Reviews (1)

"M*A*S*H" works in more heavy material with the comedy
With Season 3 "M*A*S*H" settled in for the long haul. Producers Gene Reynold and Larry Gelbart had gathered anecdotes and firsthand observations at the 43rd Army Surgical Hospital in Korea (the 8055 was no longer mobile) which were worked into various episodes. As Gelbart later explained, it was difficult to come back from doing all those interviews and hear what things were really like during the Korean War and still be funny. Fortunately, the show was still high in the ratings (finishing 5th for the 1974-75 season) and could now mix heavy material in with the comedy, as can be seen from the first eight episodes:

(49) "The General Flipped at Dawn" (Writer: Jim Fritzell & Everett Greenbaum; Aired: September 10, 1974) has a new spit-and-polish general (Harry Morgan) showing up and deciding that moving the 4077th right onto the battlefield would be a good thing. Grade B: On the one hand the idea of a general being this nuts is unrealistic, but the general is played by Harry Morgan who, ironically, would be back one year later as Sherman Potter.

(50) "Rainbow Bridge" (Writers: Larry Gelbart & Laurence Marks; Aired: September 17, 1974) has Trapper (Wayne Rogers) and Hawkeye (Alan Alda) giving up a furlough to go after a group of wounded soldiers in enemy territory. Grade B-: Clearly inspired by the interviews conducted in Korea, but a bit much of a transition after the season premier episode. Singer Loudon Wainwright III, who would offer some musical accompaniment from time to time during the third season, makes his first appearance.

(51) "Officer of the Day" (Writer: Laurence Marks; Aired: September 24, 1974) has Henry on R&R in Seoul and Hawkeye forced to act as O.D. If that was not enough trouble, Colonel Flagg (Edward Winter) is back at the 4077th wanting to execute a wounded North Korean prisoner as a spy. Grade B+: One of the first times that Hawkeye has to act like a real soldier.

(52) "Iron Guts Kelly" (Writers: Larry Gelbart & Sid Dorman; Aired: October 1, 1974) has the famous genral (James Gregory) dying in the bed of Hot Lips (Margaret Swit). However, that is not heroic enough of a death for the general's aide (Keene Curtis). Grade A-: "M*A*S*H" was becoming more realistic and more of a dramedy than a situation comedy, but black comedy was also one of their strengths as this episode proves.

(53) "O.R." (Writers: Larry Gelbart & Laurence Marks; Aired: October 8, 1974) is set entirely in the operating room and is played without a laugh track. The casualties never stop coming and even Sidney Freedman (Allan Arbus) has to help. Grade A+: The stark realism of "M*A*S*H" was never more evident than on this stellar episode.

(54) "Springtime" (Writers: Linda Bloodworth & Mary Kay Place; Aired: October 15, 1974) has both Radar (Gary Burghoff) and Klinger (Jamie Farr) falling in love. Meanwhile, a grateful G.I. (Alex Karras) looks out for Hawkeye. Grade C+: Standard military sitcom episode, suffers from following "O.R."

(55) "Checkup" (Writer: Laurence Marks; Aired: October 22, 1974) finds Trapper suffering from a ulcer which turns out to be his ticket home. This requires a big party to say goodbye during which Hot Lips confesses a few things to Trapper. Grade B: Worth it for the look on Margaret's face when she realizes Trapper will be staying.

(56) "Life With Father" (Writers: Everett Greenbaum & Jim Fritzell; Aired: October 29, 1974) has Father Mulcahy (William Christopher) officiating at an infant's circumcision while Henry Blake (McLean Stevenson) is convinced his wife is having an affair back home with a doctor who drives a Jaguar. Grade C+: Nice to see Henry get a case of the doubts, but an average episode redeemd by the camp's priest getting something better to do than administer last rites.

This first videotape offers up two classic episodes, which is pretty good. Unfortunately, some of the other episodes are pretty average and keep Volume 1 of Season 3 from earning 5 stars. Historically these episodes set up Season 4 when Harry Morgan would join the cast and Wayne Rogers would leave, both of which remind us that the best of "M*A*S*H" is yet to come. ... Read more

Reviews (10)

A beautiful woman starts killing off Kirk's landing party
"That Which Survives" finds the Enterprise checking out the surface of an unknown planet when a beautiful woman (Meriwether) shows up and kills one of the crew. Meanwhile, the Enterprise is thrown 990 light-years away from the planet. After the woman, Losira, comes back and kills another of the crew and then returns announcing she has "come for" Sulu, Kirk figures out she is "programmed" just to kill one particular person at a time. Kirk and the others discover an underground entrance and find another one of those pesky computers protecting the dead planet by creating deadly Losiras to take care of the unwanted visitors. Of course, if this computer is powerful enough to send the Enterprise across the galaxy I think it might come up with a better defense mechanism than a person specific assassin. But then if these computers did not have some sort of Achilles heel the Enterprise would be commanded by the second in command on the night shift in Engineering. Despite the nice title, "That Which Survives" is an average Trek episode at best.

Not as bad as Spock's Brain, but.....
As already noted, this one is a forgettable Trek, to be sure. But somehow, Trek, even when it is bad, is still pretty good.

Outside of a few good moments, such as Sulu firing his phaser at Losira's feet (pretty good explosion FX), and the nifty way the holograms disappear, this one blows pretty badly. Still, it's better than the latest reality drama, or any episode of "Lost in Space."

Watch this one instead of the next "WWF Smackdown" -and save your brain.

The collapse begins abruptly with (IMO) the worst episode
Only the Sulu fan club (he features prominently here) could disagree that the best thing about this episode is Lee Merriweather-and she plays an automaton! A lot of the old tricks are here, like Kirk outsmarting a computer (come to think of it, even the computer console looks familiar!).
Basically, this should have been a half-hour show (actually it shouldn't even have been a show). Senseless dialogue is contrived, both on the planet and on the Enterprise, just to pass the time until the next commercial. Hard to find a worse episode, in my opinion.
Tidbit: For the remainder of the show, the final credits would
feature the 2nd season theme music. While this is a very minor detail in itself, it seems symbolic of other changes. The episodes become more formulaic as the parties concerned begin to see the writing on the wall for the show. The absence of new music, as budgets draw tight, also contributes an increasingly stale and defeatist feel to the late episodes.

Neglected
As all fans know, this is a third/last season episode. Trrue Trekkies have little good to say about this episode and I agree it is far from perfect but it has some of the nicest visual effects of the series.

The acting is Monday-morning-terrible and the whole production is uneven but this is far from the worst episode. There is an effort and an interesting story, though it seems crammed in a 45 minute network show.

This story might have been better utilized and expanded in a feature film but who will ever know.

For Trek fans only. It deserves a second viewing.

Beauty survives?
In this, the 69th episode of classic Trek, Kirk and crew are exploring ruins found on a class-M planet that seems to have developed a livable climate in only a few thousand years.

The Enterprise landing party is attacked by Losira, a woman who kills a crewman with just a touch of her hand. Meanwhile, the Enterprise is thrown almost a thousand light years away by the planet's hidden defense system.

