the man's company would keep him awake.

Halsey tries to strike up a conversation with the hitcher, but the hitcher only gives him a terse and twisted tale about being out of gas and needing cigarettes. The hitcher begins to play a psychological game of words with Halsey that quickly turns into a life-threatening situation. A quick-thinking Halsey pushes the hitcher out of the moving car and speeds away, thinking that's the last he'll see of him. The hitcher seems impressed(!!!) by Halsey's escape; apparently no one else has been so lucky. The hitcher begins to pursue Halsey with a mindless obsession that leaves dead bodies and destruction all around them.

The hitcher is a master of manipulation in this film. I really liked the ending, although, if the storyline is followed accurately, it doesn't allow for a sequel with Rutger Hauer, who absolutely is the shining star of this movie. I would love to see him play this part again- it truly is his calling. As a previous Amazon reviewer noted, he doesn't have to speak a word for you to know what he is thinking and contemplating as the role of The Hitcher. His body language and facial expressions tell you all you need to know. I think this entire movie could have been done without a single line of dialogue from the hitcher and been just as effective.

Rutger is waaaay cool, the movie is awesome and it should be part of your collection if you dont have it yet. A DVD must!

Great latter-day "road" picture, genuinely terrifying.
Seeing this on HBO this morning with the negative experience of "Vanishing Point" still fresh in my mind reminded me that yes, there are some great road movies that take place in the American Southwest which do not leave the viewers questioning the significance of the film...and prefer merely to scare the hell out of them instead.

The plot is staggeringly effective in its simplicity; a college kid (C. Thomas Howell) contracts to deliver a car from Chicago to San Diego. In the desert during a storm he picks up a hitch hiker (Rutger Hauer) who doesn't bother with the pretense of winning his mobile host's faith and trust; he immediately slips into maximum creep-out mode and the kid knows he's in serious trouble within minutes as the hitcher makes it known under no uncertain terms that he has indeed killed someone in a particularly brutal fashion...and with a seeming trace of resignation and inevitability he plans to do the same to the kid.

What follows is a fortuitous escape and a series of subsequent encounters between Howell and Hauer, with entanglements involving the police, Jennifer Jason Leigh (thankfully before she picked up that horrible New England upper class accent she seemed to use in a number of her '90's roles), and more murder victims.

The encounters succeed in building a sense of escalating tension that is never satisfactorily resolved until the film's ending, which does seem somewhat contrived (minus one star for that). However, the performances of all the actors are excruciatingly believable, especially Hauer, who is genuinely disturbing. He's not some sort of supernatural teen slasher a la Jason or Freddy Krueger or (to a lesser extent) Michael Myers, classic horror movie icons all; Hauer is simply someone...ANYONE...that could cross your path without any warning or fanfare...and could make your personal terrorization his sole purpose in life. That is what makes this movie truly scary; while watching it you will clearly understand the implication that yes, this too could happen to you.

"Riders on the storm", indeed.

Where should I begin?!
Ok, one of my favourite movies ever, this is. I know it seems strange now, it isn't an epic with outstanding performances and great set pieces and all that, it's just a plain old, fun 80s horror road movie, but I just love it all the same.

Rutger Hauer is imensely scary as a (not so freaky killer like Jason or Michael, nor a gruesome killer) but a sharp, haunting character with an icy personality. C Thomas Howell is very good as a young teenager. He starts off in the film to be a bit geeky, but once he meets Hauer he starts to get a little freaky himself. They are basically the two main characters in this.

The film -- as you probably know -- is about C Thomas Howell delivering a drive-away car (let me just say I don't like the review from Digibiong! because he says there is a mistake on the license plate of the car, but it's a drive-away car so it doesn't matter) and he has to deliver it to San Dieago, on the way he picks up a stranger on the road, he seems like a nice guy, but he turns out to be quite psychotic. Howell is able to push the stranger out of the car and carry on down the road, but the hitcher isn't done yet, he starts to play a deadly game with Howell, like getting the police onto him, framing him, killing people in front of his eyes and all stuff like that. The film doesn't drag at the start, it starts off straight away with Howell picking the stranger up and it gets darker and darker every time.

The gore in this film isn't that bad, we do HEAR a woman get pulled apart, but we don't SEE it. We never really do see a lot of deaths happen in the film, but I think that's what makes the film scary. It can be very atmospheric at times, but a lot of the scary parts happen in the day-time. When we come to the conclusion it gets a little dissapointing since it doesn't go on for long and I was expecting a great confrontation.

