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Long before Unforgiven deconstructed the Western, or Blazing Saddles lampooned it, Cat Ballou poked the genre in the eye. An altogether enjoyable comedy, the film is full of small surprises, big laughs, and wonderful character turns. Catherine Ballou (Jane Fonda) is a schoolteacher until a hired thug kills her daddy. To protect what she loves, she collects two petty criminals, a wisecracking hired hand, and a hired killer, Kid Shelleen (Lee Marvin). Unfortunately, Shelleen is a raging drunk who is so inebriated and unsteady with a gun he literally misses the broad side of a barn. However, Cat, has, as they used to say in those days, a mind of her own, and she masterminds a spectacular train heist that puts them all on the lam. Marvin won an Academy Award for his role as the derelict Shelleen, and his performances (he actually has two) are still topnotch and on target. The framing device, two wandering minstrels, played by Stubby Kaye and Nat "King" Cole, are the maraschino cherries on the top of this Wild West confection. --Keith Simanton ... Read more

Reviews (22)

Great movie, great DVD!
"Well now, friends, just lend an ear / For you're now about to hear / The Ballad of Cat Ballou..." so begins the "Greek chorus" of Nat 'King' Cole and Stubby Kaye, banjos in hand. Having seen "There's Something About Mary" before "Cat Ballou," I didn't realize that the former was paying homage to the latter with this clever device. (Of course, being the original, "Cat Ballou" does it much better). By the way, the often-humorous score is by Frank DeVol.

The performances are good all around, each character with well-played and memorable funny bits. Jane Fonda plays it straight and serious next to the inept-ness of so-called outlaws Dwayne Hickman and Michael Callan and the over-the-top Lee Marvin (in a dual role as the Kid Sheleen, the drunken hero, and Tim Strawn, the bad guy with an artificial nosepiece). Marvin and the horse steal the show!

This movie is a lot of fun - pure entertainment - and the DVD people at Columbia/Tri-Star did a really good job putting together some extras. The audio commentary with Hickman and Callan itself is fun to listen to while watching the movie on repeat; it's very informative and even laugh-out-loud funny at times. The featurette with the director provides some good info on the movie, and the original trailer and vintage advertising (movie posters, etc.) is nostalgic.

The picture and sound quality is excellent; the visuals are clear and colorful, no noticeable scratches...the sound is very clear for being monaural. One side of the disc has the widescreen (definitive) version; the other side has the formatted version, which is also worth a look as it contains some extra information at the top and bottom of the screen on the scenes that were soft-matted.

I love this movie - it's nice to see that the DVD people took some interest enough to put together the special features on an almost 40-year-old film. Keep up the good work!

Worth seeing, if only for Lee Marvin's performance!
This 1965 spoof of westerns was a big hit back then. It's the story of Katherine Ballou, nicknamed "Cat" and played by Jane Fonda, who comes home to her small Wyoming town after studying to be a schoolmarm. However, because her father refuses to sell his land to the speculators, he is brutally murdered. She goes gunning for revenge. But this is a comedy and it's all very lighthearted, especially since there are constant musical narratives by Stubby Kaye and Nat King Cole. Lee Marvin won an academy award for his excellent portrayal of two aging outlaw gunmen and he's great. It's worth seeing, just to see his performance as he's a master not just of facial expressions, but also of total body language. Jane Fonda looks pretty as the sweet-young-thing turned outlaw. And there's enough love interest and comical episodes to keep the story moving. There's a train-robbing incident that is quite funny. And, of course, there's a happy ending.

I'm not much for comedies and so that fact that I was willing to spend the 96 minutes watching it all the way through says a lot for it. Recommended for light entertainment.

Steel-eyed Kid Shelleen
Saw this flick when it first came out: four performances were unforgettable --- marvellous Marvin, fascinating Fonda, melodious Cole and Kaye. Within its own light comedy framework this film is a masterpiece, regardless of what one or two reviewers think. This must be due to Elliot Silverstein's exceptionally deft direction. It is fast-paced and beautifully balanced. The characters cut across each other like oil and vinegar, hardly a scene is out of place. It has all the hallmarks of a masterpiece: timelessly entertaining, thought-provoking and even moving, both sad and funny, and can stand any number of repeat viewings. Silverstein's comments in the extra features are brief, to the point and invaluable. Fonda's acting (what a sweetie, what a dish!) is perfection in the part; Marvin's magical transformation from derelict to dead-eye via a throat-full of hooch is just as astounding every time you watch it. His arrival in Wolf City is one of the most dynamic entrances by a legendary gunman ever seen in movies. Anyone who hasn't already seen this evergreen comedy is in for a treat.

One of the Classics
This is truly one of the funniest (and funnest)western spoofs ever made. Lee Marvin is at his best, and Nat King Cole and Stubby Kaye will leave you singing "Cat Baloooooo" to yourself for weeks. As an editorial aside, reviewers who have rated this flick down based on Jane Fonda's appearance in it are asses. I didn't think much of John Wayne's politics, but I sure enjoyed his movies.

Another old favorite
Saw this film 7-8 times earlier in life, not just to look at Jane Fonda but because it's one of the funniest films I know. Lee Marvin, as 'the hero', is at his best! ... Read more

Reviews (6)

Errol Flynn Shines As Legendary Lover!
THE ADVENTURES OF DON JUAN was intended as something of a 'comeback' film for Warner Bros. resident 'bad boy', combining the heroic elements of 'ROBIN HOOD' and 'THE SEA HAWK' with Flynn's well-established (by 1948) reputation as a hell-raising womanizer. Unfortunately, the color production was not a box office hit, but the comic adventure is today embraced by his many fans as one of his best roles!

It was not an easy film to make, as Flynn's carousing and frequent disappearances stretched the filming out by months, and forced frequent reshooting. Director George Sherman, cinematographer Elwood Bredell, and editor Alan Crosland often had to 'cut-and-paste' snippets of many takes to achieve a decent performance from the star, and careful lighting had to be used to play down the increasingly obvious effects of the star's hedonistic lifestyle. (The opening sequence, and closing scene, featuring then wife Nora Eddington, were shot nearly a year before the remainder of the film, and the change in the Flynn's physical appearance is clearly evident.) At 38, the star, who always hated being called a 'pretty boy' (to the extent that his home had no mirrors) was aging rapidly, and badly.

All this being said, Flynn tried to give the film his best he could. It had been a landmark film for his friend/mentor John Barrymore, in the first Warners' film with sound, employed for music and special effects only, in 1926 (THE JAZZ SINGER would introduce 'talkies' a year later). It reunited him with friend and frequent costar Alan Hale, who, at 56, was still a popular character actor, and whose son, Alan Jr., was starting to make his mark around town (he would eventually be best known as the Skipper in 'Gilligan's Island'). The script for DON JUAN passed through many hands, including uncredited help by William Faulkner and Robert Florey, with the end result being marvelously funny, tongue-in-cheek, and swashbuckling, to boot! The score, by the legendary Max Steiner, became an instant classic, and would be reused, years later, in George Hamilton's ZORRO, THE GAY BLADE. This was a film which, despite Errol Flynn's self-destructive lifestyle, had enough talent involved to still stand up as one of the better films of the 1940s.

The plot involves roué Don Juan, tossed out of England after breaking up a 'diplomatic' wedding (a VERY funny scene), returning home to Spain to find evil Duke de Lorca (the sublimely nasty Robert Douglas) controlling weak King Phillip, and taxing the population to near starvation, with only the beautiful Queen Margaret standing in his way. Flynn quickly dispatches a de Lorca press gang, earning the Count's hatred, and the Queen's attention...and Don Juan finds himself truly falling in love, for the first time, with the youthful monarch (played by the radiant Viveca Lindfors). Assigned as a fencing master at the Academy, the legendary lover draws the ire of the Queen by stating his feelings for her, then is manipulated into another disastrous diplomatic blunder, involving, of course, another woman. On the run, he discovers de Lorca's ultimate scheme (manipulating the Crown into war), and with the help of the students of the Academy, he must save the King and Queen.