More landing party members are attacked by Losira, until it is discovered that she can only attack the party member that she calls by name. The remaining party then keep her from attacking the named crewmember. Meanwhile, Scotty repairs some sabotage to the engines that Losira had accomplished before throwing the Enterprise out of orbit, and then hurries back to Losira's world.

Kirk discovers a hidden room with a highly advanced computer, and the defense mechanism there creates three Losiras - which keep them from protecting each other as they had previously. The cavalry, in the form of Spock and a landing party, arrive just in time to deactivate the computer.

The previously taped message reveals that the planet had been artificially enhanced by colonists, who were affected by a disease that killed them all off. The disease then followed the colonists back to their homeworld, supposedly wiping out the entire civilization. Nothing but the computer program, which defends the planet from anyone who is not of Losira's race, remains. The colonist's relief ship never arrived.

Kirk says beauty survives, because the computer continues to project an image of Losira even after delivering the message about the colonist's destruction.

My score - 5 out of a possible 10. ... Read more

Reviews (4)

How the town of Cicely came to be named for Cicely
"Cicely" (Season 3-Episode 23, May 18, 1992) finds Joel encountering Ned Svenborg (Robert Blossom), a 108-year-old man who tells him the story of how the little Alaskan town of Cicely came to be back in 1909. It seems way back when the community was a cultural mecca known as "the Paris of the North," established by a free-thinker named Cicely (Yvonne Suhor) and her companion Roslyn (Jo Anderson). As Ned tells his story, Joel imagines the town's present citizens as the characters in Ned's tale: Ed becomes the young Ned, Maurice is the power hungry Mace Mobrey, Chris is his hired gun Kit, Shelly is the young harlot Sally, Holling is Abe the man who loves her, and Maggie is missionary woman Mary OKeefe. Joel, of course, is Franz Kafka, who is struggling with an idea for a story about metamorphosis. As Ned tells the tale of how Cicely was intended to be a utopian paradise and her tragic fate, Joel appears to have some appreciation for what a special little town he is stuck in by a simple twist of fate. Of all the Cicely history episodes, this one is definitely the best. The final episode of the third season, "Cicely" was written by Diane Frolov and Andrew Schneider, this episode was directed by Rob Thompson. Did you know?: In Italy "Northern Exposure" was known as "Un medico tra gli orsi," which translates as "A doctor between the bears."

INCREDIBLE
If I hadn't been a Northern Exposure fan already, I certainly would have become one while watching this episode. I found it to be incredibly moving in so many respects. It can really stand alone as a marvelous piece of historical fiction. Put in the context of the series,however, it marks a true turning point. None of Cicely's residents will be able to look at their town in quite the same way, least of all Joel. Setting the much-awaited Cicely history lesson aside, the last scene of the epsode says it all for me. Joel can finally see past the snow, the mud and the miles between himself and New York City to see the heart and soul of a little town on the cusp of the new Alaskan Riviera.

Possibly one of the best things I've seen on TV.
This was the episode that made me fall in love with Northern Exposure. I found this episode to be incredibly moving, tender, and touching. Even if you've never seen the show, I still think it's worth seeing because it's so good.

An absolute "must-have" for any Northern Exposure fan.
"Cicely" answers many of the important questions about the town of Cicely. How it got it's name, who lived there first, etc. No one can claim to be a true NE fan and not own this episode... END ... Read more

Reviews (196)

A underrated masterpiece of fantasy!
Jim Henson's 1982 Fantasy epic is set in another world and time, a elf-like being called " Jen" has a task that he must take. His task is to return an important Crystal shard back to a important universal source called " The Dark Crystal" before 3 suns line up, he joins up with a female Gelfling and must save the universe from the evil Skeckis before it's too late.

A magical movie that is one of the greatest fantasy epics of all time and also one of the best animated movies ever made, why is it animated you say? cause it's performed by Puppets that why. The DVD is impressive with excellent transfer and widescreen the way it was meant to be seen, the extras are phenomenal such as trailers, documentary, deleted scenes and more that adds to the value of the DVD. It's a must see movie if your into adventure, fantasy, sci-fi and animation, it's also a must see movie for your whole family and a guaranteed good time.

Movie Fairy Tale Told Right.
Jim Henson was one of the greatest artists and filmmakers of the 20th century. It took awhile for his genius to be appreciated in the United States, but over a decade since his death people are finally beginning to recognize the mastery of his creative mind. For example, THE DARK CRYSTAL. The film had a fairly decent run when it was originally released in theatres in 1982. However, the film wasn't acknowledged or heralded for the creative and complex masterpiece that it is until recently.

THE DARK CRYSTAL was a humongous undertaking. It is a film that takes place in a fantasy world, filled with frightening and mystical creatures; yet does not star one human being. The entire cast of the film consisted of nothing but puppets: some rather large and cumbersome, some that human performers were fitted in, some that were small, some that were animatronic; but all puppets nonetheless. Nothing like it had ever been attempted before and through the work on THE DARK CRYSTAL, Henson pushed puppetry and animatronics to a whole new level.

THE DARK CRYSTAL is about a young male Gelfling (think of an elf, but much smaller) named Jen and the journey he undertakes to save his world from an eternal dominion by a group of dragon-like creatures called Skesis. Jen's entire race was wiped out in a holocaust by the Skesis in an attempt to prevent a 1000 year old prophecy from being fulfilled. Jen is the last of his race, or so he believes. Jen leaves the race of Mystics who have raised the child since his parents' murder and sets forth on a journey to the great Palace to heal the Dark Crystal by inserting The Shard that had been broken from the crystal a millenium ago. Along the way he meets a variety of fantastical creatures from a one-eyed wise woman, the a race of miniture-round-headed people called Podlings, to a female Gelfling named Kira.

The plot of the movie is excellent and is told in the manner of such classic works as THE LORD OF THE RINGS, STAR WARS, and THE ODYSSEY. The world that Henson created is one of magic and fantasy, yet the story contains a great deal of Truth within it. It is a tale of adventure, love, sacrifice, and redemption; which speaks to the divinity in us all.

The movie is acceptible for an entire family to watch and contains several morals. However, children younger than five may find some of the creatures frightening. Nevertheless, THE DARK CRYSTAL is a fairy tale and like all true fairy tales, it does not gloss over the fact that evil is an ugly and nasty business. This movie is one of the best by one of the greatest.

Beautiful, but something missing...
Perhaps *beautiful* is the wrong word, for this movie is rarely aesthetically beautiful. Don't get me wrong on this point, beauty is not necessarily a good thing. What I mean to say is, atmospherically this is a triumph... but not beautiful. The 'characters' blend in perfectly(... beautifully?) to their world. The landscapes are... well... dark (which is fitting). It's aesthetically perfect, and in a movie like this, perfection demands there be little beauty.

The creatures are organic. 'Nuff said. They're wonderful. They're believable. They're just plain... wow.

So what's missing?

Terry Gilliam is quoted as saying a children's movie should be "Exciting enough for adults, and intelligent enough for kids" (Re: Time Bandits). The Dark Crystal is an imaginative masterpiece, but I couldn't help but feel the simplistic plot, 2-dimensional characters (I appreciate that making puppets' mental workings visible must be one of the hardest tasks in a movie with a fully puppet cast) patronizes the intelligence of all but the youngest children. They're a lot brighter than we treat them, and they're getting brighter by the day ;)

But, I suppose a great movie can do without great characters as long as the focus isn't on the characters, as long as it compensates atmospherically. And "The Dark Crystal" more than compensates.

