Reviews (3)

Good TV Movie.
The Kissing Place is a good movie, the title is really weird and the story is kind of weird and a little scary but the movie is good, it's about a boy who begins to have nightmares and starts to wonder if the people he grew up with are actually his parents.

I don't know the name of the child actor who played the boy but the parents are played by David Ogden Stiers from M*A*S*H, and Meredith Baxter Birney from Family Ties.

Not a movie I would want to buy but it would make a good rental or a good movie to watch if it happens to be shown on TV.

Meredith Baxter Gives an Outstanding Performance!
This was a great movie and Meredith Baxter was outstanding and it was a complete shock to see her play such a psychotic character when you knew her as the loving mother with the happy, sunny disposition on Family Ties, she really scared the daylights out of me in this movie!

ONE OF THE BEST PSYCHOLOGICAL THRILLERS SINCE MISERY!!
Like Kathy Bates in Misery, Meredith Baxter Birney delivers an outstanding superb performance in this made-for-TV thriller. In general, most people probably hasn't heard of the movie. When I first saw this movie on television ten years ago, I couldn't stop watching until the movie was off. In consequence, I bought the movie. Now, I have to say that this is one of the best made-for-tv thrillers I have ever seen. I would recommend this movie to anyone whose searching for a thrilling epic.

The movie starts out nice with Tommy(Billy), Florence, and Charles as one big happy family. Then, Tommy starts snooping around and questions whether or not Florence and Charles are his real parents. Continuously, Tommy has dreams of a playground (known as the kissing place). He pictures himself going down a slide. The more dreams he has, the more the truth reveals.

At last, when Tommy figures out once and for all that they are not his real parents, he takes a stand for running away and finding the kissing place. That did not stop Florence from trying to stop Tommy.

In the end, everyone mangles together to set the truth across. If anyone out there gets the chance to watch this movie, I hope whoever finds it exciting as much as I did! ... Read more

Reviews (40)

The 2nd Best Marx after Duck Soup
Night at the Opera is different from their first 5 - in a nutshell, as everyone else had commented, there's no Zeppo, more music, Margaret Dumont is back, bigger role for romantic leads, and the comedy is somewhat more disciplined, i.e., the antics are perhaps less spontaneous than earlier films.

I understand criticisms leveled by those who prefer to skip the plot, musical numbers, and romantic plot development, but I wholeheartedly disagree that the movie is somehow lesser because of it, particularly the music. The brothers were an extemely musically talented trio, and throughout their lives saw themselved less as a Comedy show and more a variety show. To disregard the musical numbers as "filler" is to show a lack of appreciation for a performing art they held in very high regard.

I have always felt The Marx Bros. were more "in Character" here than in most of their other films (Duck Soup, Horse Feathers, Animal Crackers, are also good in this regard, as is Day at the races, to a lesser degree). Everything from the contract swindle ("the party of the first part...") to the organized fooling of sgt. Henderson ("now there are four beds - I know I'm crazy!") to the stateroom bit ("Is my Aunt Minnie in here?") to the methodically brilliant destruction of Il Trovatore in the finale are examples of great writing that suited the personalities of the brothers.

Duck Soup or Horse Feathers may be their funniest films, and Animal Crackers may be more memorable for it's classic scenes, but Night at the Opera in my opinion is the most well-balanced of all thier movies. I feel it's the best-written, best-produced, has the best plot, and contains BY FAR the best acting among suporting roles. If Duck Soup weren't so well-paced and funny, Night at the Opera would be my favorite.

The Marx Brothers at their very, very, best. Classic Comedy
On the one hand I want to say that I think "A Night at the Opera" is the greatest Marx Brothers comedy because their peculiar brand of lunacy works better when given a real world target such as Opera than in the fantasy land of Freedonia in "Duck Soup." On the other hand I want to say that I think "A Night at the Opera" has more funny stuff in it than "Duck Soup." I do not even want to begin to get into any consideration of what difference the retirement of Zeppo meant in all this. I just want to laugh my head off.

Groucho is Otis P. Driftwood, too busy trying to fleece Mrs. Claypool (Margaret Dumont) to waste time running an Opera Company. Harpo is Tomasso, the much abused valet to the pompous tenor Rudolpho Lassparri (Walter Woolf King), while Chico is Fiorello, self-appointed agent for the unknown but talent young singer Ricardo Baroni (Allan Jones), who is in love with Rosa Castaldi (Kitty Carlisle). When Groucho loses his job to stuffed shirt Herman Gottlieb (Sig Ruman), it is up to the Marx Brothers to restore order and sanity to the universe.

In terms of classic comic routines "A Night at the Opera" gives you (1) the Stateroom scene with all those people (and don't forget the hardboiled eggs); (2) Groucho and Chico discussing the clauses in a contract (including the Sanity Clause); (3) Chico and Harpo working "Take Me Out to the Ballgame" into the overture of the opera (get your peanuts); (4) a dinner date between Groucho and Margaret Dumont (looking at him is the price you have to pay); and (5) Chico the Russian aviator explaining how they flew across the Atlantic Ocean in a boat (always remember to take enough gas or else you will have to turn back). There are more-you now Chico plays the piano, Harpo plays the harp, and Groucho deflates a pompous windbag at some point--but I want to talk about other things now.

I think the person who really helps sell this film is Kitty Carlisle. In every Marx brother movie there are the boys, there is Margaret Dumont as the foil, and then there are the young boy and girl who sing their way into your hearts. Carlisle and Jones (the only boy singer to appear in more than one Marx Brothers movie) are clearly the best pair to ever take on these thankless roles. The boys clearly like her and take her seriously, which she does in return, giving "A Night at the Opera" a sense of heart. This does not happen in Marx Brothers movies (compare it to the campy efforts of the young lovers in "Animal Crackers"). On top of all this, Carlisle and Jones can sing and their duet from the end of Il Travatore is much better than all the sappy songs that the lovers usually sing in these films.

"A Night at the Opera" is directed by Sam Wood (who would later spend some time directing scenes on that "Gone With the Wind" film you hear so much about). James Kevin McGuineess receives story credit but the key thing is that George S. Kaufman had a major hand in the script (until it ended up in the hands of the actors of course).

Notes: Look for the father of the Marx brothers on the pier when the ship sets sail and please remember that it Leonard's stage name is pronounced "Chick-o" not "Chico." Put an end to this Marxist reinterpretation nonsense.

The beginning of the decline
Many think this film the best or one of the best the Brothers Marx ever did. It's probably a matter of taste (well, it's certainly a matter of taste), but I think the first MGM comedy by the Marx Brothers is scattershot. Groucho, Chico and Harpo are in top form, and when they're on -- and allowed to dominate a scene -- the film is terrific. The stateroom scene is still funny after 70 years, and the finale at the opera is Marxist anarchy at its finest.

