Description

Nominated for five Academy Awards including Best Original Screenplay, this magical comedy earned overwhelming acclaim nationwide! A painfully shy waitress working at a tiny Paris cafe, Amelie makes a surprising discovery and sees her life drastically changed for the better! From then on, Amelie dedicates herself to helping others find happiness ... in the most delightfully unexpected way! But will she have the courage to do for herself what she has done for others? ... Read more

Reviews (807)

A heart-shaped French delicacy!!!
Amelie is a rare delight. The title character is a painfully shy loner who discovers a small box filled with a little boy's keepsakes. She seeks the rightful owner of the box. The charm of this film is that Amelie wants to perform her little miracles, hiding in the shadows, with no recognition for herself. The characters in this piece are fascinating, each one reflecting back a facet of Amelie's personality. In the end, Amelie's compassion ends up being her own salvation - and that is what makes the film so much of a joy to watch. Hollywood has pretty much exchanged emotion and subtlety for rudeness, crudeness, and over processed digital special effects. Like a good French wine, this motion picture is an experience to be savored - not devoured. Amelie has a look and feel that stands out from anything I've seen in recent years. So many modern films are filtered with a grayish or orange tint, which tricks the viewer's eye into thinking it is watching a stark, gritty documentary. Steven Soderbergh seems to be the reigning master of this technique. Amelie by contrast, with it's deep reds and fluorescent and forest greens accented by cobalt blues and electric yellows, transports you to a world full of magic and hope. The effect is enchanting.

The DVD package is complete with commentaries and documentaries on the making of the film. These added features make it clear that this film was carefully planned by director Jean-Pierre Jeunet, much like "The Sixth Sense." Shots were storyboarded, set up, and orchestrated months in advance. And any extra footage of Audrey Tautou is always welcome in my home. A blend of the beauty and grace of Audrey Hepburn, the humor and physical skill of Charlie Chaplin, and the vulnerability of early Winona Ryder, and the sultry elegance of a sixties European model. Her method of using her eyes, facial expression, and body language (relying less on verbal expression) to create a character is what helps makes Amelie transcend language barriers.

I was a little disappointed there wasn't a version with dubbed English, but after 15 minutes or so, I didn't even notice that I was reading subtitles. There were more than quite a few belly laugh moments, and it became very apparent that this is one of those rare films that is so good it completely transcends culture, language - the universal message is "The good you do for others returns - especially when you don't expect it to." A French delicacy. I just hope we get to sample more of Jeunet, Tautou, and the rest of this team's products soon. Thanks, Miramax.

A Mainstream Hit Dipped In Euro-Sauciness!
The lack of any decent films from the English lingo countries of England and America has given rise to an increase in recognition of some of the finer foreign language exploits into cinema. Earlier this year we had "Amores Perros", and in England we had Japanese shock-fests "Audition" and "Battle Royale" (the latter has to be seen to be believed). The most successful foreign language film this year, bar "Crouching Tiger Hidden Dragon" obviously, was this French trifle that whilst appealing to the fickle tastes of mainstream audiences superbly serves up its romantic hokiness in a touching and cute way. Over-hyped, to be sure, but not without its pleasures.

Jean-Pierre Jeunet's "The City Of Lost Children", which he co-directed with Marc Caro, bears the most resemblance to the look of "Amelie", which looks different to any other film this year with all of its rich, antique-looking cinematography as well as its inclusion of several effects shots that help to render Paris as paradise on Earth. Visual coups include Amelie herself collapsing to the ground as a puddle of water and the titular garden gnome that travels the world much to the chagrin of its owner, Amelie's father. Everything smacks of resplendence in this movie and no cinematic trick is left not utilised.

In all respects, "Amelie" is likely to play better in America than it should in Europe, where its cute benevolence will be welcomed by many, especially after September 11. If you are one of those people who can't help but giggle as bug-eyed little girls stare into the camera with a cheeky smile, then this film is for you (indeed, Audrey Tautou is bug-eyed, cheeky and very good in the title role). If you are like those who criticised "Amelie" for its lack of interracial characters, then don't bother: this beguiling trifle is a fantasy, pure and simple, like "Amelie" herself.

Green and Red beauty and smiles
A beautiful movie about a simple, and pretty weird girl. Pay particular attention to the beautiful color selection and Audrey Tautou's flawless acting. Amelie is the feel-good movie of our times and is sure to bring a smile to anyone's face.

really, what's so great about this?
Its quirky and pretty and all, but then it turns into a typical love story in the end. Dissapointing, I would rather it be a film where she makes everyones lives nicer, and this importance isn't placed on her Only Being Happy If She Gets The Guy. The actress is really pretty, there are nice scenes and ideas, parts are funny, but I don't understand why it has this cult status.

Lithe and awake.
Jean-Pierre Jeunet makes a welcome return to his home country after the loud but pedestrian 'Alien Resurrection'. In 'Amelie' Jeunet seems to have taken as much influence from Danny Boyle as Francois Truffaut. The accelerated jump-cuts, tracking shots and zooms all make for high-octane energy even if most of it is artifically created. Although 'Amelie' herself is almost too twee to identify with, many of the other characters' faces simmer with restrained intensity (increasingly becoming a Jeunet trademark.) The acting is above average (exception being the always good Domnique Pinon), but it's the quality of the storytelling that shines. Trust the French to be able to remind us that cinema is still relevant in it's second century, that evocative minor epiphinies such as running your hand through grain or the sights and sounds of a market are not just the preserve of the written word but can actually be rendered on screen (and still find an audience!). Through imaginative editing, camerawork and a little help from CGI, Jeunet's film packs in more incident and wonder than most of today's novels are capable of producing. ... Read more

Reviews (32)

A disappointing adaptation of an excellent book.
Anyone who has read Clive Cussler's books would immediately agree that this movie was incredibly miscast. Richard Jordan as Dirk Pitt? If he loses the beard and cuts his hair, maybe; Jason Robards as Admiral Sandecker? Where's the red hair and vandyke beard? The actor who portrayed Andre Prevlov? I don't see the James Bond copycat that Marganin hopes will fail; and where is Al Giordino?. The story never seems to create the suspense and twists and turns that made the book a best seller. The actual raising of the Titanic and the scenes aboard the derelict vessel eventually make the movie despite the characterization. Even though Clive Cussler fans will probably pan this movie, they are probably also the only ones who will want to watch it.

One of my Favorite Movies
There is something about RAISE THE TITANIC that continues to draw me to it. Being objective, I know that this is not one of the best films ever made and is probably not even considered a good film by many. However, beyond two scenes that I actually consider good filmmaking, there is a hokey but appealing quality to this film that I can not seem to shake. I still remember the first time I saw RAISE THE TITANIC. What impressed me most about the entire film was its prologue. It was a montage of black & white photographs depicting the construction, the launching and the setting sail of the Titanic on its maiden voyage. The montage was accompanied by a hauntingly beautiful piece of music composed by John Barry. In this short yet effective composition John Barry captured the majesty of the Titanic, the romanticism of the sea and the mystique of Britain's maritime heritage in what I consider to be one of the best pieces of film scoring that I ever heard. John Barry's score seems more inspired by the actual tragedy of the Titanic and the unknown dangers of the cold Atlantic waters. Despite the shortcomings of the film, which can probably be attributed to weak editing and not necessarily the script, John Barry's music remains focused on the ship and the sentimentality its tragedy holds for Richard Jordan and Alec Guinness. Jordan and Guinness seem to be quixotically tied to the sea. The scene where Alec Guinness reminisces over his experiences aboard the sinking of the Titanic is a haunting and beautiful piece of histrionics. Guinness' heartbreaking sentimentality as he reverently hands over to Jordan the flag he took from the sinking Titanic many years before is one of the best pieces of film I have ever seen. Alec Guinness and Richard Jordan's performances and John Barry's score in this scene are truly heartfelt renderings by these craftsmen and stand as a genuine memoriam to the actual tragedy. This scene and the prologue really touched me and for that reason I always have enjoyed this film and it remains one of my favorites.

dissapointed
I was dissapointed that the movie left out so much great stuff that the book has to offer. I truly feel that Cussler was robbed of the finer and major points of his work. I also didn't like thier choice of actors for characters like Admiral Sandecker or Dirk Pitt. I hope in the new movie they plan onmaking McCaunahey decides to take the role if not Harrison Ford or someone like that.