So what's missing?

I'll relate this to another adventure movie: Dune. Dune was atmospherically beautiful, but it took itself too seriously. It was a massive undertaking, granted, but I can't remember laughing... or even smiling once. 137 minutes without smiling is a long time.

And it's the same with "The Dark Crystal". The only slightly comic break from the plot is the antics of a round-furry-dog-thing, but this isn't enough. "The Dark Crystal" Takes its battle-between-good-and-evil far too seriously, and unless one's awe at the world Jim Henson created can last one the full 90 minutes or so of the movie, one becomes impatient. Humour is an important tool with infinite potential - especially in a movie aimed at children, but it's a tool almost entirely overlooked in "The Dark Crystal". Even in a story as serious as Macbeth takes a moment to let its audience step back and chuckle towards the beginning. "The Dark Crystal" doesn't give us this opportunity.

In conclusion, "The Dark Crystal" is a... beautiful movie, but one that takes itself far too seriously. I became impatient with the simplistic plot, 2-dimensional characters (as 'beautiful' as they may be), and almost total lack of humour, but... clearly from the other reviews I've read, other's did not.

RE: the DVD
It's a lovely little package, but for the price you pay for it, it better be. I'm particularly fond of the little note-pad included. I would have liked to see more documentaries on the DVD, perhaps audio commentary, but alas - it shall not be.

Glorious!
I admit to being scared out of my wits by the Skeksis and the Garthim when I was little (reptiles combined with vultures and spiders combined with crabs are still terrifying to me), but I've come to really cherish this Tolkien-esque/ Froudian film. The gentle, nurturing Mystics, and cute little dog/ dust ball Fizzgig are among my favorite characters. The Podlings are simply adorable... the Gelflings are finely- featured and beautiful(Jen is very ponderous, if somewhat passive... Kira shows just how women can be, and are, just as strong as men!)... the Landstriders (which gracefully manage to combine the aspects of cats, moths, giraffes, camels, bats, rabbits, and who knows what else, into such beautiful creatures) are swift, courageous animals, and are very dear to me (for some odd reason). Possibly because I love animals(and I just have a thing for the underdog/unsung hero.) And there's the gentle Nebrie and many other creatures.

It's incredible to me that they were able to do this whole film without human actors! I seriously thought when I first saw it that they were real, flesh-and-blood creatures! Jim, Frank, Brian, and the rest of the crew really put their time and effort into making this film! Their hard work really paid off; the facial expressions and movements are impeccable! And the scenery is unbelievably lush, beautiful, and realistic. All of it looks so natural and earthy. It is as if they actually had real-live creatures acting, in my eyes... and they fact that they took the time to make up all of the history beind this story! That's just amazing!... and I could not get enough of "The Making of The Dark Crystal". How they all managed to sculpt, design, and perform these characters is mind-blowing for me, since I'm far from an artist like this crew. No matter...

This film, while impressive, is not for all people; there is a sizable mortality rate in this film that (the little ones) are likely to find very disturbing, including several struggles (Screaming Podlings being snatched up to be converted into slaves, Nebries being served to the Skeksis for dinner, and two Landstriders squealing as they fall to their deaths in a cliffside battle with the Garthim... I can't bear to watch (or hear) animals being harmed, and especially animals as gentle and benevolent as they are. Was showing these things really necessary?)

Apart from little things here and there, it is truely quite an accomplishment, if not earth-shattering, to watch!

22 Year Old Masterpiece of puppetry, still
When you think of Jim Henson you would sooner think of brightly colored animals with funny voices like dogs, bears, frogs and gonzos or fraggles. The Dark Crystal is something completely different however. It is scary, scary as hell.

It is a story of two races, Scepsis and Mystics who became seperated when the crystal cracked. To regain the balance in the universe the crystal must be whole again. In a prophecy it is said that a Gelfling will do this, allmost all of them are killed, except for one Gelfling called Jen...

Even though this movie is made 1982 it does not look dated at all. The puppets and body suits are amazing and really form their own world, much like Lord of the Rings. I'm surprised not more movies or stories in this fantasy world have been made.

This movie should not be watched by children under at least 12. The Scepsis are scary, vulture like creatures aided by an army of big bugs. Even the Gelflings look a little scary.

It's a masterpiece of puppetry, so definitely watch it. ... Read more

Amazon.com

This inevitable sequel finds Jim Carrey reprising his role as the world's greatest pet detective. His latest case, the disappearance of a rare African white bat, draws him out of his spiritual retreat at a Tibetan monastery following the tragic outcome of his previous case. That traumatic experience, which makes for a hilarious opening-scene send-up of the Stallone thriller Cliffhanger, prompts Ace to venture to Africa, where he goes native with the tribe that hired him to find their symbolic bat. From that point anything goes, with Carrey pushing the boundaries of good taste (what, you were expecting good taste?) up to and including his now-infamous "birth" scene from the backside of a mechanical rhinoceros. Lighten up, and don't be ashamed if you find yourself laughing. --Jeff Shannon ... Read more

Reviews (75)

This movie is as good or better than Liar Liar.
I'm a huge Jim Carrey fan and I'd heard of the two Ace Ventura movies a couple of times in the past, but I never really went out to look for them. Then I saw "When Nature Calls" at a friend's house and I was laughing hysterically the whole time.

The most hilarious parts in this movie are the "rhino giving birth" scene, the fact that whenever someone says "Shikaka", the Wachati tribe members present will kneel and Ace uses it as a sort of "Simon Says" game, the Wachutu tests, and the beginning when Ace uses a Slinky on those hundreds of stone steps singing "Everyone loves a Slinky, you gotta get a Slinky! Slinky, Slinky, go Slinky, GO!"

Summary: It's a great movie that will make all Jim Carrey fans laugh out loud at least once.

Better than the first!
When Nature Calls is so much better than Pet Detective! Of course you know any Jim Carrey movie is going to be hillarious, but this one just surpasses them all. There are so many crack-up "quotable" scenes that will bring you to laughter every time you remember them for years to come. The Ace Ventura series and Dumb and Dumber are the funniest movies ever made. You will learn to love not only Ace but his faithful sidekick Spike, as well as all of Ace's hillariously funny habbits.

Although there is one quite innapropriate scene where Ace is...pleasuring himself that is uncalled for; this being a "children's movie" and all.

I don't go for "stupid" humor, but...
I admit it, I'm pretentious. I like intellectual artsy kind of films, and cult movies. My humor runs along the veins of movies like "Brazil" and "The Big Lebowski". Kubrick is my cinematic hero, and I run screaming from anything tainted by top 40 pop-culture homogeneity.

That said, I have a weakness. For slapstick comedy. And I think "Ace Ventura- When nature Calls" is one of the funniest movies ever made.