Featuring a great early appearance by Raymond Burr (as a de Lorca henchman), and a stirring final duel between Flynn and Douglas (expanded from the 1926 version, and featuring an astonishing climactic stairway jump, performed by stuntman and future 'Tarzan' Jock Mahoney), THE ADVENTURES OF DON JUAN is a gloriously adventuresome romp. Sadly, it didn't save Flynn's flagging career, but it certainly has earned a place among his classic films!

very good!
Errol Flynn is perfect as the romantic figure Don Juan. This is a must see film with adventure and romance. It's colorful and one of Flynn's best.

The Greatest (Next to Robin Hood)
Errol Flynn's Robin Hood is one of the greatest adventure films ever made. But after you've seen it again and again, you wish you could see the same thing only different. And that's what Don Juan is. We still have the incomparable Flynn at his best, we still have the fights and the swordplay, and a bunch of Flynn's acolytes storming the old castle (this time they're not men in green tights, they're men in black swordsmen tights, but what the hell). It's "almost" a remake of Robin Hood, and that's why it's so terrific. If you loved Robin Hood, you'll like Don Juan. And if you like Don Juan and haven't seen Robin Hood, well, lucky you, you're in for one of filmdom's supreme achievements.

A Classic Swashbuckler
"Adventures of Don Juan" was Errol Flynn's last memorable swashbuckler before his sad decline. A loose remake of John Barrymore's "Don Juan" (1926), this 1949 production is colorful escapism on a grand scale -- abetted by lavish sets, Oscar-winning costumes and a fine Max Steiner score. Flynn's deterioration is somewhat evident, yet this dissipation seems appropriate for the debauched Don Juan. The light-hearted romanticism of "The Adventures of Robin Hood" is replaced by a darker and sometimes brutal tone. Robert Douglas and Raymond Burr are appropriately slimy villains, while Viveca Lindfors' Queen of Spain is not easily won over by Flynn's charm. Admittedly, the film is a bit dialogue-heavy and one can see how Warner Brothers saved a little money through its occasional use of stock footage. However, these flaws are more than compensated by first-rate action sequences and sword duels -- particularly the climactic confrontation between Flynn and Douglas. Though only a moderate success in American theaters, "Adventures of Don Juan" remains a solid swashbuckler and a classic of the genre.

Flynn's Last Great Swashbuckler
"The Adventures of Don Juan" was Warner Brothers' last big investment in Errol Flynn. Their resident bad boy had long ago used up any goodwill he might have had with the studio -- goodwill based primarily on Flynn's power at the box office. But in the late 1940s, Errol Flynn's star was on the wane, and the studio was beginning to take a hard and skeptical look at their one-time box office bonanza.

In an attempt to rekindle some of the old fire, Warner Bros. produced "The Adventures of Don Juan," in which Flynn plays the title role. His Don Juan is world-weary, a man for whom all the loves and swordfights and scandals are beginning to wear him a bit thin. But the most compelling aspect of this Don Juan's character is his sense of humor. Flynn brings a humorous, tongue-in-cheek element to the character that is extraordinarily appealing.

The film is lush and well-appointed. There are times when Flynn shows the effects of years of hard drinking and womanizing, but for the most part he is strikingly handsome. Stunt doubles were used extensively for him, particularly in the final duel scene. In the shot where Don Juan leaps down a long staircase and lands on top of the villain, future "Yancey Derringer" star Jock Mahoney performed the leap.

"Don Juan" did poorly in the United States and fabulously well in Europe. Its cool reception at home convinced Warner Brothers that Flynn was no longer a bankable commodity, and considerably less money was spent on his films in the few years he had left under his contract.

But in the intervening years, "The Adventures of Don Juan" has earned a huge following among Errol Flynn admirers and movie buffs as well. It is a grand, humorous and thoroughly enjoyable jaunt with the King of the Swashbucklers, and one that should not be missed. ... Read more

Amazon.com essential video

If you only had one Fred Astaire-Ginger Rogers film to watch, this classic musical from 1936 would be your best bet. It was the dance duo's sixth film together, and director George Stevens handled the material with as much flair behind the camera as Fred and Ginger displayed in front of it. This time out, Fred plays a gambling hoofer who's engaged to marry a young socialite (Betty Furness), but when he's late for the wedding his prospective father-in-law sends him away, demanding that he earn $25,000 before he can earn his daughter's hand in marriage. When Fred meets Ginger in a local dance studio (where he pretends to be a klutz so she can be his instructor), he's instantly smitten and the $25,000 deal becomes a moot point. Featuring six songs by Jerome Kern and Dorothy Fields (including a splendid rendition of "The Way You Look Tonight") and some of the most elegant dance sequences ever filmed, this lightweight fluff epitomizes the jazz-age style of 1930s musicals, virtually defining the genre with graceful joie de vivre. --Jeff Shannon ... Read more

Reviews (26)

The Best of Fred and Ginger!
"Swing Time" is my very favourite out of all of the ten movies that Fred Astaire and Ginger Rogers made together through 1933-1949. It was their sixth film together, released in 1936, and directed by the great George Stevens.

The songs in this movie were by Jerome Kern and Dorothy Field's. The songs included here are "Pick Yourself Up", "The Way You Look Tonight", "Bojangles of Harlem", "Never Gonna Dance", "A Fine Romance" and the instrumental "Waltz in Swing Time". Maybe the finest songs out of all the Fred and Ginger movies.

The movie is full of great dance numbers, which is what a Fred and Ginger movie is all about. The first dance scene in this movie, is to "Pick Yourself Up", with the two dancing together. Its easily one of the best tap-dances they ever did. Another dance, is to the "Waltz in Swing Time". Its a great piece of music, and its a great dance that the two do together. Although, the bandleader doesnt like seeing Ginger dance with another man, so he refuses to play. But Fred, as always, finds a way around these things. Then for the next dance, "Bojangles of Harlem". It opens with a whole load of girls dancing, where a minute or two into it, Fred comes along, in black-face, immitating Bill 'Bojangles' Robinson, and does most of the dance solo. Well, solo in a way. He is dancing with three shadows of himself in parts of it. A very long number, lasting approximately seven minutes. Then for the last dance in the movie, and maybe the best, "Never Gonna Dance". There are a number of stories behind the scene, which I wont go into, but lets just say they did this dance to perfection.

So just now a quick bit about the actual story of the movie. Fred plays a gambler named 'Lucky', who is engaged to marry a young girl named Margaret (Betty Furness). Thanks to his friends, who are part of a dancing team with him, they make him late to his wedding, by tricking him in certain ways. Margaret's dad is obviously angry, and does not like 'Lucky' being in the dancing business. Not thinking it makes him enough money. Margaret's dad, sends Lucky off to New York, since he wont allow Lucky to marry his daughter unless he earns $25000. While there, Lucky accidentally meets Penny (Ginger Rogers) a dancing teacher. They dont have a nice first meeting. Lucky has came to New York with his friend 'Pop' (Victor Moore), and when he wants to buy cigarettes, he needs change for a quarter. Lucky gives Penny his 'lucky quarter', which he later goes to try and get back. After a little accident of dropping her purse, Pop takes the quarter back, without Lucky knowing, and Penny accuses Lucky of stealing. The policeman comes along, and sorts it out, and makes Penny go along, on her way. Lucky finds out, that Pop took it, and goes to find Penny, in the dance place, where she teaches. He pretends he cant dance, and gets Penny into trouble, getting her fired. He, then feeling guilty, shows the boss, what Penny has supposedly taught him. This brings you to the "Pick Yourself Up" dance, and brings Lucky and Penny to be dancing partners (No, she is not fired anymore). The two, fall in love with each other, as expected, but she doesnt know he is engaged. He then tries NOT to earn the money, so he doesnt have to go back to his fiancee. So check out the film for the rest of the story. Thats only the start.

"Swing Time", a film full of great dancing, singing, and some decent scenes for comedy, is well worth adding to your collection. Being, by far, one of the top 3 greatest movies ever made, if not number one, that is. I love this movie a lot. I have watched it repeatedly so many times, and I simply have never gotten bored of it. By far the best from Fred and Ginger, even if others might argue over "Top Hat". Like all of the Fred and Ginger movies, this is highly recommended.