This movie is hardly ever shown...
The film was something of a box office disapointment when released in 1979, of course it;s now dated, we know the ship broke apart and sank (where as in the movie, it's resting on the sea floor intact). The John Barry score works, but Richard Jordan and Jason Robards have to work with a flawed screenplay which forces the movie to be little more then a shallow Irwin Allen genre cheap film. Don't bother with this.

It Ain't The Book, but if you can get past that...
The scriptwriters and editors murdered Clive Cussler's great novel, Raise the Titanic. The original premise of the novel was excellent, and throughout the pages, you feel the excitement build as Gene Seagram searches for the missing byzanium. When NUMA gets involved in the search for the lost liner, you get a sense of how frustrating marine archaeology can get. When the submersible closes in on the 'Big T' you feel the peaking satisfaction, and when that monster soars halfway out of the water when she sees sunlight for the first time in over 70 years, you want to jump out of your seat and cheer.
The movie leaves almost all of that out.
You DO get the charge to the surface; the scene of Titanic finally making harbor in New York - slightly overdue - is GREAT. There are a couple of minor climaxes scattered around the film. And, as another reviewer wrote, Alec Guinness is excellent as the Commodore, passing his treasured White Star ensign over to Dirk Pitt to be flown again when the liner surfaces.
But generally speaking, the movie is only vaguely related to the book.
However, IF you can leave behind having ever read Cussler's work, the flick takes on a life of it's own. Not as vibrant, never as exciting, and sadly lacking the triumphant victory in the intelligence game being played out on both sides of, in deep below, the Atlantic.
But it IS watchable. Pity Robards, Jordan, Guiness and the others were wasted in such a low-grade film. ... Read more

Amazon.com

Beware of global warming! After an arctic glacier undergoes a sudden mysterious thaw, the world faces the wrath of a not-so-jolly green giant in this moderately diverting big bug movie. Although the handsomely produced film follows the standard '50s monster movie playbook--plentiful stock footage, tired characterizations, a lengthy intro documenting the wonderfulness of a newfangled gizmo named radar, etc.--a little too closely to be truly memorable, it nonetheless remains a more than acceptable time-waster, with above-average special effects and a nicely atmospheric conclusion inside the Manhattan Tunnel. Writer-producer William Alland, in addition to being affiliated with some of the period's greatest achievements in the horror/sci fi genres (including the classic Creature from the Black Lagoon), is notable for his longtime association with another gigantic force--namely, Orson Welles. --Andrew Wright ... Read more

Reviews (23)

Dr. Ned, What We Really Need Is A Great Big Windshield!
THE DEADLY MANTIS certainly won't scare any one, but as sci-fi programmers go it is better than most. A volcanic erruption at the south pole thaws out a giant, prehistoric preying mantis at the north pole. Military men go missing. Dr. Ned (William Hopper--Hedda Hopper's son and best known as Paul Drake on television's PERRY MASON) is called in to i.d. the creature--but by this time the creature has eaten up several Eskimo and is en route to the Washington Monument.

About a third or more of the film consists of stock footage: old government educational films, military men in radar rooms, air planes--and would you believe Eskimos putting out to sea? Which explains, of course, why a tribe of Eskimo is attacked in the movie. ("Hey, Guys! Think we can work this in?") Mix in some negligable special effects, some clunky dialogue, and some sexist attitudes and you're good to go. Not as original as THE MONSTER THAT CHALLENGED THE WORLD, but fans of 1950s "big bug" schlock will enjoy it--and the kids will have a good time throwing popcorn at the screen.

Better pray, because a killer praying mantis is on the loose
During the first few minutes of "The Deadly Mantis," it appears like it's going to be an instructional video, or a history lesson. The story and the scenario soon changes when a huge insect called a praying mantis, thaws and is set on the loose to try and take over the world that is now inhabited by human beings.

"The Deadly Mantis" is one of the many "creature features" from the decade of the 50's. In this one, an overgrown praying mantis begins its journey in the cold arctic region of the North Pole. Unlike many insects, the praying mantis is a flesh eater, instead of a plant eater. This compelling fact will probably make most people shiver, especially after finding out where the monster is headed.

The praying mantis in the movie has spectacular special effects for the time (1957). You'll see the mantis tower above buildings, fly over vast oceans, and more. Even better than the special effects is the movie itself. "The Deadly Mantis" is suspenseful, it's well made, and it's all the more interesting with the idea of a common insect taking over the life of humans. There are also other redeeming qualities such as seeing pilots shoot at it with several missiles, the various other military maneuvers, and more.

If you like other classic horror movies that feature a creature that tries to take over, I recommend getting "The Deadly Mantis." It's one of the best films that features an insect, without a doubt.

Classic "Big Bug ", Feature From The Marvellous 1950's
Not as well known as the other classic sci fi titles from the 1950's like "Invasion of the Body Snatchers", "Them", or "Creature from the Black Lagoon", "The Deadly Mantis", has on display I feel one of the more original "creatures", that abounded during that decade terrorising countless cities, isolated farmhouses or ships out at sea. The Praying Mantis of the story, a huge prehistoric ancestor of the specimen we know today, is the intriguing creature of the title and it makes for a most enjoyable sci fi film that while always taking itself very seriously as a drama can also be appreciated for the superb special effects that give the impression of a huge bug causing untold destruction in cities and in the airways. I personally feel this "monster", is one of the better of these mutated or reawakened creatures that were common on theatre screens during the fifties. Nathan Juran, a director I admire greatly clocked up an impressive sci fi directing record in the late 50's with not only this effort but also the classics "Attack of the 50 Foot Woman", "The 7th Voyage of Sinbad", and especially "Twenty Million Miles to Earth". He seemed to have one of the best understandings of working in this genre and his efforts are always worth taking a look at.

"The Deadly Mantis", begins with a lengthy explanation of the "new" wonder of this period the radar, how it operates and what it is capable of picking up. The action then moves to a massive volcanic eruption that disturbs the natural order of things in the artic circle. The resulting global warning releases an enourmous prehistoric ancestor of the modern Praying Mantis from its millions of years deep freeze. Very soon strange and unsettling reports are coming from the artic region of remote observation bases and then survey planes being attacked and destroyed by some massive being that leaves huge track marks in the snow unlike any other creature known to man. Strangely no survivors of these attacks are ever found and at the observation station a puzzling spore is uncovered that comes from a creature of a fantastic size. An investigation is set up and Col. Joe Parkman (Craig Stevens), is put in charge of tracking down what is causing this trouble in the region. After the giant spore is brought back to Washington the military call in expert Paleontologist Dr. Ned Jackson (William Hopper), to try and identify what it actually is. With the assitance of assistant Marge Blaine (Alix Talton), Dr. Jackson isolates it as being a prehistoric ancestor of the modern Praying Mantis but from the size of the spore it is a creature so fantastic in size as to be hard to imagine. The incidents of this terrifying creature causing death and destruction continue with Eskimo colonies and ships at sea being destroyed by the creature that is rampant in its need for food and leaves no human being alive as it passes. Dr. Jackson and Marge travel to the artic base to investigate further and experience first hand the full terror of this prehistoric creature as it attacks the base and defies even the military's flame throwers. A pattern begins to emerge which indicates the Mantis is heading south to the Amazon region which was its original habitat in prehistoric times. On the way south the Mantis wreaks havoc in Washington where it attacks the Washington Monument before it is finally trapped in the Manhatten Tunnel in New York. With the creature seemingly impervious to bullets of any kind Col. Parkman seals off both ends of the tunnel and pumps poisonous gases into the tunnel hoping to kill the trapped creature. There are some tense moments when it looks like the creature will even withstand the gases and the men begin to retreat however eventually the gas does its work and the creature meets its end on top of a pile of smashed cars that were abandoned in the tunnel.