Unlike other reviewers, I love the fact that there are no attempts at a "plot" or "character devlopment". The only character developed is Jim Carrey, and that's all that's needed. The first Ace movie had a couple funny moments but was pretty painful, as it tried to show the character of Ace Ventura (Pet Detective) in an attempted "realistic" environment, with attempted "believable" characters. The persona of Ace was stuck between goofy slapstick and moments of awkward "realism", (a love interest, Courtney Cox, the whole Dolphins thing). In other words, it sucked.

This second movie dispenses with such extraneous distractions. You won't even know what the plot is, or care. Ace is pure 100% buffoon, never stopping to inject some ridiculous "drama" into the proceedings. Like a good Three Stooges short, this film's sets, costumes, supporting actors, etc. are all window-dressing for good ol' some fashioned numbskullery. The mechanical rhino scene is absolutely classic, and the fight scene between Ace and Tommy Davidson's character is just great comedy.

When I first saw this movie, I laughed almost to tears. Jim Carrey is a funny guy, there's no denying that, although he is often funnier in interviews than he is in his actual movies. His on-screen shtick gets old quick, mainly because his talent is as a pure clown and as I stated above, for some reason directors always want to put him in "serious" (read: painfully cornball) situations. In my opinion his true gift is for pure, unadulterated slapstick. He is a comedian, and should leave the "real" dramatic acting to others who don't have his gift for the absurd. For that reason, this movie and "Dumb and Dumber" (another pure slapstick classic) are really the only two Jim Carrey vehicles you need to see. Oh, and the entire In Living Color series ;)

Please go to a neutral corner.
It's hard to find a film where those who watch it are either disgusted by it, or are rolling on the floor with laughter. This is one of those films. Jim does not disappoint with his crazy antics, and the fact that he is willing to do anything for a laugh is admirable. He humiliates himself more than once in this film all for the sake of laughter. I won't slam this film for its deficiencies, nor will I praise it for some inspired comedy. Sufficed to say, I am going to remain neutral here. If you love Jim for his self-deprecating and crude humor then this film is for you. If you prefer cerebral wit to over-the-top slapstick, well, you probably wouldn't be concerning yourself with reading this review. Jim's fans should not be disappointed.

Not that great
I liked the first movie because it made Ace look very intelligent, and he has that "you can't mess with me cause I have a very witty come back attitude". Ace even had a serious personality on more than 2 occasions in the film.

But in When Nature Calls, he's completely idiotic. He's never serious and he doesn't have that "you can't mess with me attitude" That was my main beef with the film. The film's plot isn't that great and it's all about Ace makin an, excuse me for this, ass of himself.

It however does have some funny parts and you should watch it if you like Jim Carrey ... Read more

Reviews (2)

James Garner vs. Clint Eastwood in a superb western comedy.
This is required viewing and a unique experience for Clint Eastwood admirers since he has a huge role as a colorful but loathesome gunfighter/villain and plays it sublimely well. Edgar Buchanan (the marvelous character actor that played "Uncle Joe" on "Petticoat Junction") and Abby Dalton round out the guest cast of this sensational episode of "Maverick" with James Garner. Bret Maverick (Garner) and Eastwood are at loggerheads over Dalton and the sequences illustrating Eastwood's quick-draw ability and Garner's reactions to it are extremely funny and perfectly played straight. The saloon fistfight between Garner and Eastwood is riveting and Maverick's gentle friendship with Buchanan's character is beautifully drawn. This was the first episode of "Maverick" to be offered on video and with good reason. No one could possibly be disappointed with this episode of my favorite television series.

Bret Maverick faces John Wesley Hardin in a gunfight
In his only Warner Bros. TV appearance, Clint Eastwood guest stars as Red Hardigan, a local tough-guy who is itching to provoke James Garner as Bret Maverick into a showdown. Red is jealous that "Maver-ack" is showing too much attention to Carrie Christiansen, played by Abby Dalton. But Red has to wait in line when notorious gunslinger John Wesley Hardin arrives in Sundown and "calls out" Bret. Episode also features Jack Kelly as brother Bart Maverick. Originally aired: Feburary 1, 1959. (This review is a paraphrase of the WB video release box cover review.) ... Read more

Reviews (2)

A fantastic movie!!
I first saw Gentle Ben as a kid, and hav loved it ever sense. This is a beautiful story about the little boy Mark and his friend, the grizzly bear Ben. I hope this movie will be released on DVD! Then new generations can enjoy it, even after VHS-movies are history.

Gentle Ben Rules!!
This is a great 60's TV series about a bear and a boy in the Florida Everglades.Starring Dennis Weaver and Clint Howard. ... Read more

Reviews (1)

The Stevenson-Rogers M*A*S*H years end on a high note
These eight episodes represent the final third of Season 3 for "M*A*S*H" and a grim reminder of the wastefulness of war. There are also several episodes that start to take the character of Hawkeye Pierce (Alan Alda) in some new directions:

(65) "The Consultant" (Writers: Larry Gelbart & Robert Klane) has Dr. Borelli (Robert Alda) showing up to operate on a soldier's leg in order to save it. However, being this close to the front again is too much for the visiting specialist to stand. Grade A-: The stunt of Alan Alda's father produces a solid episode that looks at the drinking on campus in a dramatic fashion.

(66) "House Arrest" (Writers: Jim Fritzell & Everett Greenbaum; Aired: February 4, 1975) has Hawkeye decking Frank Burns (Larry Linville) during out of their stupid arguments and being held for court-martial. Grade B-: The idea of the entire camp (except for Hot Lips) supporting Hawkeye over Frank has some nice moments, but this show has a horrible moment when a visiting female colonel (Mary Wickes) is caught in a compromising position with Frank by Hot Lips. The colonel yells "rape" and Hawkeye quips "A movie and a rape all in one night." This was one of those offensive rape jokes during the early years on "M*A*S*H" and I am surprised no one objected before it got on the air.

(67) "Aid Station" (Writers: Larry Gelbart & Simon Munter; Aired: February 11, 1975) has Hawkeye, Hot Lips (Loretta Swit) and Klinger (Jamie Farr) sent to the front to provide help at a Battalion Aid Station. Grade A: Being under fire forges new respect for one another among this odd trio. Another key step in the transformation of Hot Lips into Margaret.

(68) "Love and Marriage" (Writer: Arthur Julian; Aired: February 18, 1975) has Trapper (Wayne Rogers) and Hawkeye helping in both directions as one soldier is trying to find his pregnant wife and another needing to be stopped from marrying a prostitute as part of a scam at Rosie's Bar. Grade C+: Realistic in terms of what relations were like between the American G.I.'s and the South Korean girls, but nothing special otherwise.

(69) "Big Mac" (Writer: Laurence Marks; February 25, 1975) has the camp getting all excitted preparing for a visit from General Douglas MacArthur himself. Grade B+: The key thing here is everyone responds in character, and the climax, which offers the ultimate Klinger outfit, is a hoot.

(70) "Payday" (Writers: John Regier & Gary Markowitz; Aired: March 4, 1975) starts with Hawkeye making the mistake of telling the army he had an extra $10 in his paycheck. The army sends him a check for $3,000, which the surgeon promptly gives to Father Mulcahy for the orphans. Then the army shows up and wants the $3,000 back. Grade B-: A nice little example of how military intelligence is an oxymoron.