So, that's "the hitcher", one of my favourite movies. Road movies are my favourite genre of movies and here are a couple more good ones:

Breakdown
Convoy
Duel
Hitcher 2: I've been waiting

Absolutely MAGNIFICENT one of the greats of the 80s
Like many, I saw this totally haunting film late night on HBO by myself as a child. The opening scene is quite simply perfectly executed, and one of the most frightening and realistic scenes ever put to film. The atmosphere in this film is so wonderful, and the writing first rate. The leads are utterly convincing -- real props to Howell who has a difficult role. I am in love with the Southwest, and in a odd way this film is a great meditation on the wilderness down here too -- kind of like Thelma & Louise. What American films should be like.

More Than Just A Ride!
One of the scariest movies I have ever seen, The Hitcher is relentless in its intensity. Jim Halsey (C. Howell) picks up a hitchhiker (R. Hauer) on his way to San Diego who soon admits he killed his last ride. Hauer says, "You know that driver from that last car? I cut off his legs". It doesn't take more than that before Jim is able to trick and force the 'hitcher' out of his car. Thinking that it's over, Jim soon sees the hitcher riding in another family's car, knowing he will kill them all. Reporting him to the police is of no use and even after they capture him, he pulls a shocking twist on everyone. Jim befriends a lonely waitress (J. J. Leigh) who believes his story, but soon she ends up in the middle (literally) between them (the most revolting scene in the film). It's a suspenseful, non-stop, killer maniac fright ride. It becomes clear the hitcher is out to frame Jim for multiple murders or kill him. The ending is just as frightening as the rest, but I guarantee you won't leave this film feeling good - just shaken up. Not for the squeamish, but maybe a good date movie. ... Read more

Amazon.com essential video

Alfred Hitchcock takes on Sigmund Freud in this thriller in which psychologist Ingrid Bergman tries to solve a murder by unlocking the clues hidden in the mind of amnesiac suspect Gregory Peck. Among the highlights is a bizarre dream sequence seemingly designed by Salvador Dali--complete with huge eyeballs and pointy scissors. Although the film is in black and white, the original release contained one subliminal blood-red frame, appearing when a gun pointed directly at the camera goes off. Spellbound is one of Hitchcock's strangest and most atmospheric films, providing the director with plenty of opportunities to explore what he called "pure cinema"--i.e., the power of pure visual associations. Miklós Rózsa's haunting score (which features a creepy theremin) won an Oscar, and the movie was nominated for best picture, director, supporting actor (Michael Chekhov), cinematography, and special visual effects. --Jim Emerson ... Read more

Reviews (66)

Psychoanalysis
Dr. Constance Petersen (Ingrid Bergman) is a psychiatrist, who thinks she has a firm understanding of human nature, that is until she meets Dr. Anthony Edwardes (Gregory Peck). He has just become the chief of staff, at the institution, where they both work. As one might expect, the 2 fall in love. but all is not as it seems...For each is hiding a secret.

Direected by Alfred Hitchcock, SPELLBOUND, like the "Master's" later film, MARNIE, this movie concentrates more on the human drama aspects of the story. The film is not a thriller per se` The end result gets bogged down by too much psychobable at times. That said though, I still admire the film, thanks to (the lovely and radiant) Bergman and Peck. Even though some of the dialogue is now dated, the pair gives solid peformances. The movie also boasts an Oscar winning score by composer Miklos Rozsa and memorable dream sequence, created by icon Salvador Dali

The Criterion Collection DVD contains some fine extras. Hitchcock scholar Marian Keane provides another good commentary, as she has in the past, with other Hitchcock Criterion DVDs. There's an illustrated essay on Dali's dream sequence. One of the best supplements on the disc is the '73 radio interview with composer Rozsa, really rare stuff. Speaking of radio, the disc also boasts, the complete 1948 LUX radio adaptation. Additional essays on the director, an exhaustive photo and publicity gallery, and the theatrical trailer, top off the extras on the disc. The look of the film has never been better...

SPELLBOUND may not be among my favorites from Hitchcock, but I still think it's worth your time, as a film, and the rare extras can't be beat. Recommended with *** and a half stars

Spellbound is Unforgetable....DVD is Superb
This review refers to the Anchor Bay release of the "Spellbound" DVD....

Anchor Bay has done it again. This 1945 classic directed by Alfred Hitchcock, was beautifully transfered onto this DVD. The black and white images are sharp, crisp, and clear. Barely a sign of this film's age. The sound remastered in Dolby Dig 2.0 is great. If you're a fan of this film, you'll be thrilled at how good it looks.