But when they're off screen (at least a third of the movie), you're left with an embarrassing melodrama I'm sure the movegoing audiences of 1935 found as sappy as I did. Bad enough the young Italian lovers sound like they're from New England section of Italy; worse are the musical interludes, which bring the film to a halt and destroy any comedic momentum the Marxes have created. A scene where Chico, Harpo and Jones show off their musical prowess goes on far too long and completely stops the film. Their earlier comedies had musical interludes, but they were woven into the films better. The opening number in Duck Soup, for example, is a lengthy set-up to the first joke; ditto the "We're Going to War" number. When the young lovers in A Night at the Opera sing "Alone," there's nothing but the youngsters staring moonily at each other. Their voices are fine, but the studios of the time were never short of movies with beautiful youngsters singing to each other. It's unnecessary here, and it reminds you the Marx Brothers aren't on screen.

"A Night at the Opera" was the Marxes' most successful comedy at the box office, and probably the most popular film they ever did. But time has been kinder to their earlier Paramount productions. Those films are stagebound, but they have a madcap energy the MGM films never recovered.

If you're a real fan of the Marx Brothers, you've probably already seen this; the rest of you should start with Duck Soup or Horse Feathers. A Night at the Opera was, unfortunately, the beginning of the end for this legendary team.

"No need of you reading that, because these are duplicates."
Many have argued that A NIGHT AT THE OPERA is the Marx Brother's finest film, pointing out that it combined the best of the Brother's comedy with the biggest and boldest in MGM production values. Personally, while I really like the film, I wouldn't quite put it in the top slot. Any of the sequences containing the Marx Brothers themselves are gold, but I find that I'm not as enamored with the romantic subplot and singing as other reviewers have been (notably Leonard Maltin in this DVD's commentary). Still, arguing about which one of the fine films is actually the best is a little pointless. This is a great movie, regardless with how it compares to the others.

The biggest thing this film has going for it (outside of the wonderful Marx Brothers themselves, of course) is the big production values that MGM splashed out on. I have mixed feelings about this. On the one hand, it's nice to have some great big sets for the Brothers to clown around in (Harpo's stunt double swinging through the rafters is great), but all things considered, I think I prefer the tongue-in-cheek send-up of the big dance numbers (as done in DUCK SOUP) to the production dances which are played straight here.

Margaret Dumont is underused, which is a shame since her dignified outrage usually accounted for big laughs. She gets a good scene at the beginning, and a handful of opportunities to look indignant later in the film, but she isn't the constant presence that she had been in other films.

Still, while I can pick out a few flaws here and there, this is overall a hilarious and fun movie. Much of what is considered classic Marx Brothers material is from this film: the too-many-people-in-the-stateroom scene, the Marxian deconstruction of a legal contract (if anyone thinks that "'The party of the first part' shall be known in this contract as 'the party of the first part'" isn't realistic, then I can show you fine print I've received from credit card companies that are even more tautological than that), and, of course, the grand finale wherein the three brothers completely destroy an opera-in-progress.

The DVD also contains an all-new documentary, which features (among other people) co-star Kitty Carlisle, who is amazingly sharp for being in her 90s, and Dom DeLuise, who talks a lot about food and appears to have been interviewed in the middle of making breakfast (no, I'm not sure why he's here). This is mostly a talking heads interview documentary and there's not a whole lot of brand new material or trivia, but it is nice to see some differing perspectives on things. The story of how Groucho got his name contradicts the anecdote given on the commentary track, and Carlisle refutes the conventional wisdom that states that Margaret Dumont didn't get any of the jokes Groucho was bouncing off her.

A short except from a 1961 broadcast of "The Hy Gardner Show" (who?) reveals Groucho recounting the story of he and his brothers stripping naked and roasting potatoes in the office of Irving Thalberg after the famed producer kept them waiting once too long. I trust you will enjoy the anecdote, because it's told a whopping three times during the course of these DVD extras. Shockingly, none of the tellings blatantly contradict each other.

Two shorts have been included as extras, though I'm not sure I understand their relevance. Robert Benchley's HOW TO SLEEP won the Academy Award in 1935 for Best Short Subject/Comedy, and it's certainly entertaining enough. As for the other short, SUNDAY NIGHT AT THE TROCADERO, well, I'm baffled. I can't make heads or tails of it. Set in a nightclub, a Hollywood talent scout is visiting this ritzy affair. Numerous song and dance people are attempting auditions, while the club's doorman is trying to impress by doing very bad celebrity impersonations (it didn't help that half the time I didn't recognize the name of the person he was impersonating or the name of the person people actually thought he was doing). Cameos by stars of the day abound by having the camera cut to different tables and a voice over shouting, "Hey, look! It's Bob Has-been!" (or whoever). It isn't helped by the fact that most of the careers of these minor celebrities ended soon after the shoot, so for me I was watching cattle call of anonymous hotshots. I couldn't figure out why these people were appearing as themselves. Was the audience supposed to believe that these people really hang out at this fictional locale? Groucho Marx (out of character and costume) has a three-second cameo where he looks as confused as I felt.

I'm wary of commentaries performed by people who weren't actually born when the film they're talking about was made, but Leonard Maltin does a fine job here. He relates a lot of anecdotes about the Marx Brothers, points out how the script is layering the subplots, and relates a lot of trivia that I had never heard before (for example, the only surviving print is actually an edited version made during WWII when all references to Italy have been removed, which explains why the film bizarrely never tells you were the first scenes are set). He even gets into the fun, shouting "What a twit!" when the evil opera singer refuses to sing on the cruise-liner for free.

Although the DVD of A NIGHT AT THE OPERA is included in "The Marx Brothers Collection" box set, it is also available for individual sale. Although I slightly prefer A DAY AT THE RACES (also out on DVD now), I couldn't recommend anyone not pick up this film. For Marx novices, there's a great movie. For Marx aficionados, there's informational material that may be enjoyed. In any event, the powers that be have given a great film an excellent treatment on the DVD format.