(71) "White Gold" (Writers: Larry Gelbart & Simon Munter; Aired: March 11, 1975) has the doctors suspicious when their penicillin supplies start disappearing. Then Colonel Flagg (Edward Winter) shows up and everything becomes clear as mud. Grade B-: Flagg is always fun.

(72) "Abyssinia, Henry" (Writers: Everett Greenbaum & Jim Fritzell; Aired: March 18, 1975) is the order of the day when Colonel Blake (McLean Stevenson) leaves the 4077th to go home. Grade A: Besides the stunning final scene in the O.R. in which the cast was given the script literally a minute before the scene was shot and where the raw emotion seen in the eyes of the cast is haunting, this episode had already reduced you to tears when Blake gives Radar a farewell hug.

The shock of Henry Blake's death and the sudden departure of Wayne Rogers from the cast, ended up being blessings in disguise for "M*A*S*H". No television show in history had as big a turnover in its cast and actually managed to get better as this series did in its fourth season. But once Frank Burns was replaced with Charles Emerson Winchester, "M*A*S*H" would become sublime. But looking back over the episodes from the first three seasons, this particular videotape is, on balance, the best of the bunch. Stevenson and Rogers went out with the show they were leaving as good as it had ever been. ... Read more

Reviews (1)

Trials and tribulation of the 4077th in Season 3 of M*A*S*H
Volume 2 represents the middle third of Season 3 of "M*A*S*H," which was the low point mainly because the previous tape had "O.R." and the next tape has "Abyssinia, Henry." The episodes continue to focus on military hijinks, buttressed by real anecdotes and stories the producers picked up visiting medical units in Korea:

(57) "Alcoholics Unanymous" (Writers: Everett Greenbaum & Jim Fritzell; Aired: November 12, 1974) has Henry away and Frank (Larry Linville) declaring prohibition at the 4077th. Grade C+: I never really find all the drinking to be all that funny, although I certainly understand the motivation behind it. But the resolution on this one is just too cute.

(58) "There Is Nothing Like a Nurse" (Writer: Larry Gelbart; Aired: November 19, 1974) has the nurses being evacuated from the camp when the enemy mounts as invasion, which forces the guys to deal with each other. Grade A-: Singer Loudon Wainwright III justified having a recurring supporting role during Season 3 with the song he sings in this episode.

(59) "Adam's Ribs" (Writer: Laurence Marks; Aired: November 26, 1974) has Hawkeye (Alan Alda) sick and tired of army chow. So he decides that what they need to do is order forty pounds of ribs from Adam's Ribs, the celebrated Chicago barbecue joint. Grade B+: This is one of the better scheme episodes of the series with bonus points for the cole slaw joke.

(60) "A Full, Rich Day" (Writer: John D. Hess; Aired: December 3, 1974) is another one of Hawkeye's letters home detailing another fun day at the 4077th. Grade B: A solid but not spectacular episode.

(61) "Mad Dogs and Servicemen" (Writers: Linda Bloodworth & Mary Kay Place; Aired: December 10, 1974) has Radar dealing with the former when he is bit by a dog that might be raid, and the doctors concerned with the later, a solider suffering from psychosomatic paralysis. Grade B-: This is a double-plot line episode where the two halves do not fit together all that well. Not that they should, but it is nice when they do.

(62) "Private Charles Lamb" (Writers; Larry Gelbart & Sid Dorfman; Aired: December 31, 1974) has a grateful Greek regiment preparing a traditional Easter feast for the 4077th and Radar horrified that they are actually going to slaughter that cute little lamb. Grade B-: Radar will not stand up for himself, but becomes a lion to rescue a lamb.

(63) "Bombed" (Writers: Everett Greenbaum & Jim Fritzell; Aired: January 7, 1975) has the O.R. keeping busy while the camp is being pounded by friendly fire, during which Trapper and Hot Lips get, well, trapped together in the storage room. Grade B+: This episode is sort of a lesser version of the classic "O.R."

(64) "Bulletin Board" (Writers: Larry Gelbart & Simon Munter; Aired: January 14, 1975) is another collection of vignettes this time centered around camp activities posted on the camp bulletin board, including a picnic and a Shirley Temple movie. Grade B: Nice touch with Trapper writing a letter home to his daughter. These episodes show that "M*A*S*H" was comfortable just playing off of its characters without necessarily having standard plot lines.

As I indicated above, there are no classic episodes among the eight collected here (I am sure my affection for "There Is Nothing Like a Nurse" is atypical), but it is still a solid collection. The rating has to do with judging these eight episodes by the high water mark on "M*A*S*H," so while these were shows as good as any other situation comedy they do not represent the best of "M*A*S*H." ... Read more

Amazon.com

Actor-turned-director Edward James Olmos set out to spread the word against the destructiveness of gang violence with this 1992 gritty drama. Set in the barrios of East Los Angeles, he attempts to cover 30 years in the life of a family with strong gang ties. This brutally realistic story may not intentionally glorify violence, but it offers no answers. (Olmos actually shot the prison scenes in Folsom, which explains their harsh reality.) Great performances though, especially by Olmos and William Forsythe. Olmos plays a gang leader released from prison who is finally in touch with himself, only to realize it is too late. The one major problem with this well-intentioned flick is that it is rated R for violence, nudity, and profanity. Therefore, the kids who most need its message are not, in theory, the ones who will see it. --Rochelle O'Gorman ... Read more

Reviews (27)

Powerfully depressing
For a film about prison life, this was okay, and for a film about the consequences of behavior which are anti-social, this film is powerful. It was really depressing, and if you don't want to get sick, find another movie.

American Me
This movie (or should i say film) is a wholesome documentary. It really portrays gang and prison life the way it was and is. Even though the time frame was in the earlier stages of america. If seeing things like killings, rapes, and stuff like that (goes on in prison or the outside) bothers you I would suggest that you do not see this film because it does have some disturbing parts in it. The movie basically moved me the first time i saw it.

Beautiful
This is the most brilliant film I have seen about East Los Angeles. It's about consequences which follow action, and about those victims that fall between them. It's about the true struggle that Mexican-Americans face in the Barrio and about the air of violence and hatred that these children grow up in. Violence conceives violence, and creates a cyclical conundrum in which escape is futile. I see that the Editorial Reviewer on this page wanted to see a solution to our problem. Well miss O'Gorman, if we could find a solution, trust me, we would fix it. As for now, things stay as it is (to some extent) portrayed on the film. The film uses juxtapositions of scenes of love with scenes of violence and creates an aesthetic captured only by great story tellers (such as Tolstoy which you see the main character reading in the film). This film is beautiful and Olmo's life's work. A must see for those interested in ELA culture.

Chicano Power
This is the best movie l have ever seen Olmos throws it down for la Raza about our struggle at the time I cant say this was bad it was interesting to watch and understand our culture at the time. Olmos should do a another of these movies again.

B 8776
This movie captures the real gang banging life within the walls of prison. Folsum Prison is accurte in all the scenes. What is most chillinging is the values that are so intense in the prison system. Never show weakness, ride behind pride and violence without thought are tools for survivial. I highly recommend "Blood in Blood Out" to compliment the California Depatment of Corrections life style. ... Read more

Reviews (3)

Green Opal and Dove Affair, Both 1st Season Episodes
"The Green Opal Affair" and "The Dove Affair" are both 1st season episodes. Not one of my favorite episodes.