One of Fred and Ginger's Three Essential Films
I can't quite agree with the editorial review, which indicated that this might be the one Astaire-Rogers musical to watch, if you could watch only one. This lags very, very slightly behind TOP HAT and THE GAY DIVORCEE, in my book, though I nevertheless consider it one of the very greatest musicals ever made. Another film, FOLLOW THE FLEET, features dance numbers that match any of these three, but suffers from a very weak script and lags when Fred and Ginger aren't dancing. SWING TIME is also is hurt by the presence of George Metaxa as Ricardo Romero, and by his implausibly quick reconciliation to his being jilted at the end of the film.

My reason for rating it very slightly behind the other two films is the slightly weaker supporting cast and the fact that the humor is a tad less humorous. The dance numbers, however, are extraordinary, with at least two of them belonging in the Fred and Ginger Hall of Fame for their finest moments dancing together. These two numbers are the marvelously funny "Pick Yourself Up" and the marvelously dramatic "Never Gonna Dance." Luckily, this isn't the extent of the musical's treasures. There are two other great dance numbers and two marvelous songs that do not feature any dancing. The latter includes Fred's marvelous homage to Bill "Bojangles" Robinson, "Bojangles of Harlem," which Fred does in blackface and which just might be the only non-demeaning use of blackface in a 1930s film. Not only is it not demeaning, it is a powerful homage to the man regarded by his peers as the finest tap dancer of the early 20th century. Fred and Ginger also perform the "Waltz in Swing Time." The two songs are among the greatest pure songs appearing in any of Fred and Ginger's films. "The Way You Look Tonight" (which won the Oscar for Jerome Kern and Dorothy Fields that year) features Fred playing the piano (yes, he really did his own playing) and singing while Ginger shampoos her hair (originally they were going to have her cleaning an oven, coming out mesmerized by Fred's singing, covered in grease, but it was decided the look didn't achieve the desired effect). And later Fred and Ginger sing perhaps their greatest comic song, "Let's Call the Whole Thing Off."

As good as all the musical numbers are, however, the high point of the movie is the utterly amazing "Never Gonna Dance," in which Fred declares that if she leaves him to marry someone else, he will never dance again. The number is incredibly powerful with Fred first singing his intentions, and then luring Ginger into one last dance together. The number was exceptionally difficult to film, owing to a double staircase on each side of the set. The two had to dance upon it to time their arrival at the same precise moment. But for take after take, they kept arriving at slightly different moments. Unfortunately, Ginger's shoes were a bit too small, with the result that she cut her feet pretty badly during the forty odd takes. The result was worth it. The dance ranks with "Night and Day," "Let's Face the Music and Dance," and "Cheek to Cheek" as their greatest romantic dance number.

Although the supporting cast and the humor is not quite at the same level as TOP HAT and THE GAY DIVORCEE, this is nonetheless a fine movie apart from the music. While I would still recommend those other two films above this one, I would recommend that anyone with the tiniest bit of interest in great musicals see all three, as well as catching the dance numbers of FOLLOW THE FLEET.

Fred & Ginger...Classiest Hollywood Pair Ever
They really are. Arguably the most successful male/female non- romantic-Hollywood-coupling-in-real-life. They accomplished the impossible. They made ballroom dancing look cool & sexy. No less an authority on coolness than Madonna has admired them. Ten times in less than a decade, Fred & Ginger made love on the dance floor. Astaire openly acknowledged the sexuality of their dances. As close as risque 2 unmarried people could get on a dance floor in the 1930's. Unlike Bogie & Bacal or Hepburn & Tracy; Fred & Ginger made it clear they were just friends and each had individual lives & careers long after these movies. These dance films were among each performers first movies. After the tremendous success of this series, both Astaire & Rogers could write their own tickets. Swing Time is Ginger's favorite of their collaberations and is the perfect one movie example of the Fred & Ginger magic.

what a film
Wow! what a terrific film. This deffinately among their best. Look at Ginger's face when she finds out that Fred can dance in the PICK YOURSELF UP number. what a look. she truly had the most expressive eyes. the numbers are great. SWING TIME, NEVER GONNA DANCE, and others are great. highly recommended.

One of the Best Fred & Ginger Movies
Fred & Ginger makes dancing look so easy. This is one of their best films that they have made together. it is worth adding to your collection for the dance number "Never going to Dance" with Fred & Ginger dancing on the stairs. ... Read more

Amazon.com

Talk about dated: This limp 1976 comedy, based on a flop Broadway play, deals with a pair of middle-aged African-American parents (Redd Foxx and Pearl Bailey), who are aghast to discover that their window-dresser son (Michael Warren) is gay and are ready to disown him for it. Though it's still a viable subject, it's treated here with a smirky sense that homosexuality is some kind of dirty joke. What's interesting is that, years later, the most sympathetic character is the son's stereotypically swishy boyfriend (Dennis Dugan). Shot on video and transferred to film, the movie is most noteworthy for the opportunity to see the late Pearl Bailey (if only in the final 20 minutes) and to watch the late Redd Foxx (in reality a hilariously filthy stand-up) in a sterilized PG setting. Foxx, at the height of his Sanford and Son fame when this was made, has an exquisite sense of timing and mock outrage; he actually puts some bite into the toothless jokes.--Marshall Fine ... Read more

Reviews (5)

Absolutely Atrocious
When Ben (Red Foxx) discovers his wife Beatrice (Pearl Bailey) has run off with his own brother, he rushes to his son Norman (Michael Warren) to unload his tale of woe--only to discover that Norman has a secret lover: the effeminate Garson (Dennis Dugan.) Needless to say, Ben does not take it well, and numerous complications follow--including Ben's attempt to get Norman over being homosexual by fixing him up with a hooker (Tammy Dobson.) Unfortunately, this description of the movie sounds a great deal more entertaining than the movie itself.

Originally written for the theatre by Ron Clark and Sam Bobrick, NORMAN... IS THAT YOU? was an absolute disaster on the New York stage. To give the play its due, I actually saw it staged in the 1970s as a commuity theatre production--and while no one would accuse it of being anything other than a shallow farce, the cast played so broadly and in such drop-dead manner that it proved quite amusing. It is a pity the cast of this film didn't do the same. This is an atrociously performed motion picture. Red Foxx, one of the most hilarious comics of the 20th century, is about as funny here as yesterday's wash, Michael Warren (who later appeared on the television series HILL STREET BLUES to much better effect) competes with Foxx to see who can give the worst performance, and Pearl Bailey is not far behind; truth be told, only Dennis Duggan, Tammy Dobson, and a cameo by Wayland Flowers have any spark--and sadly, that is only in comparison with the rest of the cast.

Not only is the film badly performed, it looks bad. According to film lore, this was the first big screen effort to be filmed in videotape, which was then transfered to celluloid for project purposes--and believe me, it shows. The film has the look of a bad 1970s sitcom right down to the painted skyline seen through the windows of Norman and Garson's apartment. Some films are so bad that they become funny, but NORMAN... IS THAT YOU? isn't one of them. I can sum up my reaction to this film in two words: miss it. Don't buy it, don't rent it, don't touch it with a ten foot pole. Just back away slowly and then run like the blazes.

a trip out film
this film is a trip.Redd Foxx&Pearl Bailey are good together.this film deals with issues head on.it's a funny film.it was cool seeing Tamara Dobson in it.

"One out of ten..."
Redd Fox has been left by his wife (Pearl Bailey) for his brother. Basically the plot but a whole lot more. Enter the sudden knowledge that his son has a nelly white lover (who cooks a mean prune dish), a WILD neighbor who is none other than Wayland Flowers and MADAME! A hooker dressed like Sheena of the jungle and some funny performances by the leads...and you have a cute movie! One of the few movies that shouldn't offend, (so what if the son is a window dresser? ) Besides..Wayland Flowers does part of his stage act with Madame!

excellent comedy timing
Redd Foxx portrays stereotyped father who discovers his son is gay. He is not only distraught over his son being gay but the fact that his live in lover is white. Superior comedy timing and Pearl Baileys' interaction with Redd Foxx is terrific.