Tiresome
Almost everything I write about stuff for Amazon gets either ignored or negative responses. I hardly expect this to fare any better. My original intent was to buy the 7 disc set of the Marx Bros (also just released), I grew faint-hearted near the deadline and canceled it and ordered the only 3 I wanted: Opera, Races and Casablanca. I think the first 5 "lost" Marx Bros movies (I have them on DVD and treasure them, all but Duck Soup, with a screenplay by one of their song-writing teams) are (so far) their funniest. Chaos, pandemonium, idiosyncrasies, personality. Either I was despondent when I watched this flick or else the Marx Bros' antics had worn thin for me. (I remember loving all their movies 30 years ago.) I was bored, saw what was supposed to be funny and didn't think it was. There were a few witty remarks, but those came from either Kaufman or Ryskind, not the Marx Bros. And on that subject, I never (at least not before The Solid Gold Cadillac) thought I'd ever watch or read a Kaufman play and not think it was hilarious. I did not think this was hilarious. The opera they featured at the end was Verdi's Il Trovatore, I don't like that opera anyway, particularly the mezzo gypsy song, particularly all of it. I thought the whole movie was watery, thin, dull and not the best of the Marxes, and not particularly funny. I just opened Casablanca. Tomorrow morning I'll take a crack at it, though I remember much of it now. I remember (and make the connection between that movie and this) that Harpo had gone from being an innocent who chases girls to a character who gets knocked around a lot by the heavies. I don't like the change. The characters, the (well, I said it already) idiosyncrasies and personalities of the brothers just weren't there in this movie. Sigh. I have 2 more to go. ... Read more

Reviews (2)

ONE OF THE GREAT TELEVISION SERIES
James Garner is one of the finest actors in television history. Unlike many actors in long-running series, he gives a fine performance in every episode. The true charm of the series is a combination of his acting ability and the terrific supporting cast and guest stars in addition to great script writing. The episodes are not simply "action" stories but frequently deal with the psychology of the various leading characters as well as the social mores of the United States and more specifically Southern California in the 1970's, sometimes seriously, sometimes in a satirical or humorous way, but always interesting.
Why isn't there TV like this any more?

Great episode, slightly flawed presentation.
This is a clever episode from the show's brilliant first season. Private eye Jim Rockford tries to track down a man who may have faked his death to grab a $400,000 insurance claim. James Garner already seemed completely comfortable in the shoes of Rockford, and there's great support from guest star Jill Clayburgh (who manages to look cute in a '70s-style afro).

For diehard fans of the series, however, there's a rather egregious cut made of a crucial scene that shows how Jim gets out of a scrape. Viewers who haven't seen the missing footage will find themselves wondering what happened. It seems that MCA Home Video used a syndication print, rather than an original master. In sum, then, five stars for the episode and the visual quality of the print -- but two stars must be subtracted from the overall rating given the editing.

"Rockford," by the way, is a series that cries out for a comprehensive release in the Columbia House Video Library series. ... Read more

Reviews (2)

"Twenty thousand dollars buys a lot of gro-cer-ies."
I've bought all the "Rockford Files" episodes that seem to be on the market (except for "Nice Guys Finish Dead"), and this one, "The Kirkoff Case", is my favorite of them. It's entertaining from start to finish, and it exemplifies the producers' ability to pack so many memorable, humourous, yet believeable scenes into so little time without making things seem rushed.

Guest star James Woods is superb as Larry Kirkoff, particularly in those distracted-in-thought facial expressions he makes a few times while Rockford is talking to him. Regular Joe Santos is especially strong in his performance as Sgt. Dennis Becker. And guest Abe Vigoda is perfect in appearance, voice, and subtle hand movements in his brief role as "labor-union" (mob) boss Al Dancer.

Recommended reading.

Rockford Files:The Kirkoff Case
James Woods did a great job in this show.He was very great in it.One of my favorite Rockford Files Shows.It's a good Action Show. ... Read more

Reviews (7)

A mirror image to the Pianist
Possible spoiler herein...
Better than the Pianist? Tough call, but yes in many ways. Polanski is definitely better cinematically, but Wayda, from Holland's script, renders human relations more finely. Probably its biggest weakness is the choppiness between plot lines. For me, the Poles definitely lead the way on cinematic treatment of the Holocaust.
Szpilman was aloof, and Korczak fully engaged, and their trajectories diverge. Korczak was a world renowned orphanage director and pediatrician, whose radio show was massively popular among all Poles before the War. This meant he was given every chance to escape safely, and walk away from his hundreds of Jewish orphans in the Jewish ghetto; but, instead, his absolute devotion to giving his orphans some semblance of childhood drove him to "deal with the devil himself." On the other hand he knows that the children will have to deal with death at an early age, and he is committed to giving them appropriate comfort and emotional tools. Perhaps the most humane treatment death and childhood in film. It also points to the conflict in impossible situations between those remain dignified and steadfast to humane ideals and those who resist with violence.
The film could be pedantic, but Wojciech Pszoniak (Korczach) is a toned-down, serious version of Robin Williams (close to Oliver Sacks in Awakenings). This gives a much more honest (and probably more loving) approach to helping children to face hardship than "Life is Beautiful."

Korczak, my hero, the reason why children are understood.
I love Korczak, I love the person. I have read some of his works, and I wonder how he understood the child so well. he never had a child of his own but he was the 'mother of 200 children'......

the movie will show you the kind of man Korczak was.....

the story is amazing, and true.

I am so glad this movie was made \

a masterpiece!

The Great and Loveable Teacher Korczak
Every movie Andrzej Wajda made is unique and memorable and many of them are masterpieces. This film made in 1990 is one of my favorites. If you've seen Polanski's THE PIANIST this is an excellent film to see if you want to learn more about what life was like in the Warsaw Ghetto.

Before war breaks out Korczak has already achieved much notoriety. His voice is heard by millions on his radio show and he is recognized in the street by both Poles and Germans alike as a progressive minded humanitarian. He is also a doctor who runs an orphanage for Jewish children and in the opening scenes we hear him on his radio program as he tells just how much his childen mean to him. As soon as the political climate within Poland changes however the doctors program is cancelled and before long the doctor along with his 200 children are marched toward the Warsaw Ghetto. At first the doctor believes the war will be a short one and he confronts the Germans and shames them for their mistreatment of the Jewish Poles. But as events unfold the doctors optimism becomes dimmer and dimmer. It does not take long for people to start dying in the ghetto of starvation and sickness and the doctor soon comes to realize that is very unlikely that either he or the children will survive the war. Death is everywhere around them and the doctor sees all that he can do is try and make this constant contact with death less fearful and so writes plays for the children in which death is experienced as a peaceful thing. These are hard scenes to watch and as moving as anything you will see on film but there is also a beauty to them as they show just how profoundly the doctor feels the childrens suffering. The doctor believes in not just feeding the childrens and caring for them when they are sick but also he believes in making good people out of them and despite the dire circumstances he never ceases acting with the childrens interests in mind, their interests always come before his own. They all admire him and look to him as a beacon of hope. And the doctor does not fail his children. The last scenes of the children walking proudly hand in hand with their Korczak are moving and uplifting even though we know what fate awaits them. The ending of this film has a lyric beauty that I will not give away but I could not give it away even if I wanted to as it really trancends any description of it--you just have to experience it. We feel what the children feel for their beloved Korczak and in a way we all--the best part of ourselves-- marches with them.

The very highest recommendation.