"The Deadly Mantis may contain the tried and true formula for these types of "creature features" from the 1950's, however the story is presented in a sensible and thought out way. The extensive use of airforce and radar footage despite it being of a poorer quality than the Universal Studios film, doesn't detract from the story moving on. Performances in "The Deadly Mantis", are of the earnest and sincere kind one expects from this period in Sci Fi film making. Craig Stevens plays your standard rugged male lead and he combines well with female lead Alix Talton who apart from having one of the best screams of any actress in Sci Fi Films around this time, also has some character to work with rather than only reacting to what the men are doing. Alix Talton was a most capable actress and here she creates a character that is no shrinking violet but a talented photographer who insists on getting involved where the main action is taking place. William Hopper playing her boss does a credible piece of acting like he did in "Twenty Million MIles to Earth", as the main expert on what the creature actually is. The Mantis in question is one of the more memorable creatures of the 1950's sci fi genre, right up there with the killer ants from "Them". Its construction and movements are first rate and the invented roar that it makes really creates a chilling effect while possibly not being anything like the sound a giant Mantis would make! But licence has to be allowed when looking at these types of films.

For an enjoyable ride back to Universal Studios "Golden Age of Science Fiction", you can't do much better that "The Deadly Mantis". Certainly not the best film in this genre ever made it still is presented on a level that indicates some thought has gone into the story and especially into the special effects. The sight of the ferocious Mantis overturning a large bus on a fog bound night or demolishing cars in the Manhatten Tunnel are still some of THE classic sci fi images from this decade.Enjoy!

Very well made motion picture sci fi.
The Deadly Mantis is a very entertaining and well made science fiction/horror old picture. Directed by the skilled Nathan Juran, this movie does not deserve to be laughed at. As stated, the film is overdue for the quality DVD presented on the VHS version. The picture quality is crisp and watchable in most scenes, only wavering in the action World War 2 stock footage.
Synopsis: When a long deceased prehistoric creature is awoken by global warming, it rises out of the Arctic freezer on a murderous spree. It destroys a fighter bomber and a weather shack, killing all involved. A radar positioning outpost attempts to reach the shack, but fails. When a scientist is sent over to two wrecks, both contain no bodies, but evidence of peculiar skid marks in the snow. When determined specialists discover that a mantis has been unleashed, all must attempt to terminate it before more casualties occur, or the world is put in jeopardy.
Very suspenseful picture, with an underrated history. This is, though, without doubt, the golden age of science fiction thrillers!

Way overdue for DVD
If you want to know about this movie just read the other reviews. I say isn't time we get this great old classic black & white monster movie out on DVD! They (studio's) are taking way too much time to do this. ... Read more

Reviews (7)

ONE OF NEIL SIMON'S BEST
Excellent cast and extremely well written material. Only when I Laugh shows Marsha Mason at her best along with the late James coco and Joan Hackett. We also see a very talented Kristy McNichols. Can't wait for the DVD release of this classic!

Can't Wait for DVD
I hope they come out with a DVD of this classic soon. This is a very special movie. If they don't convert it to digital soon, I'm going to burn a VHS into DVD. They don't even have this movie in stock on Amazon anymore.

Kristy McNichol rocks in this movie. Marsha Mason did an award winning performance. If this doesn't get converted to DVD soon, I'm going to complain to the movie company that holds rights to the movie.

The Reality of Recovery
Another classic Neil Simon-Marsha Mason collaboration (when they were married), "Only When I Laugh" is aptly-titled: as Mason's character explains, she laughs only when her heart is pierced. In her case here, that happens a lot and is masterfully crafted by Simon's bittersweet perspective of his lead character's life, and Mason's flawless delivery. Her character is a recovering alcoholic, and it is her rocky road to recovery that is the benchmark of this film. On the surface, it's much too easy to assess the film as a story about alcoholism. Actually, it's about recovery. And, as most recovering addicts do (God bless 'em), Mason's character finds that life even without chemicals isn't always a bed of roses. As Mason's daughter, Kristy McNichol is the poster child for Al-Anon, and she is awesome as the child of a recovering addict. Sadly, the two strongest supporting performers aren't with us anymore, but Joan Hackett and James Coca are truly magnificent as the friends who carry Mason through the harshness of recovery and, all too commonly, her "slip." It's a timeless message about recovery, and it's a jewel made all the more remarkable by Simon's obvious knowledge about his subject.

Every Time , I Laugh.
This is a terrific movie. Marsha Mason is wonderfully funny and touching as "Georgia", the recently re-habbed actress. Written by her then husband, Neil Simon, and taken from his original stage play, "The Gingerbread Lady", it is full of witty New York theater repartee, as only Simon could write, incomprabley delivered by Marsha Mason. It starts with "Georgia's" somewhat premature (fresh out of rehab) re-immersion into the world of theater via the starring role in a somewhat biographical play, written by her former lover , with whom she had the turbulent relationship that preceded her breakdown. Through the emotion of that experience, and her relapse, she is accompanied by her two best friends, also wonderfully played by James Coco and Joan Hackett. Their 3 way friendship would be called co-dependent nowadays, then...it was just being a supportive good friend. (I think we were better off without the present definition.) You will want these kooky, dear, flawed people as your friends. Kristy McNichol projects just the right quality as the on-the-ball off-spring. Georgias attempts to re-establish a relationship and trust with her previously somewhat ignored daughter are very funny and very touching, with McNichol often ending up as the parental figure. This is just a wonderful, under-rated little gem of a movie, a sweet story in which Marsha Mason gives one of the best performances I've seen. I consider her a terrific actress, and it's a shame that, for whatever reason, she is not creating more wonderful roles. She takes a good story and makes it great. A lovely, funny film about friendship, human frailties, perseverence, and the resilience of the human spirit. LOVE it !

A Real New York movie!
Great performances from the entire cast,especially the late Joan Hackett as a gal trying desperately to hold on to her youth! Shows NYC at its best! A film to watch again and again! Kristy Mcnichols could have been a BIG STAR! ... Read more

Reviews (7)

My 5 year old boy enjoys this show very much.
I enjoyed this show as a kid and bought it for my children. My daughter has little interest in SciFi, but my son enjoys all the classics: Forbidden Plant, Them, Godzilla, etc. He watched this every day for several days: the true seal of approval. There is suspense and adventure and buggy monsters. What more would a boy want?