Episode 6 "The Green Opal Affair": UNCLE gets a new recruit when suddenly, he goes out of control. Before he drops into unconsciousness, he says Green Opal and the name Walter Brach (Carroll O'Connor). They find out that Walter Brach is an eccentric man who yearly visits an area called the Green Opal. No one knows why he goes there. Napoleon on orders goes to investigate, going undercover by being hired as a temporary secretary to Brach. When the arrive at Green Opal, he joins up with Chris Linnel (Joan O'Brien), a woman who is kidnapped by Brach's men. They are both captured and we find out that Brach is really a THRUSH agent. THRUSH has developed a way to control people's mind, making them completely loyal to THRUSH. They have kidnapped many people from all over the world and operated them from Green Opal. Brach has plans to use Chris to get through to her genius husband and Napoleon to get into UNCLE.* This is one episode I don't like that much. For one thing, it's very serious and unlike the other episodes, not much humor. Another reason I don't like it so much because Napoleon works 'solo', without the help of Illya. I think the best episodes are the ones in which both of them are in it.

Episode 12 "The Dove Affair": Napoleon goes to Eastern Europe to get the pin of a dove which he knows nothing about from a nation's leader, except that the leader is assassinated by THRUSH. Napoleon steals the pin of the leader's body and tries to get out of the country. But THRUSH is right behind and tries to catch him. Napoleon gets on a train out of the country with the help of an Eastern European spy, Satine (Ricardo Montalban). Satine also wants the dove pin but Napoleon hides it on the train. Satine then tells Napoleon that the reason that the pin is so important is that engraved on the wings of the dove are the names of countless THRUSH agents. They decide to work together along with an American teacher (June Lockhart) to get out of the country safely.* This is a so-so episode with great Ricardo Montalban. It is pretty serious and not that much funny lines or anything. No Illya at all in this one. Another UNCLE episode with a Lost in Space actress (June Lockhart) like in "The Neptune Affair" (1st season) with Marta Kristen. Ricardo Montalban also appeared in "The King of Diamonds Affair" (2nd season).

Green Opal Affair / Dove Affair
The Green Opal Affair and Dove Affair are great though I put only 4 stars since Illya doesn't come out almost at all! I wish he came out more often in the Green Opal Affair. The Green Opal Affair is interesting and I like the beginning where Illya looks at Napoleon when Napoleon is wearing his disguise and thick glasses. I loved Ricardo Montalban in the Dove Affair! He's such a great actor!

Green Opal is a Great Episode- one of my favorites? Yes!
I remember this episode as a kid and loved it as an adult. It has this oriental guy in it that looks like "Oddjob" from Goldfinger that gives Solo nasty looks through the first half hour. Finally there is the end fight scene with Solo using a wrapped up towel as a weapon. It's B&W (black and white) for all those post 60's people out there. But the video quality of this series is very good and if you are a fan of U.N.C.L.E repeats this is one that you'll watch more than once. Even my nine year old daughter gets a kick out of them too! ... Read more

Reviews (6)

Don't bother
The Nazi episode has to rank near the bottom of Trek offerings, if only because it is in such poor taste. What were they thinking? I'm tempted to give the episode at least some support for the fact that it has plenty of action, but after being reminded by other reviewers just have off-base Kirk's speech was (the one that seems to equate the Nazis with other holders of absolute power), I can't give the episode any extra props. There could be no better example than this episode of the dangers inherent in drifting too far away from the tenets the show was founded upon. At times it worked, like in A Piece of the Action, but you can almost watch things getting out of hand as the second season progressed. Bread and Circuses flirted with the line; Patterns of Force crossed way over it.

Zeons and the Patterns of Force
Kirk and Spock are captured on this planet of Nazis. It was pretty much standard 60's TV villians. The enemy is again...you guessed it another crazy federation captain who thought he could make the perfect society. This was also done with the episode "Bread and Circuses" where they were on the Gladiator planet.

The Enterprise visits the planet of the Nazis
The Enterprise visits Ekos, another one of those fun planets that is like Earth with a twist in "Patterns of Force." This time around they show up to check on John Gill, a Federation cultural observer, who has been studying the progress of the planet's primitive and warlike people. Instead they find a society patterned on Nazi Germany, with people from the neighboring planet of Zeon serving as the scapegoats for the Ekosians. Eventually it becomes clear that Gill introduced Nazism to make it more efficient (the whole trains running on time bit), but, gee, the "bad" side of Nazism seems to have taken hold along with the "good." I always thought this episode was was an implicit attack on academics, who like to get involved in spirited debates on such things but usually lack the power or opportunity to put their theories into practice. You have to remember this was still the Sixties and the Nazis were still the big villains of the day; it would be another decade before they were replaced in Hollywood by psychotic Vietnam vets as the top villains. In the end this episode justifes the Prime Directive, which is not exactly a vote in its favor. But "Patterns of Force" certainly makes a compelling case for its anti-revisionist argument. Yet there is still that subversive element that those black Gestapo uniforms look pretty good on Kirk and Spock. Bottom line is that this is still pretty heady stuff for a science fiction show.

One of the most entertaining and suspenseful episode by far!
In "Patterns of Force," Kirk and Spock go searching for a former Star Fleet professor named Gill, but they find that he has created a culture patterned after Nazi Germany....or has he?

From reading about the episode, I was expecting "Patterns of Force" to be just an average episode, but man I was wrong big time. Now I've seen all but six episodes, including "The Cage," of Star Trek - The Original Series, and I can honestly say that in my opinion, "Patterns of Force" is one of the best overall episodes.

"Patterns of Force" is VERY suspenseful and entertaining, parts of it such as Captain Kirk telling Spock to hide his ears are humourous, and everybody does a great job of acting. If you like Star Trek at all, do yourself a favor and get "Patterns of Force." You might find yourself in a pattern of watching it more than you expected to.

Okay this story is going a little too far.
Okay, I can accept stories where the Enterprise encounters two planets, one that has a 20th Century Roman Culture on it, and another that has modeled it's society on Chicago gangs from the 1920's, but this one where the planet has a Nazi Germany goverment on it, brought about by a federation scientist and historian, is sort of taking things beyound the point of beliveability, This is just a case of doing one too many of these stories, and it falls as flat as a pancake. I can understand the moral/historical issues raised in the episode,but please, let's not see anymore of these finding Earth type cultures on distant planet stories with Star Trek. ... Read more

Reviews (2)

Not too hot
"The Gurnius Affair" guest-starred future "Laugh-In"
Sock It to Me gal Judy Carne, but it lacks the lustre which
boosted the popularity of this fad series. "The Master's Voice
Affair" is a typical third-year turkey which forecasted the way
for this show's eventual demise.