Gripping true story of the Holocaust
This film is different from other depictions of the Holocaust in that in focusses on life in the ghetto. At first, the acting seemed overdone. But as I was drawn into the fascinating true story of Janusc Korczak, a physician and beloved national star of a children's radio program who moved to the ghetto with the children in the orphanage he ran, I began to appreciate the acting style of another culture. Korczak, who was given many opportunities to escape, remained with his children even until the bitter end when they are all deported to Treblinka. The ending (I will not spoil it for you, as one of the other reviewers said too)is absolutely brilliant. Korczak's progressive ideas about the education of children, his pleas to raise money for the orphans, his struggle in the ghetto are all brilliantly portrayed. This film, along with "Schindler's List" (and to a slightly lesser extent, "Europa, Europa") was directed, acted and written in such a way that one word comes to mind: genius.

1 Star for the Video - 5 for the Film
Once again, thanks to New Yorker Video, we are offered a priceless foreign film. So priceless, in fact, that I couldn't afford it. New Yorker often offers videos from their film collection at quite preposterous prices. It's time they realized that the films in their collection are hardly the easiest to locate at your local video store and are best offered to serious collectors - at reasonable prices! ... Read more

Amazon.com

Orson Welles's 1948 Macbeth is an expressionist masterpiece about a doomed man of ordinary ambition who believes an evil prophecy that he will become king. As depicted by Welles, the title character is not a warrior king or a conscience-stricken, poetic soul on a par with Hamlet; rather, he is a facile, superstitious man consigned to fate even as the character does not trust fate. For her part, Lady Macbeth (Jeanette Nolan) is merely obsessed with the unimpeded exercise of her will to power, viewing her husband's life as a tale told by an idiot. Welles has also created some new scenes here, conflating several characters into a "Holy Father" (Alan Napier) while eliciting strong supporting turns from Dan O'Herlihy (Macduff) and Roddy McDowall (Malcolm). Though the technically poor soundtrack and the occasional indecipherable Scottish brogue make the film seem a trifle compromised at times, each moment feels preternaturally alive. --Kevin Mulhall ... Read more

Reviews (22)

A Fair and Foul Shakespearean Rendition
Any film directed by Orson Welles is engrossing and worth the time. MACBETH is no exception. For those of you familiar with the 1971 Roman Polanski version, Welles brought to the screen a darker, more nightmarish world than Polanski could envision. The lighting is stark and the shadows ominous. Macbeth's madness increasingly pervades the atmosphere of the entire film, making the viewer unwilling to view this film with the lights out. The restored version presents Welles's original conception; the actors speak their lines with authentic Scottish burrs (Welles was forced to redo the soundtrack by the studio brass). A fascinating journey and imaginative interpretation of Shakespeare, Welles's MACBETH remains a major additon to American cinema and reveals the classical literary talents of one of the US's greatest visual artists. END

Orson Welles And Shakespeare At Their Best
Without a doubt Orson Welles is the perfect American compliment for William Shakespeare. Superbly directed and acted on a melancholy stage in haunting black and white, the poetic license with Shakespeare's Macbeth can be forgiven because of the intensity and brilliance with which this play is performed. There is a great supporting cast which includes Roddy McDowall that as in all ensemble productions draw the viewer into the play not as a witness - bystander but as a performer in concert with the actors. Welles of course was a genius, being one of those rare performers - entertainers who made the audience beg for more! I wish he had produced versions of Hamlet, Othello, King Lear and other Shakespeare plays. Even if you already own a good version of Macbeth, you must have this version! Welles set the standard by which all others are measured.

"Returning were as tedious as go o'er."
The good news? For his last Hollywood film of the 1940s, Orson Welles delivered a low-budget, inventive, expressionist Shakespeare adaptation that served as a template for his experimental European films. The bad news? Welles perhaps captures the eerie mood of "The Scottish Play" all too well; the film is an unrelentingly dark and often uncomfortable experience. The lugubrious pacing and indifferent acting offer little respite from the play's fatalism.

A little background helps one better appreciate this film. After a string of box office failures (including "The Magnificent Ambersons" and "The Lady from Shanghai"), Welles signed on with Republic Pictures to do a low-budget "Macbeth," hoping that he could popularize Shakespeare on film as he had done on radio and in the theatre. His actors rehearsed the play on tour, and painstakingly pre-recorded their dialogue in Scottish brogues. Welles then shot the film in 23 days, some kind of record for him. Well, you can guess what happened: The studio hated it. They forced Welles to cut 20 minutes from the film, and made the actors re-dub their dialogue with "normal" accents - wasting all that time they spent in pre-production. The film bombed on release and Welles spent the next 10 years working in Europe.

Years later, the original prints were found and released as another "Lost Welles Classic." Unfortunately, time has devalued that label; "Macbeth" doesn't quite meet the standard set by "Othello" or "Touch of Evil," two other films that were restored after Welles' death. While the Scottish accents are a nice touch, the extra running time actually robs the film of some momentum. Welles did wonders with the cheap Republic sets; the film is a masterpiece of expressionist set design. The same can't be said of the costumes, which make Welles look like the Statue of Liberty at one point. Constrained by having to sync their movements to pre-recorded dialogue, the actors deliver wooden performances (only the soliloquies, delivered in voice-over, resonate). Fortunately, the last twenty minutes are visually captivating and offer enough Wellesian moments to make the viewing worthwhile.

If Welles fails to make a silk purse out of a sow's ear - as he would later do with "Othello" and "Chimes of Midnight" - he succeeds in developing an expressionist style that he would later perfect with his bizarro masterpiece "The Trial." "Macbeth" isn't exactly an enjoyable movie experience; indeed, "returning were as tedious as go o'er." But for the Welles aficionado, "Macbeth" provides an essential link between Welles' Hollywood years and the independent style of his European work.

Another Great From the Master
I own this film on VHS and on Laserdisc and I am hoping that it will soon come out on DVD. Certainly there are some technical problems with the production, but it is a 1948 film so some of that can be excused.

Welles vision of MacBeth has the texture and feel of a nightmare. The backdrops are unfinished, muddy charicatures of the objects and places they represent. Scotland is an eerie, nightmarish landscape that is constantly misty and partially unformed. The use of the b&w medium superbly creates a feeling of dread and foreboding in the audience who is drawn ever deeper into the madness of the story. This is vintage Welles, who loved to make the tone, timbre, hue and texture of every part of the movie relate to and support the story he was filming. Certainly the work of a genius.

Most people know the basic story. MacBeth (Which literally means "Son of Life"), is given a prophesy that he will become king of Scotland and tells his wife of the prophesy. Lady MacBeth then uses MacBeth's insecurities to manipulate him into murdering the true king and assuming his throne. Guilt-ridden and paranoid, MacBeth begins a reign of tyranny and sinks into madness. Finally, the English invade and end his reign of terror. MacBeth, who is shown as no more than a pawn in this story, finally gains a measure of grace and dignity when he faces MacDuff in combat. We finally see in death the couragous man MacBeth could have been - indeed was before he allowed his and his wife's greed to corrupt him - MacBeth rises above his fate and becomes master of his own destiny by crying-out the infamous phrase "Lead on MacDuff, and damn the man who first cries hold - enough".