Camp to the max
Kudos to Redd Foxx for taking this tired play and making it into a delightful little movie. Despite being a low budget production and the acting being a tad choppy, the story of the gay black son's coming out is handled with utter sensitivity. Norman's other half is a total scream. Don't miss the scene with the hooker. Hilarious! ... Read more

Amazon.com

Big Jake is not one of the Duke's classics, but a diverting attempt nonetheless. Everyone seems to think that Jacob McCandles is six-feet under ("I thought you was dead" is a running line throughout), so some bad men kidnap his grandson. They want a piece of the family fortune and will kill to get it. Patrick Wayne, the Duke's own son, plays one of Big Jake's kids, and together they start out after the boy's abductors. Richard Boone makes a worthy adversary to Jake's larger than life figure, and the final confrontation between the two contains some great gritted-teeth dialogue. Maureen O'Hara is barely in the feature, sharing the same fate as Bobby Vinton as the boy's father. He seems to be onscreen just to get shot. --Keith Simanton ... Read more

Reviews (30)

Big Jake, the man who put the bad guys in their place!
Big Jake has always been a family favorite. Whenever it aired on TV, we watched it. If it were played 3-4 times a year, we watched it. You just can't beat the all-star cast. John Wayne, Bruce Cabot(very famous in the 1930'3 and 1940's) Richard Boone, as the lead bad guy, was a great choice. PAtrick Wayne and Christopher Mitchum were both excellent choices to be his sons. Maureen O'Hara, as the ex-wife, she is still as beautiful as ever. All-in-all, a great action-packed western that holds up to the best. Big Jake, a real treat for all.

don't call him DADDY!!!!!!!!!
This film is one of the better later-day John Wayne films, though strangely violent for a Wayne film. The Duke stars Jacob MacCandles (maybe a reflection of his real life family situation) as a tough man, estranged from his wife and grown sons. Bobby Vinton gives a quickie performance as Wayne's eldest son, shot when (the great) Richard Boone and his band of cutthroats nearly slaughter all on Jacob's ranch in the kidnapping of his grandson (played by Wayne youngest son Ethan). Patrick Wayne, his real son, plays second eldest son and youngest son, Michael, is played by Christopher Mitchum (Robert Mitchum's son!).

In tow are Wayne regulars, Harry Carey (disgusting tobacco chewing baddie), Bruce Cabot as the Indian tracker showing age with Jacob, Glen Corbett as breed the fast gun that faces off against Patrick Wayne in a gun fight, the most natural actor to ever grace the screen, the late Richard Boone, and a lovely appearance by the eternally beautiful Maureen O'Hara, once again playing John's long suffering wife whot loves him, but cannot live with him.

It is super to watch Wayne with Cabot, Carey, Boone and O'Hara, and Jim Davis (later rose to fame once more as Jock Ewing of Dallas) and though the film is intensely violent, I don't see it was gratuitous. The violence came from the end of a very violent era, times were changing, but not fast enough. The violence of the kidnappers had to be there to show Wayne's to-the-wall rescue of his small grandson was called for. Wayne's character was a violent man when the times called for it, but it was just as willing to let things go - if ONLY the other person walked away.

He worked well with his sons and Mitchum, and the interaction between Jacob and his two sons provides the Wayne brand humour in the film.

The times were changing for the code of the old west, and in the same way, times were changing for John Wayne....

I give Wayne credit for not pulling punches in a film that does him credit.

They made the mistake of kidnapping Big Jake's grandson
"Big Jake" is one of my favorite John Wayne movies, which is not to claim that it is a classic film. This film is directed by George Sherman, who first began doing Westerns back in the late 1930s, although Wayne is known to have directed some scenes as well. In retrospect I would argue that this 1971 film is the first of a trio of film that Wayne made at the end of his career reflecting the passing of the Western. The other two would be Wayne's next film, "The Cowboys," and obviously his final film, "The Shootist." Of that trio "Big Jake" is clearly the most fun and my biggest complaint about this film is that when it is shown on television they almost always have the first commercial break at the absolute worst moment.

The film begins with a raid on the McCandles Ranch where Little Jake McCandles (Ethan Wayne, the Duke's youngest son, named for the character he played in "The Searchers") is kidnapped by a gang of cutthroats led by John Fain (Richard Boone). Fain demands a ransom to be delivered across the border in Mexico. The Texas Rangers are willing to do it, but Martha McCandles (Maureen O'Hara), the boy's grandmother, announces that this is a disagreeable task and needs to be done by a disagreeable man. At this point the came cuts to a close up of John Wayne peering down the barrel of a rifle. It is a great introduction to Wayne's character in the film and a fitting counterpart to the moment in "Stagecoach" when we first see the Ringo Kid and his Winchester. But television stations keep putting commercials before the cut because the film's opening sequence, in which narrator George Fenneman, who went from being Groucho Marx's announcer and straight man on "You Bet Your Life" ended up doing the narration for Jack Webb's "Dragnet," introduces us to all of the members of the Fain gang runs on a bit before we have the raid and the decision of what to do next. So Act I runs out for a bit and if there is a good reason to have this movie on DVD or VHS it is because that way you miss this horrendous commercial placement.

"Big Jake" is basically a chase story as the title character goes after his grandson, heading out with the ransom with only his trusted Native American friend Sam Sharpnose (Bruce Cabot) and a dog named "Dog." But there are several others things going on to make the proceedings more interesting. Big Jake did not even know that he had a grandson, and while the boy's father Jeff (Bobby Vinton, the singer) is wounded, his two brothers James (Patrick Wayne, another of the Duke's son) and Michael (Christopher Mitchum, son of Robert Mitchum who co-starred with the Duke in "El Dorado"). Clearly Big Jake has been separated from his family for a while and there are issues, particularly with James, who makes the mistake of calling his father "Daddy."

There is also a whole sub-text about relying on modern technology. While Big Jake heads off with horses the Texas Rangers take off in new fangled motorcars. Of course this is a mistake, but there is a recurring theme of the old ways being best. Michael has a motorcycle and James has a new fangled pistol, but they are able to overcome their reliance on modern technology. If the Old West is disappearing it is not disappearing until the Duke has his last fight.

Then there is the running gag that everybody seems to think Big Jake is dead. When we are treated to that great close up our hero is watching a group of cattlemen get ready to string up a sheep farmer. Big Jake does not want to get involved, not wanting to make a mistake of his youth that almost cost him his life. But then the leader of the lynch mob (Jim Davis) makes the mistake of kicking a boy ("Aw," says Big Jake, "why'd he want to go and do that for?"). There could be trouble but then it is discovered that the big man on the horse is Jacob McCandles, who apparently is not dead. This happens so often that Big Jake swears he will kill the next man who says that and, of course, he does.

Finally, this film has some great dialogue by Harry Julian Fink and Rita M. Fink. This was their first film together (he did "Major Dundee" and "Ice Station Zebra") and after this they created "Dirty Harry" for Clint Eastwood (no wonder the choice lines in this movie are so choice). When James calls Big Jake "Daddy," the Duke knocks his son on his can and announces: "You can call Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-b***h, but if you EVER call me Daddy again, I'll finish this fight." But my favorite is when Fain first encounters Big Jake (not knowing who he is, of course) and gives a very serious warning. At the climax of the film Big Jake repeats the warning word for word with a grim earnestness that is quite impressive. That is why this is not a great film, but a great movie.

One of my Favorite John Wayne Movies
Big Jake, although not his best, was still one of my favorite movies. My own grandpa was a larger than life figure, and this movie rings true to what he was in the prime of his life. One of Wayne's last, and I think it has to be on everyone's list. The adversary is a tough nut to crack, and knows just how to hit the nerves. It's not over the top violent (I suppose that compares with today's movies). GOD i wish they would have picked anything else for that kid to wear but that girlish little jumper with the white collar!