Judy Carne and the her master's voice affair
Judy Carne guest stars as professional photographer Terry Cook in the Year 4 offering "The Gurnious Affair" which features a takeover the world theme.Illya really let his hair grow in season 4 and is really trying to be ruthless as a military man impersonator.Judy carne's outfits in the episode really fit her style.
"The Her Master's Voice Affair" is a 3rd season offering in which Estelle Winwood plays Miss Partridge who tries to control her girl students at a private school through Brahms lullaby and it throws into a murderous state of mind.Illya is assigned to tutor and protect an Oriental man's daughter played by Victoria Young who develops a crush on Illya.Victoria Young falls from a rail in the house into Illya's arms kissing his face and he's ready to give her a spanking.Even while they watch a romantic movie she wishes Illya would kiss her like that.Talk about teenage girl crushes on adult men. ... Read more

Reviews (19)

One of the greatest Shakespeare films...
Only two of Orson Welles' Shakespeare films rival "Richard III" for the title of greatest Shakespeare movie ever made. That said, Olivier's film may contain the most sheerly enjoyable performance any actor gave on film. His Duke of Gloucester is the definitive performance. Elia Kazan once said Olivier had a certain girlish quality, and that quality is used in the film: His Richard is seductive--a prancing, charming monster whose voice sounds like "honey mixed with razor blades." But one look into his black eyes, framed by false hawk nose, violently angled eyebrows and fright pageboy wig, will tell you that he's also stone-cold pure evil. Richard enacts all our homicidal, plotting fantasies as he cheerfully knocks off all his stuffy relatives and rivals.

Olivier emphasizes the black comedy and wittiness of Shakespeare's play, which he cut and refashioned into a star vehicle for himself. Though Sirs Gielgud, Richardson and Hardwicke co-star, they don't make much of an impression. (Blame that on Shakespeare too) Interestingly, Olivier later regretted not having cast Orson Welles as Buckingham.

You experience two major innovations concerning the filming of Shakespeare: the first is Olivier's old custom of using extremely stylized, artificial sets, thereby making Shakespeare's stylized, artificial verse fit in with the settings. The second is the source of Olivier's triumph: he delivers his soliloquys directly to the camera. This daring move destroys the fourth wall and takes true advantage of what the movies offer. He becomes our friend and confidante and we become complicit in his mounting evil. The production values are top-notch: we get deliriously vibrant technicolour, William Walton's pompous, irresistible music of pageantry, and the book-of-hours sets. And through those sets Olivier's camera subtly glides and skulks like the snake Richard himself is. Olivier is still an underrated director, and his grasp of the frame's spatial properties is excellent: he knew how to move the camera into and out of the frame for maximum impact. For an example, look at the moment Richard finally becomes King, and his satanic powers become unbottled: He slides down the bell rope to greet his minions, and expecting to shake his hand they approach, only to fall on their knees when Richard silently demands they kiss it. As they sink downward, the camera flees backward until the awful composition is complete, with half a dozen men in black on their knees as Richard presides all in the center of the frame: on twisted and bent legs as the bells announce the triumph of evil.

Machiavellian cunning and ingenius
In what I deem Laurence Olivier's finest Shakespearean performance, Richard III is quite simply an absolute must see for any true Shakespeare aficionado. Having just read the play and viewed the movie subsequent to the reading, I was afraid I might be somewhat disappointed after such an enjoyable read. Not the case.

From the word go, or rather the words "Now is the winter of our discontent," Olivier adroitly plays a most egregiously evil, yet sinfully likable, villain. Olivier's skillful mastery of the soliloquy is readily manifest as he conspiratorially confides in the audience his countless connivances and sordid schemes as he maniacally murders and manipulates all of those unfortunate enough to be in his way on his morbid quest for the crown. He's so good you'll find yourself rooting for the dastardly villain that is Richard III. Pop some popcorn and sit back and enjoy.

Excellent acting but overrated as a film
I must disagree with the reviewers who praised this as one of Shakespeare's best movie adaptations. Sorry, it's not. The main strength of the movie is the acting, and for that alone it's a must-see. Yet, as a movie it has many stylistic and visual flaws.

The camera shots are very long and there are very few shifts in angles, there are almost no close-ups, the settings, costumes and makeup are overdone and look too fake and low-budget (perhaps on purpose?), and it's done almost entirely in a studio (the outdoor battle scenes feel like a Western..). The result is that you feel that you're watching a two-dimensional play. Perhaps black-and-white would have been a more suitable vehicle.

I'm also annoyed with the liberties the movie has taken with the text, shifted scenes around, chopping lines, etc. I didn't like that it begins with a scene from Henry IV. The Bard's original structure is better. Stick with it!

Also, for the first half of the movie I felt distant from Richard, possibly because until then we almost always see him from a distance and rarely up close. That changes once he become king. Overall, the second half is much better.

If you want to see a truly great Shakespeare adaptation, watch "Julius Caesar" with Marlon Brando and James Mason, even though the play itself is not as good as Richard III.

In spite of all this, I recommend it. Certainly worth seeing Olivier in action.. and it has some great moments.

A must see!!
I won't rehash the plot. Suffice to to say the Olivier's performance is magnificent. Also magnificent in this Criterion collection edition, is the addition of a top notch commentary which explores both Shakespeare's structure of the play and Olivier's decisions in bringing the character to the screen. Also interesting is a 1960's era interview with Olivier that reviews his acting career.

Even More Impressive in the DVD Format
Those who criticize Laurence Olivier and Alan Dent -- co-authors of the screenplay -- for taking certain liberties with Shakespeare's play should also criticize Shakespeare for taking certain liberties with the historical material on which he often relied so heavily. In this instance, Holinshed's Chronicles of England, Scotland and Ireland, Vol. 6, and various Tudor Historians. In my opinion, such quibbling is a fool's errand. This much we do know about the historical Richard III. He was born in 1452 in Fotheringay Castle, Northamptonshire, the youngest son of Richard, Duke of York. He was created Duke of Gloucester by his brother, Edward IV, in 1461, accompanied him into exile (1470), and played a key role in his restoration (1471). Rewarded with part of the Neville inheritance, he exercised vice regal powers, and in 1482 re-captured Berwick-upon-Tweed from the Scots. When Edward died (1483) and was succeeded by his under-age son, Edward V, Richard acted first as protector, but within three months, he had overthrown the Woodvilles (relations of Edward IV's queen), arranged for the execution of Lord Hastings (c.1430-83), and had himself proclaimed and crowned as the rightful king. Young Edward and his brother were probably murdered in the Tower on Richard's orders, although not all historians agree. He tried to stabilize his position but failed to win broad-based support. His rival Henry Tudor (later Henry VII), confronted him in battle at Bosworth Field (August 22, 1485), when Richard died fighting bravely against heavy odds. Though ruthless, he was not the absolute monster Tudor historians portrayed him to be, nor is there proof he was a hunchback.