All in all, I have been impressed with this film from the first time I viewed it and I do hope it comes soon to DVD.

A note on the soundtrack - In 1949 the studio refused to release this movie until Welles overdubbed the original Scottish Brogue with more traditional Shakespearian English-accented speech, arguing that the Scottish was unintelligible. I think the most important part of the reconstruction of this film is the return of the original Scottish soundtrack - It adds so much to the grittiness and the darkness of the movie. After two or three viewings, most of the dialog comes clear, so in the first viewing the accent is just a bit of an inconvenience.

Orson Welles was an egomaniac
Yes Orson Welles was one of the most influential filmmakers in the United States, but he was also an egomaniac. Orson takes on William in his adaptation of 'Macbeth'. Orson, do you feel the need to be in EVERY SCENE? I know you think you are a great actor and director, but do you need to put yourself in EVERY SCENE?? ... Read more

Amazon.com

Robert Wise, who directed the classic boxing noir The Set-Up in 1948, also made this 1956 biopic about the life of Rocky Graziano, a one-time juvenile delinquent from New York's back streets who became World Middleweight Champion. Paul Newman, though in the thick of his mannered, Method approach to acting in those days, is wonderful as the impoverished young Graziano, who finds success in the ring through a combination of talent, hope, and tenacity. The script by Ernest Lehman is layered with well-meaning social-consciousness and observations about the effects of poverty, but that is less impressive than cinematographer Joseph Ruttenberg's outstanding footage of fight scenes. Steve McQueen and Robert Loggia made their screen debuts with this film. --Tom Keogh ... Read more

Reviews (10)

The Original Rocky: Cliched but Supremely Well Done
The boxing film genre is, by its very nature, always viewed through a prism of cliches. From the very first fight films of the thirties, usually with Cagney as the fighter and Bogie as the crooked fixer, Hollywood has delivered a nonstop series of boxers on film who, for the most part, have resonated with the viewing public. The better ones linger in the memory, and with SOMEBODY UP THERE LIKES ME, director Robert Wise presents the true to life story of middleweight champion Rocky Graziano, played in the performance of a lifetime by Paul Newman. Newman has been so good so often in future films using his face and voice, that it is refreshing to remember that as Rocky Graziano, he could combine that busted face and Brooklyn accent with a physical ferocity in the ring that compares favorably with the best of Stallone's Rocky. Newman plays Graziano as the thug that he surely was. First as a street hood, then later as an army malcontent, Graziano seems on the fast track to prison and an early death. Paradoxically, it is the very bitterness of his soul that convinces his manager Everett Sloane to take a chance on this tough kid as a professional fighter. Along the way, the cliches start to pile up: Sloane's 'Meshuganah' Yiddish accent; the complaints of his future wife (Pier Angeli) that she can't stand the fight business; and the many altercations that Graziano has with the rule-bound boxing commission, which is determined to make Rocky adhere to a set of rules that from the first reel, he would fight with the same ferocity that he would later show in the ring. But by the time these cliches add, the audience no longer cares that they are cliches. Now they care very much about the motivation within Rocky's soul. When Rocky forgets to attend a scheduled fight only because of the trauma of a breakup with Pier Angeli, the audience can feel the pain of his broken heart which does not leave room for such petty details as punching some opponent's lights out. And there are the fight scenes. The climactic battle with champion Tony Zale, the 'Iron Man,' is one of the best choreographed fights ever filmed. Court Shepard, who plays Zale, is an intimidating presence, who says not a word during this long bout, yet his etched in concrete face tells Rocky all he needs to know that Zale is no joke. The blow by blow narration done over the radio by real life announcer Henry Wismer adds a grueling note of authenticity to a fight that leaves the audience gasping at the pounding Graziano and Zale give each other. Throughout the film, Newman gives just the right note of a street born Brooklyn tough guy who slowly comes to realize that the toughest bout of his life need not take place in the ring itself. Connecting to his wife and father gave Rocky more internal bruises than the Iron Man ever could.

One of the best boxing movies ever made .
Paul Newman does an exellent portrayal of a young and future middleweight champion. Rocky Graziano was one of the most colerful fighters of his time. Newman and Rocky worked together and spent alot of time making this movie believable.

A Surprisingly Good Movie
SOMEBODY UP THERE LIKES ME is the story of Rocky Graziano from his troubled early life through his victory over Tony Zale which gives Rocky the world middleweight boxing championship. Paul Newman excels as Graziano and Pier Angeli is superb as his girl friend and future wife Norma. It is a surprisingly good film with a strong supporting cast which includes Everett Sloane, Eileen Heckart, Sal Mineo and Harold J. Stone.

The movie won Oscars for Best B&W Cinematography and B&W Art Direction. It was also nominated for Best Editing.

James Dean was the first selection for the role...
James Dean was the first selection for the role. His first it would have been after "GIANT".

Need we say more??

Great movie.

A.C.

One Of Newman's Finest Roles!
In this movie Paul Newman plays the role of Rocky Graziano.The
boxer Graziano was a one time juvenile delinquent who actually
wound up serving time in the penetentiary.This movie vividly portrays the hard knocks that Graziano had to endure during his
life and his boxing career.Through hard work and intense training
Graziano became the middleweight champion of the world.This is a
very touching movie that shows what determination can do. Graziano displayed these traits. This movie was also the debut of Steve McQueen. A very good movie that you must watch. ... Read more

Amazon.com

The overwhelming conclusion of this 94-minute movie is that being aprophet is tough. Jeremiah (Patrick Dempsey) is repeatedly imprisoned and beaten, dropped into a muddy well face first, and forced towitness the stabbing death of his fiancée. And all for repeating messagesfrom God, most of them urging the Judeans to submit to Babylon's KingNebuchadnezzar (Klaus Maria Brandauer). Dempsey gives an earnest performance, ably assisted by a strong supporting cast. Writer-director HarryWiner spends the first part of the film on Jeremiah's formative years ofvisions, moving on to his contentious relationship with King Zedekiah, whoultimately--and tragically--listened to his general (Oliver Reed) rather thanthe prophet. This bleak film ends with the fall of Jerusalem to the Babyloniansand Jeremiah's self-comforting thought that the city will rise again. Parentsshould be aware of some disturbing violence: in addition to Jeremiah'sfiancée's murder, Zedekiah sees his sons fatally stabbed before he iskilled. --Kimberly Heinrichs ... Read more

Reviews (12)

The character with creative license
I was not aware that Bible stories were being revisited by movie studios anymore. From the previews of this video, I see that Trimark has made movies of Genesis, Esther, Solomon, Jeremiah, and Jesus. These are all part of a series.