Not as good as I hoped...
I'm giving this one four stars for the quality of the video, sound, and the fact that this movie has, for at least 90 minutes, everything you would ever want in a late-era John Wayne movie. The acting is not bad at all, the story is set up very well, the villians are believable, and you have the obligatory old codger showing up his estranged smart-aleck sons while he teaches them a thing or two.

After we've been through 90 minutes of establishing trust and killing a few bad guys along the way, we come to the big showdown where the Duke tries to bluff the kidnappers, and then kill them. It's a pretty good shoot-out, and of course the good guys win.

The problem I have is that the Duke loses his best friend and his dog in the fight, as well as getting shot twice himself. When it's all over, Big Jake, his two sons, and his grandson exit with big smiles on their faces. The camera freezes on this image while the credits are rolling. It was kind of like a bad 1970's crime drama. I expected to see in bold letters, "A QUINN MARTIN PRODUCTION." ... Read more

Reviews (291)

'The Rocky Horror Show' Movie
There is one reason why everyone should see "The Rocky Horror Picture Show": it is the best cult film ever made. There are also three reasons why everyone should want to watch it: 1) It is one of the only 'R' rated musicals in existence. 2) It has strong science-fiction overtones. 3) It is very funny. The movie starts Barry Bostwick and Susan Sarandon (before they were stars) as the recently engaged Brad and Janet. However, they are upstaged in nearly every scene by Tim Curry who plays Frank N. Furter, the mad doctor. The cast delightfully performs many memorable songs including "Over at the Frankenstein Place" and, of course, the "Time Warp". To fully enjoy RHPS, one must not be closed minded or the picture could prove to be quite offensive. Don't think it's gratuitously violent- it isn't. Merely, the situations the characters find themselves in could shock or appall overly sensitive viewers. If you think you won't enjoy RHPS, going to a midnight screening might be your best bet. The live audience participation will guarantee you a good time, despite your opinion of the actual film. So overall, RHPS is quite a good adaptation of Richard O'Brien's original concept, which always honors its roots on the stage.

DVD = Perfect format to truly experience "Rocky" at home
I loved going to "Rocky Horror" when I was in college, but watching on home video just wasn't the same. I'm probably committing heresy but there's a reason why this sci-fi, horror, B-movie satire, rock musical didn't really make it big until theaters started showing it as a midnight movie and fans started attending in costume and talking back to the screen. The 25th anniversary DVD, with several audience participation options, really is the next best thing to being there.

For the uninitiated, "Rocky Horror" tells the story of two clean-cut American youths, uptight Brad Majors (Barry Bostwick of "Spin City") and Janet Weiss (Susan Sarandon of "Dead Man Walking") whose car breaks down on a dark, deserted road in the middle of a storm--the classic beginning to many horror movies--and who seek help at a nearby castle. Castles, as Rocky fans know, don't have phones! What this castle has instead is a cross-dressing mad scientist Frank-N-Furter Tim Curry, in perhaps his finest performance), two very creepy servants, Riff-Raff (Richard O'Brien, who wrote the musical) and Magenta (Patricia Quinn), and various other hangers-on, including lovers Columbia (Little Nell) and biker Eddie (Meat Loaf). Brad and Janet walk in on a party celebrating the creation of Frank-N-Furter's muscle-bound boy-toy "Rocky." Bed-hopping chaos soon ensues, until the servants reveal their true identities and take control.

Punctuating this wacky plot are some of the wildest rock-musical songs ever written. In addition to the classic "Time Warp," there's O'Brien's salute to cult-classic B-movies, "Science Fiction Double Feature," Meat Loaf's "Hot Patootie," and Sarandon ode to sexual self-discovery, "Toucha Toucha Touch Me!"

So much for the "Rocky virgin" portion of the review... What makes the DVD so exceptional is the chance to experience "Rocky Horror" at home nearly like you would in the theater. The DVD has the option of turning on the audience screen comments as well as another option for viewing members of the Rocky Horror Fan Club performing select scenes before returning to the main movie. For those less familiar with audience participation, the DVD can prompt when to throw toast, toilet paper, rice, etc., light a match, put your newspaper on your head, etc.

The second disc contains fascinating interviews with cast members, where fans can find out about their reaction to starring in this cult classic. Meat Loaf's description of not realizing what "Rocky Horror" was going to be about and running out of the theater when Tim Curry entered wearing fishnet stockings, spiked heels, a merry widow, and a leather jacket and singing "Sweet Transvestite" is hysterical. Patricia Quinn talks about how her fondness for the opening song, "Science Fiction Double Feature" made her want to take the role even though she hadn't read the rest of the script. What? Don't remember Quinn singing that number? In the stage versions she did, but the song got reassigned in the film version--and Quinn makes her feelings about that QUITE clear. Sarandon makes the interesting observation that "Rocky Horror" probably kept a lot of art house theaters in business over the years, since they could count on good revenue from the midnight movie, even if the latest regular-hours offering flopped. In Bostwick's interview, however, the actor sounds a bit like William Shatner giving his anti-Trekkie diatribe on "Saturday Night Live."

The only disappointments on the DVD are that the outtakes really aren't that interesting and actor bios aren't provided. I would have liked to see what else the "minor" cast members did after Rocky, but that information is limited to a few lines in the companion booklet. Also, some of the audience-participation comments are nearly impossible to understand because fans are talking over each other. But then that's part of the modern-day theater experience. Even Sarandon noted in her interview that talking back to the screen has gone from the more unison catechism approach to a loud free-for-all.

What seemed so risqué and shocking a few decades ago seems much more innocent today, but it was great when it all began and it's still great! If you've never ventured into the theater to experience "Rocky Horror," this is the best way to experience it at home.

Mesmerizing film.
This is a very outrageous movie. The rock is the background to tell us a horror movie but also spiced with sex , ransvestism and above all a splendid tribute to the movies specially King Kong .
One couple strands in an old house full of weirdos . This movie (here between you and me)could have inspired for Tim Burton in Beetle juice .
In this decade there were great visuals films too . Sherman built a magnificent story absolutely free , intelligent and sarcastic, irreverent and bitter . You might state that Fellini's influence (dressed of english manners and clothes) is present all along the film .
Inmediatly after its release this one acquired the status of cult movie.

The original is still the best!
Don't bother with the play, or the music from the play. The original is still the best. Nobody can fill the shoes of Sarandon, Curry, etc. They originated the roles and have been associated with them for far too long for anyone else to come in try to change them so many years later and attempt to redo them. Stay with the best.

Those Gold Shorts!
Ahhhhh...Rocky had such a lovely outline showing in his gold lame shorts. ... Read more

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TV's Saturday Night Live has been like the evil twin of the legendary alchemist's stone, which supposedly could turn lead into gold. SNL usually does the opposite, taking rich comic premises from short skits and extrapolating them into overblown and unfunny full-length films. ("The Coneheads"? Puh-leeze!) But this film proved to be the exception, thanks to Mike Myers's wonderfully rude lowbrow humor and his full-bodied understanding of who his character is. Wayne Campbell (Myers) and his nerdy pal Garth (Dana Carvey) are teens who live at home and have their own low-rent cable-access show in Aurora, Illinios, in which they celebrate their favorite female movie stars and heavy-metal bands. When a Chicago TV station smells a potential youth-audience ratings hit, the station's weasely executive (Rob Lowe) tries to coopt the show--and steal Wayne's new rock & roll girlfriend (Tia Carrere) at the same time. It's filled with all kinds of knowing spoofs of movie conventions, from Wayne talking to the camera (and forbidding other characters to do so) to hilariously self-conscious product placements and labeling a moment a "Gratuitous Sex Scene." Dumb--and very funny. --Marshall Fine ... Read more

Reviews (73)

Awful... Not
Based on the popular "Saturday Night Live" sketch, 1991's "Wayne's World" is the funniest movie I've ever seen. I don't remember going longer than 20 seconds without even smirking. The "Bohemian Rhapsody" sequence is worth the price of the film alone, but it's an altogether hilarious effort.