Gibbs!
A famous American celebrity residing in the UK recently lamented the perfidy of the British worker after getting the builders in. Looking out the window at some builders doing up a shop across the street, I observe two men sitting drinking tea and one reading a paper. It was ever thus, as depicted in this film. The brilliant, if mercurial Professor Cavor pleads with his workers to watch the boiler harbouring his latest scientific discovery and they shrug off-handedly, engrossed as they are in a game of checkers. Needless to say the boiler explodes. It was America, of course, that inevitably boasted the first men on the moon. The afore-mentioned scene is no doubt played as a counterpoint to the Selenites moon colony which has a novel way of dealing with the likes of their own Gibbs, which is to freeze him until his nuisance value is needed. Cavor finds this equitable, and there's little doubt that the concept was close to H.G.Wells sensibilities as well, despite the film maker's insistance on a humanitarian counterpoint to the film's facist harshness with a multi-national moon landing crew at the film's beginning. Unfortunately, in the real world the American celebrity was forced to eat humble pie in order to get the house finished.
FMITM suffers from some narrative problems in it's second half due to the fact that it mostly revolves around the reactive. "Look over there!" -"Run from that!" Etc. It is a curiously perverse film because it starts off rather like 'Chitty Chitty Bang Bang' and progressively darkens to the point of being almost repugnant, what with Cavor beaten up by an inexplicably contemptuous Bedford. The ending is frankly disturbing, too. Not family entertainment by any means, but then scriptwriter Nigel Kneale was morbid and pessimistic in his own work, not usually satisfied until his cast are lying prostrate like the denounement of 'Hamlet'.
My favourite bit overall is when Cavor tells Bedford that Cavorite is a secret. "Will you tell me, then?" He is asked. "Yes. Yes, I will tell you" he replies in that endearing manner unique to Lionel Jeffries. An offbeat, but unique and largely forgotten film which is worth searching out.

It could have been a good film
As a kid, I watched this film several times, and I still occasionally get an urge to watch it. The story is about a small group of people who go to the moon, thinking they are the first to do so, but they find evidence to the contrary there. When they get back, they put the pieces of the puzzle together, and get the story of the real first trip to the moon from the lone survivor (if memory serves me right) from that first trip.

Ray Harryhausen's special effects were state-of-the-art at the time. The special effects were like peanuts: you loved them but they made you want more (my apologies to those of you with peanut allergies; please substitute "chocolate" or "donuts" in my simile). The story is coherent and well-told, although there was too much comic relief ...although excessive comic relief was frequently found in science fiction movies back then. It still happens today, as in the terrible translation of "Starship Troopers" from novel to film. Back then, this country was in the midst of the Cold War, and I think film-makers worried about scaring people too much (a la the radio broadcast of "War of the Worlds"), so they inserted unnecessary comedy.

Anyway, I liked this movie as a kid, and your kids will probably like it too, although they're spoiled now by hyper-realistic special effects and excessive action. Buy it or rent it, and have a ball. Adults might find it too cartoonish, as I did when I saw it again recently.

Ray's Biggest Effort at Science Fiction.
Up to the time, this was one movie where Ray had a very big budget to work with and thus we are treated to extented effects scenes of the moon people and the technology that they have created. The scene of the main characters being chased by a giant catterpiller were very effective. However as creative as this movie is, it did not quite take off with audiences in 1964, thus afterward, Ray Harryhausen went back more toward the Greek Classic myths as story material for his movies as seen in the later Sinbad movies and "Clash of the Titans".

A classic of it's kind - they don't make 'em like this now.
Where oh where to begin? The screenplay by "Quatermass" genius Nigel Kneale? The music by "Avengers" Laurie Johnson? Story by H.G. Wells, and special effects by Ray Harryhausen? With Lionel Jeffries as Cavor?

This was one of very very few big-budget science fiction films before "2001" made the genre "respectable". The adaptation turns Wells's political allegory into a standard action-adventure piece, with Martha Hyer thrown in as a putative romantic interest , but none of that detracts from the absolute charm of this film. Eminently watchable, with nothing unsuitable for all but the smallest children (there *is* a scene with the mooncow, a sort of gigantic caterpillar, chasing our heros and then being shocked by the Selenites). The movies weaves such a spell-binding atmosphere, from the documentary-style "real" moon-landing (four years ahead of its time but looking darned good) to the fabulous sun-shaft of the Selenites, the effect of the eclipse on them, to the truly wistful tone at the end, that all disbelief is suspended and I can guarantee an enjoyable time for all. If you were brought up on this, it's a very pleasant reminder of the best-quality matinees of long ago. I, for one, can't think of a better way to spend a rainy Sunday afternoon than with this and a couple of companion pieces. Check my other reviews for suggestions. ... Read more

Reviews (8)

No 'Evil Dead'.
Not up to the standard of Sam Raimi's "Evil Dead" trilogy. Some funny moments, one great death, amusing cameos. This is basically a comedy/horror retelling of the Orpheus and Eurydice myth, right down to the three-headed hound at the gates of Hades, the Styx and the instruction to not look back. Disappointing ending. Like its scenery, the movie seems a little dry and barren. Some good effects though. Some not so good.

Highway to Hell
Perhaps it's not perfect, because of lack of budget. But it is very unusual and goes way beyond the average horror flick. Somewhere behind all the strange and funny events there is a deep humanity and wisdom. This could become a undiscovered classic in fifty years from now.

Highway To Hell

I'll admit that the tone of this film was somewhat campy but that is exactly it's charm. I also found the visual effects and the cast in this movie to be more than able to pull it off. Scenes such as the convoy of VW Bugs passing Charlie Sykes (Chad Lowe) in his '48 Roadster, the Ronnie Reagan Iran Contra theme for that roadside bar Charlie Sykes stopped in on his way to Hell City and the road crew of Andy Worhols working for the Good Intentions Paving Co. all against the backdrop of the Nevada desert were pretty cool.

Check this movie out, it's good for a few laughs.

I couldn't help but enjoy it.
Okay, so this movie sucks. However, there was something about this film which made me enjoy it... and don't ask me what, because the movie wasn't funny or scary.. although Ben & Jerry Stiller's cameos were kinda funny.

Anyway.. don't expect much from this film.. but you'll probably still enjoy it.

By the way... Hellcop kinda reminded me of Scarman from the movie "Cut" (I don't know why I'm telling you this).

STRANGE HORROR COMEDY
AFTER A COUPLE ELOPES THEY TAKE AN OLD HIGHWAY BUT WHAT THEY DON'T KNOW IS IT'S A HIGHWAY TO HELL. AFTER THE WOMAN IS CAPTURED BY HELLCOP IT BECOMES AN ADVENTURE FILLED WITH ACTION, SUSPENSE AND A FEW CHEAP LAUGHS. BOTTOM LINE: BURNS UP A HELL OF A STORM. ... Read more

Reviews (8)

We did kidnap my father! It's a nightmare!
All right, I'm biased. When I watched the whole series on TV I was only about 7, so my memories of most of the episodes are all but nonexistent. "Phantom Train" is one of the exceptions, and the most vivid in my mind. So naturally I enjoyed watching it again, even more than the others. It's great as a breather between "Trenches of Hell" and "Oganga", which are very thoughtful and serious. It is a tad hokey, but in that respect most like the Harrison Ford movies. Indy undergoes character developement, however, which is good. The first half has plenty of action, but Indy learns his lesson of the day, and this lesson actually sticks with him and is seen in the movies. That is, that the ability to improvise is a quality.

The second half seems slow when compared with the first, but doesn't end up being anticlimatic. Von Lettow was really great as the stodgy German general, who reminds Indy of his father (see review title). The German woman who manages to shampoo and condition her hair out in the wilds was, in my opinion, a yawner. But she didn't figure in all that prominantly, so it wasn't too bad.

Five stars for all the times I was able to say, "I remember this part!"

VERY, VERY GOOD VIDEO
I've been an Indiana Jones fan for over six years and this was one of the first young Indy videos I watched. I have seen about half of the episodes available on video and so far this is still my favorite. It had a good story with good acting and great special effects. It is a classic tale of adventure in Africa. In the first part of the video Indy accidently goes on a mission to blow up a mysterious train with a flat-bed mounted cannon that has been shelling allied troops but cannot be found. In the second part of the video, Indy and his army buddy Remmy try to survive the wilds of Africa with an important german military prisoner. They run into hostile bush-men, lions, and are being pursued by the entire German army the whole time. Action-packed and full of surprises along with nice bits of humor in appropriate places this video should delight anyone intereseted in Indiana Jones.