If the other films are like this one, there is a bit of creative license. The book in the Bible deals more with the prophecies from God that Jeremiah told the people of Israel. We get very little about the man. In the movie, however, the writers have given him more of a background. They also provide him with a love interest, and we also see some of his childhood. He also has a couple of helpers including a scribe and a eunuch.

Although I would rather they keep to the Bible, I don't think this background hurts the film. Not every statement from the book of Jeremiah is listed in the movie, but this movie is enjoyable without taking away from the prophet. I would simply remind myself that not all of this is found in the Bible.

I would recommend this movie.

Good but not best of Turner Bible series
This video is a pretty good video about Jeremiah. I've been wanting to get this video for awhile. I already had watched Joseph and Solomon which were pretty good videos too. I got this video along with Esther. Patrick Dempsey makes a great Jeremiah. Patrick Dempsy protrays Jeremiah as an ordinary man whom God calls to be a prophet. Klaus Maria something [I can't remember the guy's complete name.] plays Nebuchadnezzar who seems real mean! But that's the way probably Nebuchadnezzar is. One major thing that I didn't like about this video is when God calls Jeremiah they used a little girl and an old man to protray God when He talks to Jeremiah. The story begins when Jeremiah was just a kid during Josiah's good reign and ends not long after the destruction of Jerusalem. There's unbiblical people in the movie such as Jeremiah's sweetheart Judith,General Sharpton,and maybe others. But I did like this video. It follows fairly close to scripture and is pretty entertaining with good actors. It is however not as good as some of the other Turner videos (such as Joseph, Solomon) but I found it better than esther. Have not had the opportunity yet to see Abraham, Moses, David. Jeremiah's words from the Bible are sparse in this video.

"Behold, I have put My words in your mouth"
This film is an excellent telling of Jeremiah's life, and although time has been compressed, and some fictitious characters added to fill out the scenario, the heart of this part of biblical history is intact, and follows the accounts given in The Book of Jeremiah, II Kings 23-25, and II Chronicles 34-36.
Some of the additions: The lovely "Judith" (Lenor Varela) as an early love interest, and "General Safan", played by that lionesque man, Oliver Reed, as one of Jeremiah's adversaries, and someone who consistently gives bad advice to the king.
Among the omissions: Jeremiah's good years, when he was a friend and confidant to the devout King Josiah, which ended in 609 B.C. with the Josiah's death.
Jeremiah was older when most of the events that take place in this film occur, and had been ministering since 627 B.C.

The film starts with the finding the scriptures, which King Josiah reads to the people, and a young Jeremiah, "I cannot speak, for I am only a youth" (Jer. 1:6).
Sixteen years elapse, and in some of the following scenes, Jehoiakim (Josiah's son) is king, and the constant and brutal persecution of Jeremiah begins.
Patrick Dempsey is wonderful as Jeremiah, and also Stuart Bunce as his faithful scribe Baruch (it is Baruch who in all probability recorded The Book of Jeremiah).
Enter Nebuchadnezzar, played with gusto by Klaus Maria Brandauer. This is one nasty guy, but he is the instrument to complete Jeremiah's prophesies, with his armies sacking and burning the temple (in 586 B.C.) and the ensuing famine in the land. Nebuchadnezzar takes Jehoiakim's son and succesor Jehoiachin captive, and and places his uncle Zedekiah (formerly known as Mattaniah) as king.

The final 10 minutes of this film are riveting, with King Zedekiah's fate brilliantly depicted (literaly taken from II Kings 25:7), and Jeremiah's story, though a sad one, is one of faith and perseverance, and well worth watching.
Most of the films in this series are terrific, and have beautiful cinematography by Raffaele Mertes; they are set in Quarzazate, Morocco, with its rugged landscape and ancient structures. A good score by Bruce Broughton adds to the atmosphere, and it's well directed and written (with a fair portion taken from the scriptures) by Harry Winer.

The Bible - Jeremiah
This is a great film! I watched it several times. I urge everyone to watch it. Although I did not like the producers' inclusion of Jeremiah's supposed "female" friend....Above all, it was great! When you are through, check yourself and reflect on your life. Jeremiah was not a weeping prophet for nothing. The Lord spoke through him and warned the people. Do not become complacent and forget about it. Instead, open your Bible and read the whole book of Jeremiah. Learn a thing or two from it! "God created people to be upright, but they have each turned to follow their own downward path." (Ecclesiastes 7:29 NLT) God bless you all!

Jeremiah the Prophet
It was a very good video. In the beginning was tough to follow, but got very exciting in the end. ... Read more

Amazon.com essential video

Gary Cooper plays the oldest of three brothers who join the French Foreign Legion to cover a mysterious theft, and are soon caught up in high adventures. The opening scene in a fort full of corpses sticks in the memory forever, and Brian Donlevy's role as a sadistic sergeant makes a striking impression as well. Director William Wellman (Wings), a veteran pilot of World War I, drew--as he often did--upon the authenticity of his own experiences in battle to give this film a measure of reality. --Tom Keogh ... Read more

Reviews (10)

The Wren Classic on Film
This classic movie holds up pretty well to the basic storyline of Wren's novel. A few subtle changes have been made because no movie can ever reproduce a book perfectly, but everything has been done faithfully to the spirit of the original story. Readers of the book will find that the evil sarjeant is named Markov in the movie as opposed to Lajeaune in the book. The name sounds more evil perhaps! A few minor quibbles I have with the movie is that it has that 1930s Hollywood feel to it, in terms of the acting and characterizations. It would have been nice to have heard French commands in the Legion as opposed to flat American voices. Later Foreign Legion movies like "March or Die" provide this kind of detail which this classic lacks. Also, in the attacks on the fort the Arabs look foolish charging with cavalry against walls that are too high. In the book the fort's walls are described as being lower so that someone climbing up from a camel's back could almost succeed with an escalade. In the book John, Digby and their two American friends wander in the desert in Arab guise for several years. This is rather condensed in the film. The impossible shot that kills Digby from horse-back is more realistically described in the book where John relays that the Arab fired from his horse at 30 feet striking Digby as he played his bugle. A more realistic scenerio I find. Of course these are minor quibbles, none of which detract from the beauty and haunting nature of the movie. The music is also striking, in particular the opening scene when we see the dead Legioners manning the fort's walls. That scene is probably one of the most haunting in all movies, and conveys so much without being overly graphic. This is probably the best Foreign Legion movie that will ever be made. All since have been based on it. Since Four Feathers has recently survived another re-make I wonder if Beau Geste is due for another attempt? Arabs, sand and desert battles seem to be compelling these days. I wonder why?