Wayne Campbell (Mike Myers in his breakthrough film role) and Garth (Dana Carvey) host their own cabel access show in Aurora, Illinois. One night, a sleazy tv exec Benjamin (Rob Lowe) catches their show and gets video arcade honcho Noah Vanderhoff (Brian Doyle Murray) to sponsor it. Wayne and Garth agree to sign the contracts and broadcast the show nationally. They indeed reap the pleasures of fame - baxkstage passes to meet Alice Cooper, $5, 000, 000 plus Wayne winning the affections of robobabe Cassandra (Tia Carrerre). But soon, things go awry. Wayne loses Garth and Cassandra, and his show's cancelled. What could possibly make it worse? Find out in this hilarious comedy romp.

This has proved to be the only good movie based on an "SNL" sketch. It's sad to se that so much of Dana Carvey's talent is in this film, because it's a shame that all of his subsequent efforts tanked ("Master Of Disguise", anyone?). The extras included trailer and a nice documnetary.

Schawing
"Wayne's World" is a movie that shouldn't be funny but is. It shouldn't be funny because its plot is so ridiculous and pointless as to render the story almost meaningless. The basis of the plot is that two guys named Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey) have a cable-access show in Wayne's basement in Aurora, Illinois. The show, which is just Wayne and Garth goofing on stuff, catches the eye of Benjamin Kane (Rob Lowe), a smarmy television producer who wants to buy and remake it into a cash cow. Meanwhile, Wayne falls in love with a local musician named Cassandra Wong (Tia Carrere). After Benjamin comes into the picture, Wayne is afraid of losing Cassandra to him because of his music industry connections, good looks, money, and fancy car.

What saves "Wayne's World" from the purgatory of its plot is Wayne or, more specifically, Mike Myers. Myers was still an unknown in 1992. For those of us who had seen him on "Saturday Night Live" we already knew he could be stomach-hurting funny. However, until "Wayne's World" you just didn't know if he coud keep it going for a whole movie. As everyone knows now, he can.

Myers comic timing created gold out of lead. "Wayne's World" is a movie more memorable for its lines than its story. That can be a dangerous way to make a good movie as the lines can grow tired with age (see "Spaceballs"). That's not the case with "Wayne's World" though. It's still as good today as it was ten years ago.

It makes me feel kinda funny
Long before the world ever heard of Austin Powers, Mike Myers was infusing pop culture with the catch phrases and wild doings of Wayne Campbell and hastening the move of multiple Saturday Night Live characters to the big screen over the course of succeeding years. Wayne and his trusty sidekick Garth raked up at the box office and left us with a classic comedy that will be making people laugh for years to come. Aside from all the Wayne-isms and Garth-isms, this movie changed forever the way we listen to a number of classic rock songs.

Okay - let's review. Wayne lives in his parents' basement, but it's okay because he and his buddy Garth have their very own public access show on their local cable station in Aurora, Illinois. Wayne thinks his dream of doing Wayne's World for a living (and thus escaping from the world of name tags and hair nets) has come true when he gets an offer to do the show on a Chicago TV station, but there's a certain matter with the fine print. Will Wayne sell out? Yeah. And monkeys might fly out of my butt.

Myers and Carvey take their SNL trademark routines as far as they can, going a little too far once or twice (as with the Scooby Doo and Mega-happy endings - although they did make possible the much-appreciated Tia Carrere bikini scene), and it's not hard to see why: Wayne's World was the most popular SNL skit for a good two to three years running. The film has a surprising number of familiar faces: besides the aforementioned Tia Carrere, you get Rob Lowe (fresh off a certain little infamous home movie), Brian Doyle-Murray, Ed O'Neill, Lara Flynn Boyle, Donna Dixon, and - making cameo appearances - Chris Farley, Meatloaf, and Alice Cooper. Of course, Mike Myers and Dana Carvey take center stage at all times. They satirize everything, from Grey Poupon commercials to the entertainment industry, to themselves.

There are a number of memorable scenes: the Bohemian Rhapsody bit as the guys cruise town in the Mirth-mobile, Garth's Foxy Lady dance number (many of us will never be able to listen to that classic Jimi Hendrix tune the same way again), all of the Dreamweaver moments, the Laverne & Shirley take-off trip to Milwaukee, Wayne's Marilyn Monroe impersonation, and others. Whether you knew it or not, you were exposed to Wayne's World lingo throughout the 90s, so if you haven't seen the movie, isn't it time you learn why you should have laughed at all those jokes you didn't understand way back then?

Mike's Best
Wayne's World takes you through the world of Rock'n Roll, through the lives of two friends, Wayne and Garth, who own their own television sitcom. Wayne and Garth's friendship, along witht he show, is threatened when a bigtime producer, Benjamin, tries to takeover the show.

Good movie
This movie is very funny. If you liked Dumb and Dumber you would like this movie. Mike Myers is hilarious. And also the chinese man is hilarious. Anyway you should definately buy this movie. Its worth spending the money. ... Read more

Reviews (11)

Determination
A movie based on the life of Olympic runner Billy Mills. His love for running everywhere drew him into a dream to run in the Olympics. Billy's dream wrapped itself around the hearts of his people on the reservation which made him even more determined to run, and to win. There is a realistic difference in Billy's life on the reservation and his life in college which is not only shown starkly by the scenes, but also in Billy's thoughts, actions and reactions. I recommend this movie for people of all nationalities and ages.

Dreams Realized
This is the story of the legendary distance runner Billy Mills. Mills is the only American runner in the history of the Olympic games to win a Gold Medal at 10,000 meters. He ran an incredible race but more than that he led an incredible life. Robby Benson does a nice job playing Mr. Mills (who is a Lakota Indian). The final sequence on the track is very close to what actually happened in the race. A very, very inspirational movie about a very, very, very inspirational man.

poignancy, athleticism, cultural bias and victory
a thoughtful motion picture of personal trials and triumph. This film deserves a dvd release.

Running Brave
This is a great portrayel of Billy Mills. The details of the movie are not the best(such as the football lines in the Olympic stadium). Robby Benson studied Billy Mills as well as worked with Mills to get the character down pat. He also trained for and ran a marathon to actually learn how to run like Mills. The story does a great job through flashbacks of telling of Mills' life growing up. It is a very inspirational story that I show my cross country teams. I recommend this movie to anyone who wants to be inspired.

Running Brave Indeed

Beautiful and highly inspirational true story of Billy Mills, an American Indian Sioux, who overcame great odds and poverty to become (to date) the only American to win the 10,000m Olympic Gold Medal.

Mills was orphaned at age twelve and due to his profound achievements, holds legendary status among the Native American Indian community in the United States. He is now 64.

... Read more

Reviews (188)

It's about time
It may not be one of the best films ever made, but I love it anyway. The scenery and costumes are beautiful...not to mention the beautiful Jane Seymour & Christopher Reeve. But what's fascinating about the movie is element of time travel. It's not that Richard (Christopher Reeves) falls in love with the woman in the picture (Jane Seymour); rather, the picture stirs a remembrance within him. Not realizing what it is at first, Richard seeks answers through research which eventually leads him to the belief that...he was there. Thus the obsession with time travel and the quest to return.

Watch for the details and the glimpses of things in the present and see the connection when he's in the past. For instance, watch his relationship with Arthur.

There are all kinds of details that I appreciate about the movie. Notice the view from Miss McKenna's room at the beginning of the movie and compare that with the view from Mr. Collier's room at the end. Notice the use of camera angle, lighting and furniture (namely the fabric) to transition Richard from the present to the past.

Probably the most disappointing thing about the movie is the ending. But as a hopeless romantic, it's none-the-less a favorite movie.