Wonderful Saturday matinee fun
The first hour is pure fun, the action has all the wit and humor of Raiders or Last Crusade, with a wonderful contrast between Young Indy and the much older soldiers.

The second continues all of the wit and humor, yet adds a thoughtful look at Indy's search for father figures to replace his own estranged father, Prof Henry Jones Sr.

Quick, some lead a crusade to persuade Viacom (Paramount's parent company) that either of their networks CBS or UPN needs to make more Young Indy movies! We'll all be right behind you!

"Train" lays down tracks for the developing Indy's character
In his filmed introduction, George Lucas describes "Phantom Train of Doom" as one of his favorite Young Indy stories. For once, his perception of his own work isn't inflated. This is great Saturday afternoon matinee material, as the series was always intended to be. Like the equally exciting "Daredevils of the Desert", this episode succeeds because it is plausible, its historical figures are limited, and its two hours--filmed at different times--are knitted together extremely well.

Hour One has us meeting a very young Indy, indeed. This Indy is a relatively new inductee into the Belgian Army fresh off the boat to East Africa. Indy here is, well, uptight--more uptight than even the younger, River Phoenix portrayal. He likes plans, orders. He hasn't learned yet to say, "I don't know, I'm making this up as I go along". But the group of older soldiers he meets in East Africa soon teach him the value of flexibility. They teach him, in short, how to improvise. In the process, we're shuttled along on a rollicking great adventure.

Hour Two largely reverses Hour One and shows us--and Indy--that improvisation can only successfully begin from a position of discipline. Demonstrating the point is a finely-acted General Von Lettow Vorbeck, Commander of the German forces in East Africa, who variously plays captive and captor. It is a fascinating study in the relative values of luck and strategy. Lucas' choice of von Lettow, along with the apparently accurate 'elderly regiment', is, to my mind, what Lucas should've been doing in most of the episodes. By chosing people who are at once historically important, yet relatively unknown to modern audiences, Indy's association with them doesn't feel so blatantly contrived as in other episodes. Also, by concentrating almost exclusively on Von Lettow in the second hour, we really get a chance to understand the character in a way we never did in, say, "Mystery of the Blues", where historical figures virtually flooded the plot. Here, with just the single villain, we have an enjoyable game of cat and mouse, somewhat akin to "Silence of the Lambs", where we at once dislike and admire our antagonist.

What Hour Two ultimately says, then, is that, while fortune does indeed favor the bold, heroic outcomes are largely the result of ordinary hard work. Ford's Indy has obviously learned the lesson well. For all the action and adventure we see in the films, there's also a lot of study and hard work before Indy ever dons the leather jacket. It is, for the audience, a lesson far more valuable than the history on offer.

Classic Indy Adventure
This film has the classic Indy feel to it. It is an adventure comedy and it is full of fun adventures and one liners. While not as good as Oganga or Trenches of Hell this film is probably the most Indiana Jonesesque of all the Young Indy series. Fun for the family! ... Read more

Amazon.com essential video

The grossest movie ever made, this quintessential splatter film details the tender story of a henpecked boy, his overbearing mum, and a nasty little Sumerian rat-monkey that turns people into voracious zombies. In lesser hands, this ne plus ultra viscera-fest would be so disturbing as to be nigh-unwatchable, but the incredible energy and imagination of director Peter Jackson makes it a first-class guilty pleasure, with plentiful helpings of gallows humor (the scripture-quoting, kung-fu-dispensing priest is a highlight) and a taboo subtext that Sigmund Freud would have loved. Essential viewing for gorehounds and anyone else with a high tolerance for flying entrails. The director would later tone down the gore (but not the manic enthusiasm) for the sublime Heavenly Creatures and The Frighteners. --Andrew Wright ... Read more

Reviews (283)

Dead Alive (1982) d: Jackson, Peter
Stop: If you haven't seen this movie yet, go to your local video dealer and get it right now, and please avoid the R-rated version. This film single-handedly created the Splat-Stick genre with more on-screen gore than the original Evil Dead (1982), and it has become a treasured favorite in my collection. Originally released as Brain Dead (1992) in New Zealand, the title was changed in North America by Vestron to avoid confusion with Adam Simon's (1990) horror / thriller by the same name. Peter Jackson spent most of his $3 million dollar budget on Pork Fat, Latex, Sisal, Polyfoam, Human Hair, Ultra Slime, Hundreds of gallons of maple syrup, and managed to create an amazing comical, gore feast, zombie flick which sent him on his road to stardom. It is great to finally see this classic released in it's original uncut version on DVD. While Lionel [Tmothy Balme] visits the zoo, a legendary 'rat monkey' bites his mother. As days go on the deadly bite turns Lionel's mum into a walking corpse, who zombifies anyone who crosses her path. He hides his secret from the town and his new love by keeping his mother and her recent victims sedated with animal tranquilzers in the basement. When his Uncle Les throws a wild house party, all the guest are turned into zombies. Realizing that things are now getting out of hand, Lionel straps a lawn mower to his body, in a climatic scene censored from most versions carried by the major video chains, he cuts the zombies into pieces with his lethal lawn care equipment. 300 liters of blood were used in this scene alone. A must for lovers of splatter and gore.

Gore Galore and Whole Lot More!
Peter Jackson's Dead Alive is an exuberant roller coaster ride of a movie. I have never, in my entire life of movie watching, ever seen so much gore so enthuasically shown in a film. This movie makes the Evil Dead series look like Disney movies in comparison. Dead Alive is an unbeleviable spectacle of wickedly over-the-top special effects and Peter Jackson's very dark sense of humor. This 1993 Austrailian film, begins as hilarious spoof of Spielberg's Raiders of the Lost Ark and then turns into one heck of homage to Romero's Night of the Living Dead and Sam Raimi's Evil Dead. Once poor Lionel's mother is bitten by a very rare and ferocious rat monkey, she turns into a very one-track minded zombie, and the maddness just gets worse from there. Expect to be impressed by overflowing body parts, squirting ligaments, a holy warrior kicking a## for the lord, zombie sex, zombie babies, blended zombie heads, and one weird Oedipal relationship gone terriably terriably wrong. A must-see for any horror fan with strong stomachs. Dead Alive is unsurpassed in film disgust. The DVD doens't have very many options, but this gem of a cult film is a necessity for those addicted to biazarre, sick, and twisted movies. A horror milestone. P.S. Watch out for the gas emmiting entrails.

Hyperactive
This has got to be one of my all time favorite movies. Camp, blood, ass kicking priests (who turn into lecherous zombies) and hyperative monster babies. It's just awesome. My only complaint is that it's edited all to hell, compared to the original New Zealand release, titled "Braindead."

SWEET JESUS!!!!
First of all it angers me to read reviews that state how it is not at all clever when it comes to the lawn mower scene. Come on, what more would you want from this genre of movies, if you guys dont think this is the least bit scary, rent the Care Bears movie, that might suite your likings. It cant get much gorrier then this, and definately graphic I might add. I will admit that the blood did look like pudding with red dye but thats to be expected. I could not ask for more. Peter Jackson, you rule.

Peter Jackson's Career Is Tainted!
I cannot believe that there are people who love this movie. I cannot even believe that there are people who put it in the so-bad-it's-good category. This movie is just worthless. Yes, if you want to be repulsed, it will probably succeed -- for a while at lest. But for me, by the time the VERY bloody finale arrived, I was too bored by the gallons of fake blood and slimy mucous that resembled vanilla pudding. And no, I did not find the way that the lawnmower was put to use to be funny, either.