A Romantic Classic
I first saw this movie as a child, and like many others, never forgot the images of the dead soldiers at the fort, the cruelty of Markov, or the gallantry of the Geste brothers. I went on to read the book and its two sequels (which tell what REALLY happened to the Blue Water) which are dated but none the less riveting (and amusing). The author, P.C. Wren, really was an officer in the Foreign Legion, and claimed that everything he wrote was grounded in the experience of people he knew. As for the movie, my only complaint is that such very American actors were chose to play such charming young Englishmen (and were a bit old for their roles), but it is a very minor complaint, since there is nothing to fault in their performances. Otherwise, the movie spoiled me for every other Foreign Legion film I have ever seen. It could perhaps stand a remake - but only in the hands of a great director (as great as the original William Wellman) who respected his source material and didn't try to turn it into a brainless "action" film. (And it has been tried.) As others have pointed out, the wonderfully atmospheric black and white photography and the music add to the film's perfection.

Needs to Be on DVD and Needs to be Updated
The story is great. The treatment is very old and dated. Seems to be sort of a forgotten golden oldie. Purhaps a remake without the silly prank section. At least the DVD should be made. Still a fun movie w the classic battle scene w the mad officer propping up the dead bodies. Great for Cooper fans.

Classic melodrama
Beau Geste, a melodramatic 1939 period piece depicts the comradery of three brothers during Victorian times. It falls short of a 5 star rating as it lacks the high degree of drama seen in similar type classics such as Gunga Din and Four Feathers.

The wholesome Gary Cooper along with Robert Preston and Ray Milland play three brothers, Beau, Digby and John Geste, adopted into the affluent baronial lifestyle of English Lord and Lady Brandon. When the lord threatens to sell the family's most precious possession, the Blue Water, a huge cerulean sapphire, to finance his gambling, one of the brothers absconds with it. In a chivalrous gesture the three brothers flee and enlist in the French Foreign Legion and get shipped to North Africa.

While in the foreign legion they are cruelly commanded by star of the movie Brian Donlevy, who plays the facially scarred, sadistic heavy Sergeant Markoff. The brothers strive to survive the elements, the Arabs and Markoff while they protect the secret of the prized sapphire.

The flick is hopelessly dated but still remains hugely entertaining to a classic movie buff. A youthful and ravishing Susan Hayward plays Milland's love interest, Isobel Rivers, a ward of Lady Brandon in one of her earliest starring roles.

Still waiting for the DVD!
I agree with other five stars comentators/reviewers. Just a small precision, the original Trilogy "BEAU GESTE", "BEAU SABREUR" and "BEAU IDEAL" was completed with "GOOD GESTES" (wich deals with the period of service in the Legion between the separation of the three brothers and the Zinderneuf's tragedy in form of short stories) and "SPANISH MAINE" wich explains what ultimately was the fate of "The Angel of Death" ... Will not tell more for not spoiling the read to those fans as me wich will hunt this small romantic literature treasures in the out of print services... (It took me years to complete my collection of P.C. Wren's FFL novels but was well worth the time...).
Interestingly enough such a Bible on the FFL as Douglas Porch book, mentions the dislike of French Commanders with the Hollywood versions (I do not understand why because as a boy I seriously doubted where to enlist between the FFL and the NWMP as a matter of course...).
Incidentally as other reviewers say get a go at "Morocco", Cooper (younger) and Dietrich... What a pair!. There just don't do films like this anymore... ... Read more

Reviews (199)

The Best Historical Film of the Year (2001)
THIRTEEN DAYS is simply outstanding! One of the best historical films I have ever seen! It is even more "History" then "Hollywood".

I think the Cuban Missile Crisis is one of the most important events in American History. However, many younger Americans know so very little about the very important events depicted in this carefully planned and conscientiously researched film.

Steven Culp's portrayal of Robert F. Kennedy was simply uncanny. It has got to be difficult to act as a person so many people know so well. I thought his performance was fabulous. Kevin Costner played the role of presidential aide Kenneth O'Donnell. His performance was very good however; his Boston accent was terrible and really does get on your nerves, especially in the beginning of the film. Bruce Greenwood plays John F. Kennedy and does this great president justice.

I highly recommend the infini film DVD version of this movie. The Beyond the Movie features are wonderful. The Historical Figures Commentary features archival audio of John F. Kennedy, Robery McNamara, P. O'Donnell, Pierre Salinger, Sergie Khrushchev, and many others. There is a 48 minute documentary entitled "Roots of the Cuban Missile Crisis" which features film footage from the era along with modern interviews covering post World War II United States and Soviet relations. There are also historical biographies of all the major figures in the movie too.

If you enjoy historical movies this one is a must see!

On The Brink
In October 1962, the world came closer to nuclear extinction than it ever had before or would again. When a U-2 spy plane photographed the installation of Soviet ballistic missiles on the island of Cuba, the United States and its president John F. Kennedy were faced with a monumental dilemma: how to force the Soviets to withdraw the missiles without touching off World War III. That is the story ingeniously told in the terribly underrated political drama THIRTEEN DAYS, one of the best films of that type since ALL THE PRESIDENT'S MEN.

Seen through the eyes of JFK presidential adviser Kenneth O'Donnell (Kevin Costner), THIRTEEN DAYS is a fascinating look at the machinations that went on in the highest circles of power in Washington during that traumatic time known as the Cuban Missile Crisis. Bruce Greenwood, known prior to this for playing bad guys (DOUBLE JEOPARDY; RULES OF ENGAGEMENT), gives an extremely credible portrayal of John Kennedy, who finds himself caught between a rock and a hard place. On one side are the Joint Chiefs of Staff, led by staunch Cold Warriors General Max Taylor and Dean Acheson, pushing for an invasion and surgical strike against the missiles. On the other is the president's own conscience, for he knows that anything as rash as what the Joint Chiefs are leaning hard on could mean the end of life on Earth.

Alongside Greenwood's sterling performance, Steven Culp portrays his brother Bobby Kennedy with the right tact and straight-forward believability. Costner's heavy Boston accent is not always credible, but this is only a minor flaw in his performance as Ken O'Donnell, which is otherwise quite good. A true standout performance is Michael Fairman's portrayal of UN ambassador Adlai Stevenson, a former presidential candidate and an old "political cat" who denounces the Soviet Union's stonewalling at the United Nations in front of the world--"Yes or No?! Don't bother to wait for the translation"; "I'm prepared to stay here until Hell freezes over, if that's what it takes!"

David Self's screenplay is very cagily based on White House tapes, documents, and memos from that two-week edge-of-the-seat rollercoaster ride the human race had to endure. It all comes together under the crisp, taut direction of Roger Donaldson, who directed Costner in 1987's NO WAY OUT. Even though it is a rather long film at 146 minutes, it plays like Great American theatre, the kind that Hollywood has somehow left behind in its rush for big bucks.

Like any film drama based on real events, besides the slight fictionalizations, a person's knowledge of these events might make THIRTEEN DAYS predictable. But the reason these kinds of films work is not so much the end result as to finding out how the end result was achieved. That is the real triumph of this movie, and why it ranks very close to ALL THE PRESIDENT'S MEN, in my book.