Haven't seen it yet, but love Hitch, or maybe it's been a while since you have?....Here's a little of this riveting story.....
The beautiful Ingrid Bergman plays the distant psychiatrist Dr. Constance Petersen. She treats a number of troubled patients at the Green Manors Mental Asylum, but her toughest case is yet to come. With Dr. Murchison(Leo G Carroll) being forced into retirement a new chief of staff will be arriving. It is the esteemed Dr Edwards(Gregory Peck)who takes over. It is not long before Edwards and Constance find themselves attracted to one another, and it is not long before Constance figures out that Edwards is not really who he says he is. He displays signs of paranoia and amnesia and it is possible that he murdered the real Dr. Edwards.They are on the run to try to solve the case but as the original theatrical poster says,"Will he Kiss me or Kill me?"(The DVD comes with a mini version of this poster).

You'll be awed Hitch's definitive style of camera angles, shadow and lights, romance and a unique dream sequence designed by Salavdor Dali. Not to mention all the wonderful talent that graces this film. Bergman and Peck make screen magic together, Carroll is a legend and this film shows us why.Also starring is Rhonda Flemming,Michael Chekhov, and Wallace Ford. The music by Miklos Rozsa also adds greatly to the building tension, and romantic scenes in the story.

Looking for Hitch: About :40 minutes in, you may see him if you're quick!

It never ceases to amaze me that we are lucky enough to be able to see these great classics as they were first seen and with the added treat of the origianl theatrical Overture.(I will be adding this one to my listmania of "Old Movies That Look Great on DVD") Now, if you are looking for special features, this DVD does not have any, there is another version by Criterion that offers more in the way of extras,although quite a bit more expensive.(Criterion also does great transfers)Which ever you choose, this a a must have for fans of Hitch, Bergman or Peck.

So don't worry about trying to over anaylze this one....As Hitch himself said "It's just a movie." But a GREAT one! So enjoy!......

Ingrid Bergman In The First Of Her Classic Hitchcock Roles
The words "Directed by Alfred Hitchcock", in the opening credits always alerts me to the fact that I am possibly about to see something special up on the screen no matter what the genre. This legendary director put his stamp on a large number of classic films such as "Rebecca", "Notorious",and "Rear Window". With "Spellbound", Hitchcock made cinematic history by beginning his successful collaboration with favourite leading lady Ingrid Bergman that also produced the classic "Notorious", co starring Cary Grant. Ingrid Bergman here has a most challenging vehicle as a dedicated psychiatrist who through psychoanalysis attempts to uncover the dark secret life of an amnesia victim that possibly involves murder. Bergman here shows what total emersion into a character can do for the conviction of a story and the results are most satisfying in what was to become one of her many fondly remembered roles by fans and critics alike.

The action begins at Green Manors Psychiatric Sanitarium where there is a change occuring in the head personnel with the "retirement", of facility head Dr Murchison (Leo G. Carroll), after a bout of illness. His replacement a Dr. Anthony Edwardes is due to arrive shortly and in the meantime we are introduced to young psychiatrist Dr. Constance Peterson, (Ingrid Bergman), an all business enthusiast of psychoanalysis totally dedicated to her job. When Dr. Edwardes arrives however all is not well and not only does he appear to be far too young for such an important role but he has a number of "spells", where his own mental health is called into question. Constance finds herself experiencing an immediate attraction to this strange young man who before long she realises is not actually Dr. Edwardes but an amnesia sufferer who harbours a severe guilt complex about something unexplained that occured in his past. When complications start to arise and "JB", as he now calls himself is accused of the murder of the real Dr. Edwardes he quickly leaves the sanitarium and hides out in a New York Hotel. Convinced of his innocence Constance follows him to New York and together they try via psychoanalysis to get to the root of JB's problems and find out actually who he is. Pursued now by the police who also are also searching out Constance as an accessory, JB and Constance then travel to see her old University mentor Dr. Alex Brulov (Michael Chekhov). Alex discovers the truth about JB's real condition and feels that he might have been capable of murder all along. Constance is firm in her belief of his innocence however and after travelling to a ski resort JB starts to recall his past and what happened to cause him to loose his memory. It seems his severe guilt complex was over the accidental death of his young brother for which he has always blamed himself. It is revealed that Dr. Edwardes actually died on the ski slope which caused JB to assume the blame for his death. With a clearer picture now JB and Constance work to trace the real murderer. The police however apprehend JB leaving it up to Constance to prove his innocence. The clues lead Constance back to the Green Manors where Dr. Murchison has resumed his former position. A slip of his tongue where he states to Constance that he thought the real Dr. Edwardes was a horrid man when earlier he stated he had never met him alerts Constance to who the real murderer is and in a fateful confrontation the real truth and its tragic consequences all come out. The bright aspect of this conclusion of the situation is that "JB", learns his real name, "John Ballantine", and is freed of any suspicion in Dr. Edwardes' death. He and Constance also can then plan a future together now that he is cured of his earlier amnesia.