Cleverly, this film begins with the final scene of Henry IV, Part III, the coronation of Edward IV (Cedric Hardwicke). Locating himself at a strategic distance from the throne, the Duke of Gloucester (Olivier) carefully observes those around him. He shares with those who see this film or read the play his most private thoughts and feelings, many of which are as deformed as his body. Gloucester's "winter of discontent" will soon end. With a systematic tenacity unsurpassed by any other of Shakespeare's villains, Gloucester's coronation as Richard III (his own "glorious summer") will be the fulfillment of his royal ambition. The acting throughout the cast is outstanding. I do not recall another film in which Olivier, John Gielgud (George. Duke of Clarence), and Ralph Richardson (Henry Stafford, Duke of Buckingham) all appeared together, joined by Claire Bloom (Lady Anne Neville) and Stanley Baker (Henry Tudor). Special note should also be made of Otto Heller's cinematography which is integrated seamlessly with their performances. It is a pleasure to have this film now available in a DVD format, one which offers much sharper images and much clearer sound. Other special features of this DVD version include high-definition digital transfer; newly discovered footage; a commentary by playwright and stage director Russell Lees and John Wilder, former Governor of the Royal Shakespeare Company; 1966 BBC interview with Olivier hosted by Kenneth Tynan; a 12-minute television trailer; a theatrical trailer; and an essay by film historian Bruce Eder. ... Read more

Reviews (1)

Great Comedy!! Randy Quaid Rules!!
Randy Quaid rules and stars as a songwriter who accidently calls millions of martians to come to earth although they are harmless but annoying pests,he tries to find a solution to get rid of them from face of the earth.This is a great,must see campy comedy!! ... Read more

Amazon.com

No Clint Eastwood in this classic episode of Rawhide, but special guest star Miss Barbara Stanwyck as Nora will make your day. In "The Captain's Wife," Lady Macbeth has nothing on Nora, who is dissatisfied with her life on a remote frontier outpost. When comancheros terrorize the region, she sees their capture as "the way back to Washington," whispering in her husband's ear, "It's boldness that makes heroes." Interfering with her plans is herd boss Gil Favor (series star Eric Fleming), who arrives at the fort for supplies. Nora has already defied regulations and risked lives and aided her husband's court martial by dispatching "every able-bodied man" to join her husband on patrol. That leaves "two women, four civilians, one of them a boy, and two troopers from sick bay" to fend off an anticipated raiding party. Tay Garnett (The Postman Always Rings Twice) directed. --Donald Liebenson ... Read more

Reviews (1)

Flat out great entertainment
In this one, the crew come across an abondoned fort, and with wild 'Camancheros' running loose in the territory, Mr. Favor is in a tight spot! Tense scenes and bold interactions mark this episode as a personal favorite. A great series for guys of all ages. an additional note:This is made in black and white, but the color isn't what's important, it's the stories and the characters that are important! 'Rawhide has character interaction not seen today.' Eric Fleming is amazing in this series. There hasn't been a show in the past thirty years that can hold a candle to Rawhide. ... Read more

Reviews (73)

Under-appreciated
Honestly. This movie really is underappreciated. Aside from an all-star cast, the plot really isn't -that- bad. I will admit that there are a few holes, (Okay, so there are more than a few....) but it all made sense to me. The part about how the wives are Stepford-ized really should have been cleared up, but I didn't think it was that hard to understand.

The actors in this movie made it come to life. Nicole Kidman had my attention from the beginning, all the way through to the end. She is such an amazing actress, and deserves a lot more credit than she gets. Bette Midler, as always, does a bang-up job. She is incredibly hysterical, and has some of the best lines in the movie (The stuff about pine cones is a riot.) Christopher Walken is just as sinister as always, but he fits the role of Mike to a tee. Faith Hill was sorely under-used, but funny in the two words she did have. Glenn Close was wonderful, even if she didn't look her best, and Matthew Broderick...was in it. Don't get me wrong; I love him (especially in Ferris Bueller's Day Off), but he seemed slightly out of place in TSW.

There isn't exactly chemistry between Kidman and Broderick, but I think that's part of the whole point. I mean, they did have their moment after their fight on the stairs, and, of co urse, at the ending. Speaking of the ending, I thought it fit perfectly with the theme of the movie, even if it was extremely different from the ending of the first movie (which I haven't seen) and the book (which I have read). This new version of TSW isn't as dark and cynical as the original, or as the source novel, but it's message is more clear for today's MTV generation. All in all, I thought it was done very effectively, for all it's plot holes, and was just a generally entertaining movie. I didn't stop laughing from beginning to end, and I left the theater with a refreshed outlook on marriages today. Quite a feat from a two hour movie. Go see it. Soon. It's fun, and it's funny.

Remake marred by political correctness
In 1975, Katharine Ross starred in the original THE STEPFORD WIVES, in which an unsuspecting wife, Joanna Eberhart, moves with her loving husband to an idyllic town, where all the wives are suspiciously perfect and their husbands are up to something (besides Boys' Night Out playing cards) in a secretive men's association. The film was a low-key horror flick, and the ending would leave any respectable feminist seeing red, as in spilled male blood.

This 2004 version stars Nicole Kidman as the same Joanna, a high-powered, TV network CEO that's canned when one of her reality shows generates a lawsuit capable of bankrupting the organization. Her husband Walter (Matthew Broderick), a VP at the same network, quits in sympathy, and moves the family to a gated Connecticut town called Stepford so that Joanna can de-stress. Almost immediately, she perceives something wrong with all the other wives. They're almost all blonde, and invariable physically fit, perfect housekeepers, wonderful cooks, oversexed, and perkily devoted to their husbands' every whim. Only one woman seems "normal", the smart-mouthed, disorganized writer, Bobbie Markowitz (Bette Midler), who isn't afraid to sass her own demanding mate. But, after Joanna and Bobbie are almost caught one night while spying on the menfolk in their posh mansion clubhouse, the latter undergoes a terrifying transformation. And Joanna knows her days as an imperfect woman are numbered.

Besides gawking at the sumptuous Connecticut estates which provide the exterior location shots, the best reason to see this version of THE STEPFORD WIVES is the ever svelte and gorgeous Nicole Kidman as the high-strung and apprehensive Joanna. (How does she manage to stay so thin?!) The plot itself is more darkly comedic than the 1975 version. This, by itself, could have resulted in a more engaging film except that the screenwriters chose to extend the ending beyond that of the original into a denouement that, apparently thought necessary for the enlightened twenty-first century, had to be politically correct, and thus came out just silly. I felt like walking out of the theater during the last, over-the-top scene involving Claire Wellington (Glenn Close) and the head of her husband, Mike (Christopher Walken).

Women of the world, unite! By God and Gloria Steinem, those evil and smug males can't be allowed to get away with it!

great potential marred by a lack of consistency
A film by Frank Oz

Joanna (Nicole Kidman) is an executive who runs a television network. She seems to be responsible for some of the big reality shows that are being aired (we meet her as she is announcing several new shows that take "reality tv" to a ridiculous level). When one of the reality shows backfires in a public way, Joanna is fired from her job and suffers and emotional breakdown. It is to help Joanna and to begin a new life that her husband, Walter (Matthew Broderick) moves the family from the big city up to Connecticut to a town called Stepford.

Stepford seems like the perfect town. Everyone is pleasant, if a little too perky and perfect. Joanna and Walter are welcome to the community by Claire (Glenn Close). Claire seems to be the leader of the Stepford women's group and the town seems to be organized around the Men's Club and the Women's Day Spa. Walter is welcomed right into the Men's Club and he feels at home. Joanna, on the other hand, is very skeptical because all the women seem like they are exaggerations and someone else's idealizatio