If some friend of yours tries to convince you to watch this movie, refuse. And be aware that your friend has no taste. If for some reason you are forced to watch this movie, fast forward to the kung fu priest part (slighltly funny) and the zombie baby part (actually funny). But other than those scenes, this movie has nothing to offer except for evidence of the pathetic state of Peter Jackson's career before Lord of the Rings. ... Read more

Reviews (33)

Sophisticated memories from childhood.
"The Thrill Of It All" was one of my favorite childhood memories. In the days prior to wall-to-wall cable stations, there were certain films that enjoyed a regular place on the weekend matinee lineup on local TV stations. This was one of them. And the funny thing is when I originally saw it, I never thought of it as dated or sexist (this is a memory from about 28 years ago). Even though I grew up in a household where both my parents worked (and my dad never gave it a second thought since there were six of us), I merely accepted the script as a reflection of the 1963 sensibility and not my own. You really can't watch a movie that's older than you are (I'm guessing lots of you are waaay under 40) and expect it to reflect modern-day sensibilities. That said, the film is expertly written taking several stabs and jabs at the TV advertising (as well as the network) industry. Doris Day was the quintessential (and exquisitely beautiful) screen wife and mother, and James Garner was a perfect spousal foil for her. And what you had from Arlene "What's My Line" Francis was a welcome touch of class in the role of a mature expectant mother (heady stuff for 1963!) along with nervous expectant father Edward Andrews. The movie is right in line with the other 60's comedies with Hudson, Grant, and Rod Taylor- fun!!

A classic Doris Day gem... fun movie!
A hip and happening Doris Day comedy in which the girl next door becomes a media sensation. Doris stars, not surprisingly, as a wholesomely sexy suburban housewife who is hired to become the spokesperson for the Happy Soap company, because Happy Soap's crotchety old president finds her stammering, unprofessional endorsements to be refreshingly honest and -- more importantly -- so does the soap-buying public. In fact, the only one who doesn't like her ascent into the media is her grouchy, fragile-egoed husband (played by James Garner), who can't stand the thought of his own wife having a job -- it's just too much of a blow to his masculinity, and besides, who will raise the kids if mommy goes to work? The depth and sheer matter-of-factness to the sexism in this pre-women's movement comedy will be both astounding and instructive to a modern audience, but besides all that, it's also a great vehicle for Day's bubbly, frowsy charm. Garner's character is a bit hysterical, but it's all worth it for the big payoff: his double-take during the swimming pool scene is a golden comedic moment. Scriptwriter Carl Reiner's touch is easy to pick out; Reiner also has some choice cameos as a hammy TV actor on the show that Happy Soap sponsors. There are also plenty of great early '60s character actors, such as Edward Andrews, who you may recognize from old TV re-runs and the like. [Crazy cast note: the Pamela Curran, who plays "Spot Checker," the glamorous model who was the former Happy Soap Girl, is a dead ringer for Drea de Matteo (best known as Adriana, of the Sopranos...) The likeness must be seen to be believed.] Anyway, this is a fun movie, entirely enjoyable and also a real blast of Kennedy-era camp.

Dated, mythical view of American Life, but Fun & enjoyable!
Hi all,

Just got done re-watching "The Thrill of It All" and here are my reactions:

First I think the film is light-hearted fun, and a great look back to the golden days of people living "The American Dream". As usual, Doris was superb as Beverly Boyer, a suburban housewife content to be home caring for her husband and two children and doing amazingly domestic activities such as bottling her own ketchup!! Wow!

While Doris looks as I remember her, I was quite taken aback by the youthfulness of James Gardner, whom we have seen on-going on television and movies so have had the opportunity to see him "age" gracefully in front of our eyes. I couldn't surpress a chuckle when the good doctor, frustrated with growing friction with his wife, lights up a cigarette in his hospital office. That's something we pretty much won't see in a hospital these days! :)

As much as I liked Gardner as Dr. Gerald Boyer, I wasn't too sympathetic with his disdain for his wife's decision to also take on a career. It was 1963, however, and the career woman was still more exception than the rule, so I tried to see it from that lens. The film seemed to be on the cusp of the stirrings of women entering the work force in larger numbers because when Dr. Boyer was objecting to his wife working and having a career, he was more than once referred to as a "victorian" man, in a most unflattering way. Perhaps writer Ross Hunter (producer), Carl Reiner (writer), and Norman Jewison (director) were trying to push the envelope a bit here by suggesting that women having careers was not contrary to American values of a stable homelife and happy families.

Having said all of this, part of me yearned for the days when the world seemed a happier place and everyone lived with a "can do" attitude. I know it is myth mostly, but the early 60s were a time before the great social divides brought on by the assasination of President Kennedy and protests against the Vietnam war. America, it seems, still was living in a "Norman Rockwell" picture perfect era where most had a beautiful home, the proverbial 2.5 children, and a dog and/or cat. The romance of this rosy colored view of life is certainly an attractive escape from our modern world problems of terrorism, rampant drug abuse, poverty, and violence. Watching "Thrill of It All" was like a mini-vacation, taking us back to a time when perhaps we all felt safer, more secure, and optimistic about the endless possibilities that laid ahead for us. Since I was only 3-4 years old at the time, I know I was certainly optimistic! :)

About casting: I think Doris and James showed great chemistry throughout the film. I think casting Arlene Francis as Mrs. Fraleigh was a bit of a stretch however, as much as I admired her presence in the film, because she was already 58 years old in real life, so the likelihood of her becoming pregnant would be almost nil. But she rose to the occasion and played the role of a pregnant rich woman to the hilt. It was a great hook for bringing Beverly and Gerald into the lives of The Fraleigh's and their elderly father, the founder of Happy soap, thus providing the backdrop for further escapades! All quibbling aside, I think Arlene was fun in the role. A small note: Arlene died 3 years ago this month in San Francisco of complications from Alzheimers and cancer.

I really enjoyed watching the cars in this film. The cars added an additional element of nostalgia as I looked back at America's earlier vehicles. I was thinking the film had been made in early 1960, but as the limo driving the Fraleighs to the hospital gets stuck in a traffic jam, and Mr. Fraleigh keeps asking this aggressive man for a shoe lace or an unused newspaper, my eyes did a double take! The guy in the car next to them was driving a 1963 or 1964 Mercury Monterey with the "breezeway" window in the back. That was my Grandfather's last car, he died in 1965 or 4, can't remember now, and my Gram kept using the car into the early 70s. Because I was particularly close to my Gram, seeing the car again touched my heart and made me smile.

I'm sure most of my women friends would disagree with the film's premise that babies are what give women purpose in life, but one can certainly enjoy the romantic fun at the end of the film as the Boyers decide to make good on Mr. Boyer's promise to bring a baby home if "mommy helped with it". I couldn't help laughing at the twin beds in the Boyer's bedroom however, which begged the question "how easy was it to make babies in a space so little?" :-)

All in all a fun escapist comedy, highly recommended if for nothing else than Doris' classic facial responses to goings-on around her. It's time to get your own copy of the film and see what a "The Thrill of It All" it really is.