Despite the dated medical practices that make up the core of the action in "Spellbound", the uniformily fine acting performances by the cast make this film a memorable viewing experience. Ingrid Bergman was in the middle of her extraordinary run of critical and box office success as possibly the freshest performer in Hollywood at this time and she had her choice of a dazzling array of leading men eager to work with her. Gregory Peck only teamed with her the once and despite his relative inexperience with film at this time, despite being nominated for an Oscar for "Keys of the Kingdom", he already shows the mettle that would make him one of Hollywood's most enduring leading men. A favourite character actor of mine, Leo G. Carroll long associated with pedantic, fussy men in his film roles had one of his best roles here as Dr. Murchison who features prominently in the unexpected thrilling finale to "Spellbound". He teams particulary well with Ingrid Bergman and their nail biting climatic scene at the film's conclusion has become a classic. Hitchcock used a number of quite innovative practices to make "Spellbound", a creative and for the times quite thought provoking work of cinema. Boasting an Oscar winning musical score by Miklos Rozsa, the film is also justly famous for the elaborate dream sequence designed by the legendary Salvador Dali. Originally much longer and surreal than as it appears on screen now, it was cut in length due to Studio pressure so as to not "alienate", the average audience. Its rich expressionist symbolism however creates a marvellous illustration in showing Gregory Peck's characters search for the truth about his past. Also the famous colour gun shot at the gripping conclusion in an otherwise black and white production helps create another not expected element in the story.

Viewed today "Spellbound", might not be considered the best work in Alfred Hitchcock's acclaimed body of work however it provides interesting asides into the then fashionable world of psychanalysis and its benefits to those suffering guilt complexes and associated memory losses. Despite its dated elements that are very obvious with the passage of time and advances in medical practices "Spellbound", I feel justly takes its place as one of David O. Selznick's more thoughtful productions from this time and is still best remembered as one of the jewels in the crown of Ingrid Bergman's career in the early 1940's. Enjoy

Timeless Classic
What's remarkable about "Spellbound"--aside from wonderful performances by stars Ingrid Bergman and Gregory Peck--is that despite its foundation in psychology for plot, it never devolves into the dark, pretentious psychobabble of contemporary films. Instead, the framework of a brilliant man (Peck) suffering from amnesia that results from a murder he may have committed is just that--a framework for what is essentially a mystery-love story. And it works because of Alfred Hitchcock's dream-like direction and the chemistry of its eminently watchable stars. Less film noir and more expressionism, the film delights in a terrific atmosphere of the strange, including a brief but interesting animated sequence by Salvador Dali. Nonetheless, the main characters are always warm and sympathetic. Add Miklos Rosza's elegant score (which will remind some viewers of his work 30 years later on "The Private Life of Sherlock Holmes") and the result is an often overlooked masterpiece from an era of great films.

Extremely sacrilegious review...
First things first: I am not a Hitchcock fan, fanatic, or devotee. The only film I like by him, after seeing quite a few, is Frenzy, a lesser known work from the early 70s.

Why is that?

Let's take Spellbound, the film here reviewed. Hitchcock is famous for romantic suspense; there are quite a few examples of his work in this category, and Spellbound is one of the most flagrant. I say "flagrant" because he delights in working with actors who can provide emotional overheat, supposedly signifying passion. When Ingrid Bergman as psychoanalyst Constance Peterson is worried about her lover, John Brown (nee Ballantine), played by Gregory Peck, she rants and cries and throws herself around. When Gregory Peck remembers something about his past, his face becomes completely zomboid and he subsequently spouts emotionally overheated dialogue, making absolutely sure the viewer knows he is upset about what he's experiencing.

Hitchock may have believed in "MacGuffins", but he did nothing to hide this bombast from the audience. Anyone seeking subtlety and real depth--i.e., intelligence--in the portrayal of human behavior won't find it watching a Hitchock film.

Additionally, he's not only not above using stereotypes, he often loves them, because they convey what he really wants to convey--his fulfillment of what he believe the audience EXPECTS to see and hear. Thus, in Spellbound, for example, he has a wise old psychoanalyst, Bergman's mentor, who proffers sagely advice. This is a character the audience can relax with, and the principal reason for that is that they, the audience, EXPECT this character to deliver certain lines and that's excatly what he does.

Hitchock was an arch conservative who may have been innovative in cinematic technique from time to time, but storywise, took no chances. Spellbound, like most of his films, today seems dated, even coy, because the actors are enacting what really amounts to an emotional tableau--a series of set pieces designed to elicit intensity of feeling by providing them, the actors, with dialogue and related behavior a