A Love throughout Time
Somewhere in Time is an excellent film that combines Time Travel with romance, using an interesting and unique idea involving hypnotizing your mind to believe you are actually in that moment in history. If you can avoid analyzing the rationality of time travel and suspend your disbelief, this film will be very enjoyable for you. The idea of travelling back through time to find your soulmate is something both men and women can believe in. It is to the credit of the performances of the leads, Christopher Reeve and Jane Seymour, that the viewer believes that such a thing is possible. Reeve and Seymour also look well together and have obvious chemistry, making their love affair entirely believable. Especially with their first kiss, there is a deep and passionate love that seems entirely real. The third element is the acting of Christopher Plummer, who is always excellent and quite effective here as the overprotective manager of Seymour's character. But, there are two more elements that contributes greatly to the atmposhere of the film - the moving music composed by John Barry, and the Grand Hotel where most of the movie is set. The handsome and expressive Reeve, the calm beauty of Seymour, the brooding and calculating Plummer, the romantic and moving music and the timeless presence of the Grand Hotel combine into a magical film for the hopeless romantic.

DVD Comments: Compared to reference DVDs the video and audio quality are average, with slight graininess at times. However, this can be forgiven because of the excellent quality of the film. Those who have only seen Pan Scan versions on Cable and VHS will enjoy the widescreen presentation. The extras include a Behind the Scenes Special, Trailer, Fan Club Information, Bios and Production Photos. All are excellent and welcome additons. Of note, I found the Behind the Scenes Special added to the film experience. You will learn interesting tidbits about the making of the movie, with comments by the director, Reeve, Seymour and other players. It becomes readily apparent that the actors and crew loved making this film and hold it in a special place in their hearts. To see Reeve, who suffered a horseback-riding accident that left him paralyzed years after making the film, lends to the heartbreaking experience of seeing the film again. His comments about the final scenes of the film are very interesting and insightful to his own tragic life experience. The production photos are excellent, especially the stills of Seymour with her incredibly beautiful face and long, flowing hair. It is easy to relate and believe that Reeve's character would fall so hopelessly in love with her picture alone. The events that occur in the film, the time travel and events that happen at the end of the film are believable because of Seymour's beauty and acting ability. All of the actors, the setting, and the music are important aspects of the film, but Seymour makes the movie. Therefore, if you are a hopeless romantic, or a fan of Reeve or Seymour, I highly recommend this DVD to you.

Get the Ben & Jerry's and settle in...
At times this movie does put the "suspension of disbelief" to the test... it is far-fetched, but enjoyable if you allow yourself to accept the story as it's presented. The acting is ok, the music beautiful and haunting.

This is a great movie for those times when you feel the need to have an emotional outlet. There are some scenes where you can almost think it's a comedy, and then the mood changes to something more serious. The end seemed a little awkward, and is a real tear-jerker if you've let yourself get sucked into the story. With a pint of Ben & Jerry's and a few tissues (and some friends, if you're into sharing tears with them), it's worth the time if you're in the mood.

In a Class by Itself
As other reviewers have said, this movie seems to transcend all of its faults and strike a a very personal chord in the romantics among us. Its intense romanticism prompts us to break the rules in judging what makes a good movie, much as Christopher Reeve's love for Jane Seymour allows him break the rules of time. And, the movie is even more poignant today, since it's about going back into the past, and it reminds us of the past physical vibrance of Christopher Reeve, not as Superman, but as the healthy young man he was.

In many ways, this is Reeve's movie. He almost ruins it with his occasional lapses into Clark-Kentish oafishness, but he also injects into the film its dreamy sweetness, with his hungering eyes and his boyish awe of Miss Seymour. Speaking of her, I think she is one of the most beautiful and competent screen actresses in films and I have no idea why she never really became a huge movie star.

Christopher Plummer adds the right notes of meanness, thinly-veiled jealousy, lurking menace, and his own inner hurt as the blunt end of a love triangle. He also embodies reality, reminding us, by his dissapproving presence, of the vulnerability of the fragile love affair between Reeves and Seymour.

The special segment on the making of the film (in the collector's edition DVD) is a good one. It convincingly shows that the director, crew, and cast loved making this film and had high hopes for it. It also provides some interesting insights into how the novel was adapted for the screen and the choices, sometimes painful, that had to be made in the process. It's gratifying that this segment, which is low-key and refreshingly sincere, features the three principal stars of the film, the director, the composer, the author, and other players and crew members. Only the composer, John Barry, seems a bit taken with himself.

Somewhere In Time was nominated for the American Film Institute's list of the 100 most romantic movies of all time, but it didn't make it. As far as I'm concerned, it should have topped the list.

Somewhere in Time
I really didn't care for this movie that much.I guess it's just not my genre.The film seemed very boring.The plot is extremely deep and intellect which is probably the only reason it got such a good grade.The dialogue is your usual love/romance dialogue.Everything is just so much like a fantasy that I felt stupid.If this was a book it was probably really well written and this would have been a good adaption, but this just isn't my type of film.I think I would have liked it better with a different cast.Christopher Reeve did a good job ;though.The setting is also nice.That and some of the plot is mainly the only reason it gets a 6.It lies on border line of fresh/rotten.Only check this one out if your a fan of the genre.

"Come back to me." These were the strange words uttered by aged actress Elise McKenna to playwright Richard Collier, and they have haunted him ever since. When he hears that Elise has died, an irresistible impulse leads him to travel to the historic hotel where she lived. There he discovers an old photograph of Elise and realizes, to his amazement, that in another life he was once her lover.
Richard wills himself into the past and meets Elise again, now young and beautiful and acclaimed. Their romance blossoms anew, but not even true love can defeat the power of time... ... Read more

Reviews (15)

A movie to watch just for fun!
The acting wasn't GREAT and the story line would OBVIOUSLY never happen. Who would actually tell something so personal as to getting an abortion after being raped to win a debate when she never told anyone else before? (sorry for giving a way part of the movie) But the reason why I give it so many stars is because it had such an affect on me that I've remembered this movie from when I was a child with fond memories. Going past all the bad acting and the far from being realistic it was moving enough to make me remember it. If you remember to watch the movie just to watch a FICTIONAL STORY it can actually be a great film.

Controversial!
Though it has been years since I saw "Listen", I remember it not for the quality of the acting, which I thought was fine, but for delivering the most eloquent argument against abortion I had ever seen, even to this day. Any movie that gets the range of comments that have been posted, from rave to rage, is certainly has to be called controversial. So the debate scenes did not match up to the life experiences of some, it is a STORY. Its message is very, very strong, and delivered quite effectively. Isn't that what movies, books, plays, photography, et al are about? I just saw "Cider House Rules", the flip side of the abortion discussion from "Listen". Try watching "Listen" and "Cider House" back to back for what should be quite an emotional and intellectual experience. I rate both films at least 9 out of 10.

PS: I am 64, male, anti-abortion, and pro-choice.

Painful, yet Humorous.
I watched LISTEN TO ME in a debate class in college. The reason we watched the movie is because it's about the only movie ever made having to directly do with collegiate debate. From what I've gathered from former debate team members, the movie isn't very realistic about what actually goes on during real debates. However, it does establish the basic tenets of debating and for that it's worth watching. It's also worth watching if you want a good laugh. The movie is one of the most-cliched, melodramatic movies I have ever seen. There is absolutely nothing original in the movie whatsoever. Some of the dialogue was so bad that the movie was actually painful at times, soothed only by the laughter that followed some more poor dialogue.

Timothy Patrick Quill, playing Garson McKellar, has a secondary role to Kirk Cameron and Jami Gertz. However, his role is the one that's the real meat of this movie and the only performance really worth watching. Roy Scheider also stars as Coach Charlie Nichols. Overall, LISTEN TO ME is a totally average (almost below average) Hollywood movie. It's worth watching if you have an interest in debate, are a fan of any of the actors, or just need some good laugh therapy.

Truth it ain't
So this movie isn't a realistic depiction of anything that has ever happened in college debate anytime, anywhere. None of us will ever debate in front of the Supreme Court, nor will abortion ever be a national topic (or at least I hope not). That said, weird stuff does happen in college debate, including one coach who used to pair his debaters up by their astrological signs. This movie is just a good time, fun to watch with other debaters over a few beers to laugh at. Great team bonding activity before a big tournament!