Tom

Great film for new mommies and new daddies!
This film has a real cute opening with Arlene Francis ("What's My Line" game show 1968-1975) and Edward Andrews (Send Me No Flowers [1964]). Nice surprise! James Garner is Arlene's doctor and Arlene invites the doctor and his wife Doris Day to celebrate. At the dinner party, they meet an excited old man who is the owner of the Happy Soap Company. They all hush to see the new Happy Soap commercial on color tv. There is the new girl naked in the bathtub explaining Happy Soap. Afterwards, Doris day begins to tell the man about how Happy Soap saved her life today. Her kids took a bath today and liked Happy Soap instead of Pine Tar. The older man gets excited and enjoys her story. He decides to make Doris, the ordinary housewife, the new spokesperson for Happy Soap in the next commercial. The commercials work and she becomes a star. However, her husband feels neglected. With her busy schedule and his schedule at the hospital, they just can't find time to be together or with the children. Also the first maid quit due to a misunderstanding and the new maid speaks German and misunderstands english. This is really a cute and funny movie and I highly recommend it to those new mommies and new daddies. The children are: Brian Nash (Please Don't Eat The Daises tv series 1965-67) and Kym Karath (Spencer's Mountain [1963], Sound Of Music [1965]). Directed by Norman Jewison, Produced by Ross Hunter and Martin Melcher. A great filming of a movie with good camera angles and one-shot moving scenes by Director of Photography Russell Metty & Associates.

it smells better than the oohcky soap
this movie is truly charming buy this ... Read more

Reviews (11)

Wonderful - will stay with you for years
This is one of the best. When elderly widower Sam Peak befriends a stray white dog that no one else can see the family is sure he is becoming senile. Everyone that is but the maid who asserts that it must be a ghost dog and that no good can come of it. She's seen it before. The dog will surely lead Sam to his death. When a strong willed Sam decides to take the dog with him on an out of town trip to his high school reunion (without the knowledge of his two overprotective daughters), it sure looks like she might be right. But appearances can be deceiving.

This is a heart warming and perfectly portrayed movie of the strength and endurance of love beyond all bounds. Guaranteed to make you cry and smile at the same time.

One of the most beautiful movies I've ever seen
Shortly after celebrating their 50th wedding anniversary, Sam Peek loses his beloved wife Cora to a heart attack.

Told from the perspective of his son James, this heart touching story tells of Sam and his family. One day shortly after Cora's death, a snow white dog shows up on Sam's porch. Sam grudgingly feeds and eventually takes the dog in. The problem is, when he tells his children about the white dog, they think he is losing his mind because only Sam can see it. The dog stays with Sam and becomes his constant companion. Eventually, he realizes that the dog is really Cora, back to take care of him through his last days.

A heartwarming and sometimes humorous story of everlasting love. It never fails to bring a tear to my eys.

Positively Beautiful.
This movie is deeply touching. The dog is gorgeous. The acting is high-quality. This is an embarrassingly short review, but there really is nothing more to say, except, "See this great film!"

Touching Story; Little-Known Predecessor to "Fluke"
I just happened to be perusing the "Drama" shelf at my local Blockbuster when I saw this movie that obviously looked as though this old man's beloved wife died and returned to him as a beautiful white dog. Naturally I thought of my other favorite reincarnated dog-person movie, "Fluke," which was made 2 years after this film. So I rented the Hallmark video and watched it. The story was original, touching, and moved quickly enough. It was sweet and mysterious but simple enough to understand. It wasn't at all a bore. I loved it. The old man was endearing, the dog was gorgeous, the children were annoyingly caring, it had romance and suspense and sadness. This movie was truly worth it. What a lovely film.

To Dance with the White Dog
This movie is wonderful heartwarming the true meaning of love a really great movie makes the heart feel better... ... Read more

Amazon.com

This is another collection of Disney shorts set to music, but this time the formula works. That's predicated on the inherent strength of the individual pieces and almost all of them come through. Surprisingly, two American folk heroes, Johnny Appleseed and Pecos Bill, are the stars of this show, with rousty little tunes, humor, and compelling linear story lines (a rarity in most of these shorts). Even the shorts that are weak in one area, thematically or musically, make up for it in another. There's very little of the Disney animators attempting to be 1940s modern, thank goodness, and there's a sterling quality in the depth of the art work. A definite plus to an animation (or Disney) collection. --Keith Simanton ... Read more

Reviews (26)

Sorry, but I do not agree that this is "censorship"
"Melody Time," the 1948 collection of shorts that was not only the last but also the best of this type of Disney film, is not the focus point of an interesting controversy. When bringing out the video/DVD versions of this film, Disney altered the animation in the Pecos Bill segment. Originally Bill had a cigarette hanging from his lip and at one point shot a cigarette into a little kid's mouth, but those images and scene have been exorcised from the film....I have to admit I am not that upset by this [censorship]....

Now back to reviewing "Melody Time."

Here are the segments in this film: Frances Langford sings "Once Upon a Wintertime," done as a greeting card come to life. "Bumble Boogie" features a bumbleebee being chased by musical instruments and notes during a jazz version of "The Flight of the Bumblebee." Dennis Day does the voice of "Johnny Appleseed" in the story of the hero of folklore. The Andrews Sisters sing "Little Toot," about a young tugboat trying to make his father proud. "Trees" sets Joyce Kilmer's famous poem to music sung by Fred Waring and his Pennsylvanians. Donald Duck teams up with Joe Carioca (from "The Three Caballeros) in "Blame It on the Samba," a giant cocktail with some interesting affects. Finally, the controversial "Pecos Bill," spung by Roy Rogers and the Sons of the Pioneers.

"Melody Time" is a solid blend of both musical and animation styles, which means it is going to be someting of a hit and miss proposition for small children, just like "Fantasia." There is always going to be a segment the kiddies want to fast-forward through to get to their favortie. "Melody Time" was never reissued, with Disney choosing instead to cut up the segments and rerelease them separately. "Trees" and "Bumble Boogie" became a short entitled "Contrasts in Rhythm" while five of the other sequences were combined with four from "Make Mine Music" in the "new" 1955 feature film "Music Land."

Hypo(or is it Hyper?)-criticism in the Disney studios
This is a nice glimpse of what Disney passed as a "feature" during and after the war, and it shows a willingness by whoever's in charge of the Disney studios to be faithful to Disney's original intentions(it would have been easy for the money men to chop up this feature, "Make Mine Music", "Salugos Amigos" and other collections, bundle them up with other shorts and release them separately).

BUT...

That honour only goes so far! They're willing to reissue a feature as Walt originally intended, but that feature has been "edited for content"(as the green screen at the beginning of the feature says). And it's not just "Melody Time"; "Make Mine Music", "The Three Caballeros" and others all carry that familiar distinction.

Why do they persist in "homogenizing"(for lack of a better word)Disney's classic works, while the modern studios are going full force in what they're censoring from the past? I mean, they take out a few seconds worth of Pecos Bill's cigarette, but the old lady character from "Atlantis" smokes like a chimney!

This says to me that there are too many cooks in the kitchen; doesn't everyone wish that there was someone who could be the strong head of Disney the way Walt was? Overseeing everything from story construction in animated features to the foundation and expansion of Disneyland, all without missing a step?

Better than Make Mine Music but doesn't equal to Fantasia.
The third attempt to remake Fantasia Disney comes across better. In this film they are telling little stories than really little musical dittys that we saw in Make Mine Music. The plots are more gripping, and the characters are more iconic. The highlights of the movie are Pecos Bill and Johnny Appleseed. I highly reccomend this for a whimsical good time.

Quackeriffic!
Melody Time (1948) was the third of the Disney Orchestral cartoons.Produced and illustrated by Walt Disney (1902-1966).I remember watching this in 2nd grade.The only cartoon in this movie I remember is the Johny Appleseed sequence.It's about a man named Johny(Appleseed isn't really his last name,you knoW)and why he likes apples and why they call him Appleseed.Of course,Mr Applessed isn't just made up.But why do they have Donald on the boxes?I didn't see Donald in this.It's sort of a 2nd sequel to Fantasia(1940) but it's not.Fantasia only has one sequel:Fantasia 2000(1999).Make Mine Music (1946) was nicknamed the 1st sequel to Fantasia.If you like Melody Time,buy Fantasia,Fantasia 2000 or Make Mine Music today!

Disney's 10th Animated Masterpiece!
Melody Time is the 3rd of Disney's package features and probably one of the best, I love many of the shorts featured in this film, specially "Little Toot" and "Blame it on the Samba". Little Toot is the story of a mischevious little boat getting into a lot of trouble for accidentally crashing a ship into the city by the shore and Blame ot on the Samba is a fun, musical cartoon featuring Disney's Donald Duck and Joe Carioca. The shorts are wonderfully animated and very colorful. I do believe that this package feature is one of the few that wasn't edited, so I suppose it makes a great gift to any Disney fan, or just a great addition to your own Disney collection.

The DVD brings a few extra musical cartoons, not much, but I suppose there isn't much documentary on this title so I suppose this DVD edition is the best we might be getting, that's why I would recommend it. ... Read more

Amazon.com

In yet another example of Demi Moore's astonishing narcissism, this appalling adaptation of Nathaniel Hawthorne's Great American Novel becomes a teary, talk-show-worthy story of a woman rediscovering the erotic, of interrupted love, of a brave-but-beleaguered heroine's personal struggle against male stupidity. Never mind that this has little to do with Hawthorne's magnificent, protofeminist book, which is a million times more relevant today than this film could ever be. Director Roland Joffé (The Killing Fields) deserves to be horsewhipped for colluding with Moore's self-fascination, while Gary Oldman should be kicked in the pants for allowing the novel's main character to come off as an inconsequential ninny. Making matters worse, Robert Duvall can be seen ridiculously dancing with a deerskin on his head. If this film were a joke, it would be a very bad joke. But it's not, and that's worse. --Tom Keogh ... Read more

Reviews (68)

An actress way out of her depth
As a public service to high school students who has been assigned to read The Scarlet Letter and decided to watch this movie to cheat, I have one word of advice: don't. (Unless you are certain that your teacher majored in secondary education instead of a real subject.In that case, go ahead. She or he won't know the difference.) This film has only the most tenuous connection with the Hawthorne novel. The novel was a study in contrasts between the hypocrisy of the Puritan clergy, people as superstitious, arrogant, and self-righteous as Hollywood types with causes, and the nobility and courage of a "fallen woman" willing to undergo public humiliation to protect someone she loves. This is, instead, a romance novel, a bad romance novel, on film. As far as I can tell, the new-and-improved plot exists mostly to give Demi Moore a excuse to get rolled in the hay. Her ability to fake (I assume) an orgasm is impressive, and she cries on command very well. Other than that her performance was embarrassing to watch. She really ought not to attempt period pieces. They often require acting. The only reason I didn't hit the eject button about a third of the way through was the fine supporting cast whose performances only heighten the contrast with Ms Moore. There are actors and actresses, and there are movie stars; Ms Moore is the latter. (Why is it that so many British actresses can do flawless American accents and most Hollywood stars do British accents so badly it is like listening to fingernails on a blackboard?) Unless your erotic recreation requires the juxtaposition of barns, petticoats, and fear of the authorities, skip this one.

WHAT IS WRONG WITH YOU PEOPLE!?!
I read all of the reviews for this film and even amazon trashed it! Here is my question. If you read the book, and you know that whenever they turn a book into a movie it's going to be an obvious abomination, what the hell are you expecting. Cast all preconceived notions aside and just enjoy the flick! The Scarlet Letter was a wonderfully acted and directed spectacle for the eyes. I am not really what you would consider a "Demi Moore fan" but I think she did a remarkable job here. The scene where Matumba is bathing is enriched with metaphorical images that strikes a chord in the imagination department, all the while as the movie's integral scene is taking place between Demi and Gary Oldham, is this not cinematic splendour? Yes I will admit, I never read the book, maybe that is why I enjoyed Scarlet. Overall, this is a descent movie. It takes you back in time and lets you relive the puritan hell days on earth, all over again. A great Thanksgiving movie, wouldn't you say?

We still love you Demi!

Oldman does it again!
Not a big fan of Romance movies, but a sucker for anything Oldman stars in, I bought this DVD without ever having read the first thing about it. And once more? I cannot say I was dissappointed.

The story is about Hester Prynne (Demi Moore), a young wife who travels to the new world to prepare for her husband's arrival. She ends up in a conservative community, who are rather shocked with her modern ways of dealing with certain things.

When Hester's husband travels to the new world, he is believed to be murdered by the Indians. She falls in love with the Reverend Dimmsdale (Oldman), whose feelings match hers. Out of their love, a child is conceived. However, since her husband hasn't been proven dead, the child is seen by the community as being born out of wedlock.

The conservative and very religious communion demands Hester to name the father of the child, which she denies. She's locked up in prison and has her baby there, while Dimmsdale is torn over whether to step forward as the baby's father.

Hester then is freed but ordered to walk around town wearing a Scarlet Letter 'A', which is meant to belittle her whereever she goes.

Shortly after the child is born, her husband (Robert Duvall) suddenly reappears, and tries to incite the indians (whom he befriended) to act against the community. Single-handedly, he manages to offset the fragile peace that was between the two peoples.

Moore doesn't do too bad of a job as Hester, Duvall is good as the husband, but Oldman still manages to steal the show. All in all, even though I don't enjoy romances, the movie managed to keep me amused.

Scarlet Letter
Although the movie veered off from where the book went, I found that, differently from the book, the movie focused more on the intimacy between Hester and Dimmsdale (which for the hopeless romantics out there like me-- is a perk!) I loved the actor who plays Dimmsdale and Demi Moore comes through with a strong performace as well.

Letter "S" for sizzling!
Demi Moore is an early American colonist who loses her husband in a Native American attack. She seeks a new soulmate with the town doctor. She gets pregnant out of wedlock which is deemed sinful by the colony & is branded for her adultery by being forced to wear the scarlet letter "A" everywhere she goes.
And to make matters worse, her husband wasn't killed in the attack & he seeks revenge on the man who got his wife pregnant. ... Read more

Amazon.com

A blend of live-action and animation, this film centers on a fearful young boy (Macaulay Culkin) afraid to experience life because he's calculated the odds of an accident for every known activity. Chased by bullies, he winds up at the local library, where a bump on the head sends him into an animated universe, where his best friends are walking, talking books voiced by, among others, Patrick Stewart and Whoopi Goldberg. The Pagemaster (Christopher Lloyd) points the way to the exit, but the boy must first traverse the adventures of literary history, encountering everyone from Dr. Jekyll to Captain Ahab to Long John Silver. The animation is middling, but a worthy message makes this better children's entertainment than you'd expect. How can you fault a movie that encourages kids to pick up a book? --Marshall Fine ... Read more

Reviews (17)

One of Macaulay Culkin's last movies
The Pagemaster is a rare movie, that has both live action and animation. It's about a boy that hates heights (and who couldn't blame him). And is also a rare live action movie that has a G rating. The live action part of the movie was directed by Joe Johnston. And the animation part of the movie was directed by Maurice Hunt. As the movie opens, Ricard Tyler (Macaulay Culkin) is sent to get some nails for the tree house his father is bulding in a tree, Richard refuses to climb. But it starts to rain. So Richard takes shelter in a library, where a man (Christopher Lloyd) who claims that he has a talent for what people need. He ends up with a library card, and asks the man where the phone is. Christopher Lloyd also voices the title character. And when paint starts to fall from a picture of the Pagemaster, Richard tries to find the exit, but can't, and is turned into a cartoon character, and is visited by the Pagemaster, who tells him that he has to get to the exit to get back to a human character, which he is still in the library.

A Wonderful Story!
I first saw this movie with my