A Horrible Look at University-Level Debating
This movie attempts to portray the world of university level debate, and does a poor job at that. As a Parliamentary debater myself, I can assure you of this being an extremely poor interpritation. In the big final round before the Supreme Court for instance, the debaters use opinion as argumentation using brilliant lines as "abortion is wrong because God says so" and relaying a personal story about getting an abortion, all of which are totally irrelevant. Abortion is also pretty much not debated on any circuit because the arguements are cliche (much like this movie), and no one's opinion is changed. Even given the poor debate, the acting is miserable, and the storyline is dull and uninventive. I strongly suggest steering clear of "Listen to Me", unless you just want a good laugh at a poor attempt at film ;-). ... Read more

Reviews (2)

this episode
This video has two episodes that are highly ranked of my favorite episodes. The seal is my second favorite. BUY THIS DVD!!!!!!!!!!!!!!!!

Tense, as usual
Of the two episodes in this video, the best is The Seal. It is always great to watch the IMF in action. In The Seal, an ancient and sacred seal has been stolen from an obscure country and in the interest of obtaining their favor in the Cold War, it is the team's duty to return the seal.

While this is an earlier episode, you can tell the show was hitting its stride. All the elements are there: timed sequences, the fake accents, a magician, hiding in equipment to gain entrances, fake ids and what is always best - watching the team psych out their prey.

I do not recall having seen this episode and I was surprisingly tense watching this show...there is so much going on and you know there is always the unexpected surprise. This show had everything including a trained cat! Don't miss it. ... Read more

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In the cactus-studded Mexican backcountry of the 1860s, a surly drifter who could easily be mistaken for the Man with No Name becomes protector and lethal helpmate to a red-haired nun wanted by the French for aiding the Juarista revolutionaries. Essentially a two-character showcase for the newly stellar Clint Eastwood and what was beginning to seem the poststellar Shirley MacLaine (subbing for Elizabeth Taylor), this sardonic study in testy collaboration, mutual deception and distrust, and slightly creepy sexual attraction is highly rated by a fairly small number of critics--chiefly, one suspects, for the dual-auteur cachet of having been directed by Don Siegel and based on a story by Budd Boetticher. Others deem it an undersauced spaghetti Western and find that the stars grate on the viewer as well as each other. Cinematography by the great Gabriel Figueroa is some consolation, but... if only Boetticher had been allowed to direct. --Richard T. Jameson ... Read more

Reviews (21)

Great introduction to Westerns for women!
Westerns aren't known for having much appeal to women, but this one tops my Listmania list of "Westerns Even Your Girlfriend Will Enjoy."

Young Clint Eastwood and a gorgeous young Shirley MacLaine have real chemistry on the screen together in this romantic adventure. MacLaine plays Sister Sarah, a righteous but beautiful nun on a mission of political mercy. She's determined to get through some treacherous country on her own, with or without the help of the rugged Eastwood -- yer typical rougish figure turned reluctant hero.

There's a bit of a twist at the end... that I think is fabulous and brings closure to the whole story... Give it a watch and decide for yourself.

And sign up for notification for the release of this movie on DVD... This movie is definitely one to watch again and again and keep on the better medium.

Eastwood + MacLaine = Highly Enjoyable Western Romp!
Though a bit quirky at times, TWO MULES FOR SISTER SARA makes for great entertainment. This is mainly due to the pairing of Clint Eastwood and Shirley MacLaine; the two work surprisingly well (no, great) together, and form a hillarious duo. Do not be mislead by the DVD cover and back; Eastwood does NOT play his usual "Man With No Name", but rather a wandering nomad by the name of Hogan. One day he happens upon three men about to rape a young woman, and he of course plugs all three and saves her. Hogan is soon shocked to see that the woman is, in fact, a nun raising money for the Mexicans, and all the while on the run from the French. So the two pair up together, Sara in need of Hogan's protection and Hogan in need of her directions to a well-protected fort, where there is a safe full of over $1 thousand (I think). While the plot may not seem like much, what makes the movie so great is the constant bickering between the two superstars; seeing those two play off eachother is both fascinating and, at times, side-splitting. One can easily tell how this film served as a partial basis for the 1975 western ROOSTER COGBURN (AND THE LADY), in which John Wayne and Katherine Hepburn squarred off in a very similar fashion. One complaint I have about TWO MULES... is the score by none other than Ennio Morricone. Despite his brilliant music for Eastwood's MAN WITH NO NAME TRILOGY, his work here is far from impressive. But since the score is absent for most of the film, it is of little consequence.

After purchasing both "Universal Western Collection" editions of JOE KIDD and HIGH PLAINS DRIFTER, I was fearing more of the same here in terms of sound and picture. But luckily, this DVD is far superior in this sense. Unfortunately, there are even less extras present here than in those other discs; all you get is a trailer. But, as I said in my review for JOE KIDD, for $it's definitely worth it.

Clint Eastwood meets Frank Zappa
Pass on this hodgepodge of tuff guy meets nun/ballet dancer in a no-holds barred feature film guaranteed to bore you to tears.

Music from Heaven...
As one of the many people in the U.S. who engaged in a letter writing campaign to the film company, begging them to release a soundtrack recording for this movie, I can assure the previous reviewer that it wasn't available in the States when the movie was released. I can't speak for Canada, but as one of the people lucky enough to see the movie at it's New York Premier, and having seen it many times after that just to bask in the music and magnificent visuals again and again, I can tell you there was no soundtrack available when it first came out. The initial response we received to our letters was that a soundtrack wasn't planned at that time. It came out several months (nearly a year) after the initial release of the movie.

That aside, it is a dreadful shame that the entire soundtrack to Days of Heaven is not available by itself, as this recording is missing several essential pieces in the original LP soundtrack recording. The fact that this CD version hasn't been available for awhile, and used copies are nearly eighty dollars as of March 2004, tells me this soundtrack desperately needs to be re-released!

If you ever find this one at an affordable price, buy it immediately-this is gorgeous music...

...
I do want to correct one of the reviewers, "Days of Heaven" was initially released as a soundtrack upon the release of the movie but didn't stay in circulation for all that long. And with the pairing of "Two Mules for Sister Sara" this particular disc is once again going through the ranks of obscurity and hard to find, I know because I have spent 20 years searching to no avail. I was finally able to obtain "Days of Heaven" and shame on me from a music downloading site from a stranger from Denmark, he had no idea how much this music meant to me...it was my holy grail. It's a uplifting experience but sadly only 26 minutes of music that you never want to end. ... Read more

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This film, about a downsized engineer (Michael Douglas) who goes ballistic, triggered a media avalanche of stories about middle-class white rage when it was released in 1993. In fact, it's nothing more than a manipulative, violent melodrama about one geek's meltdown. Douglas, complete with pocket protector, nerd glasses, crewcut, and short-sleeved white shirt, gets stuck in traffic one day near downtown L.A. and proceeds to just walk away from his car--and then lose it emotionally. Everyone he encounters rubs him the wrong way--and a fine lot of stereotypes they are, from threatening ghetto punks to rude convenience store owners to a creepy white supremacist--and he reacts violently in every case. As he walks across L.A. (now there's a concept), cutting a bloody swath, he's being tracked by a cop on the verge of retirement (Robert Duvall). He also spends time on the phone with his frightened ex-wife (Barbara Hershey). Though Douglas and Duvall give stellar performances, they can't disguise the fact that, as usual, this is another film from director Joel Schumacher that is about surface and sensation, rather than actual substance. --Marshall Fine ... Read more

Reviews (133)

The movie's pretty DARN GOOD, if you ask me.
If you're a fan of the Charles Bronson stuff, this one's for you. Micheal Douglas (deeper into the movie, you'll forget it's even him) gets to act out all the heroic violence the average citizen have fantasized about doing. The actors portray lives that the ordinary citizen can related to. The acting in the movie is top-notched, although stereotypical, very real, made even more real with well-placed profainity like, "give us your f----- briefcase!" and at the end, "F--- you very much, f--- you very much." All this, the whole movie, takes place within one whole day of a familiar society. The music really helps to bring out the urban wilderness, not to mention the piece at the end. Oh, what a cooling conclusion to a long heated day! I especially enjoyed t