Boring
I saw this film in a history class I was taking and it definitely was not viewed for the sake of accuracy, more as a comparative piece to an actual historical documentary and I must say I found the documentary of still pictures & voice overs more entertaining. I struggled to stay awake during this drag of a movie.

Spell binding from beginning to end
I had seen this movie only in bits before on TV but had never seen the whole thing. I recently purchased it and within the last week have literally watched it again and again. I can only vaguely remember hearing the words "Cuban Missile Crisis" when I was 8 years old and had no idea just how close we came to WWIII. This is an excellent, attention holding film. I loved Kevin Costner in this and also "JFK - a must see also". Both Greenwood and Culp did a wonderful job of portraying the Kennedy brothers. I would highly recommend this movie. Use both this and JFK to educate your children, if you can get past the foul language somehow.

COMPARE THE CUBAN CRISIS WITH IRAN-CONTRA
"Thirteen Days" re-created the Cuban Missile Crisis, elevating the Kennedys to virtual sainthood while painting Curt LeMay as an advocate for nuclear holocaust. It was a fantastic picture, like many of them, but in it is an interesting scene in which Kenny O'Donnell, played by Kevin Costner, tells a Navy plot to lie to LeMay about being shot at, because LeMay would supposedly have ordered a strike if he had been. The film paints this lie as the right thing to do because it advocates the Kennedy's position, which was to maintain level heads and a calm demeanor. However, in 1987 Ollie North was excoriated by the Left for lying about the funding of anti-Communist guerrillas, which was Reagan's position. Funny about that.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Description

Set in the 22nd century,"Matrix"tells of a computer hacker (Reeves) who joins a group of underground insurgents fighting the vast and powerful computers who now rule the earth.The computers are powered by human beings... ... Read more

Reviews (2882)

What is the Matrix?
The Matrix will go down in film history books as "The film that changed cinema forever". True, films have done that before: (Jaws, Star Wars, Jurassic Park, Pulp Fiction et al) but the Matrix is different in that not only did it change audience's expectations of action cinema but also impacted on countless movies to date.

The film itself is the epitome of cool that stands out from the slew of unimaginative science fiction that Hollywood reels out, and with Keanu Reeves and Carrie Anne Moss making an unlikely duo in a post-apocalyptic world ruled by artificially intelligent machines, the film finds itself worlds away from admittedly second-rate sci fi cinema.

You could argue, as some critics did, that the film's plot is simply an excuse to hang cool effects on, but the premise slowly shapes into such an intricate plot, where machines have taken over the world (a popular idea for sci fi films, with this having similarities to Terminator 2) and then the small amount of snotty critics are silenced. What the Wachowski brothers have done is so imaginative that no film has ever come close to its intricacies and futuristic ideas. Add hints and nudges from Vertigo, classic Western films and Kung-fu karate films into the story and the amazing journey is made even more fascinating and involving.

The visuals incorporated throughout the story are absolutely amazing; with the "flow-mo" being the coolest visual effect those effects boffins have done since that water tentacle flowed through air in The Abyss. Imitated to death, the scene where Keanu's character Neo dodges bullets is nonetheless the pinnacle of uber-coolness. With thought provoking, mind-bending lines like: "It's the smell, if there is such a thing"; the film's script is peppered with fascinating lines concerning the very nature of "what is real?" Hence the clever advertising campaign for the movie's release: "Unfortunately, no one can be told what the Matrix is, you have to see it for yourself".

The Matrix has indeed changed cinema. Regardless, it's a great film, loaded to the retinas with out- of- this-world effects, great villians (Agent Smith!), great action set-pieces and awesome stunts from martial arts expert Wu Ping. And with the DVD (awesome stuff, everyone has to own this disc) and upcoming sequel in progress- The Matrix Reloaded, the Matrix is a film that not only has affected filmgoers everywhere, but has also leaked into the fan boy culture of the movie world. To quote Neo: "Whoa".

A dynamic and intelligent triumph
A stunning blend of action and science fiction, "The Matrix" tells the tale of a computer programmer who stumbles into an alternate world that forever changes his perception of reality. There's a reason why "The Matrix" won a pile of awards (and made a pile of money at the box office). A masterpiece of technical wizardry and storytelling skill, this is one of those memorable films that succeeds on every one of its many ambitious levels.

Fans and critics have raved about the film's mind-blowing special effects and fight scenes, but they are only part of the film's excellence. The superb performances of the actors are equally important. Particularly noteworthy is Laurence Fishburne's as Morpheus--his is a performance of controlled but passionate intensity. And Carrie-Anne Moss' performance as Trinity brings to the film a tenderness and humanity which greatly complement the high-tech milieu.

"The Matrix" is a wonderfully literate film whose dialogue includes references from Greek mythology, the Bible, Christian theology, and English literature. And one of the central themes of the film--the defiant resistance to an enslaving force--is one that can be found in many of the world's great works of literature. Watch "The Matrix," and then read the 1845 classic "Narrative of the Life of Frederick Douglass, An American Slave"--you'll appreciate the film even more.

very good
very good action, acting, plot, and dvd. much better than the dissapointing reloaded. haven't seen revolutions.

"Why oh why didn't I take the BLUE pill?"
After hearing so many good things about this film, I was actually underwhelmed the first time I saw it. I already new the basic premise so it wasn't a surprise to me. It wasn't until the SECOND time I saw it that it really hit me. Very well written, with some philosophical underpinnings hidden throughout, the Matrix is a smart sci-fi action film -- but not TOO smart: that would have to wait until The Matrix Reloaded (which is so dense it's hard to understand what's going on with just one viewing).

mind-blowing special effects
LOVE ALL 3 MOVIES SO DAMM MUCH. ALL HATES GO AWAY AND YOU'RE SO STUPID AND UGLY CAN'T WATCH THESE MOVIES. BYE BYEEEE!!!!! ... Read more

Reviews (164)

Perfectly Harmless, By The Numbers
J'Lo's latest offering, the romantic comedy "Maid In Manhattan," is yet another addition to the long-standing "chick" romantic comedy genre. Overall, it's perfectly harmless if not exactly original. In all, it's a nice flick to check-out on a Friday night if nothing else good is on.

THE STORY:

Marissa Ventura (J'Lo) is a single-mother who works as a maid in one of Manhattan's top hotels. A hard working, intelligent woman she is up for promotion and is a sure lock in to "represent" all the working class women of the travel industry when she makes a pretty big faux pas at the behest of a co-worker, she tries on the posh outfit of a socialite guest and is happened upon by a Senatorial candidate staying at the hotel, Chris Marshall (Ralph Fiennes). From there the by-the-numbers storybook romance takes place.

THE ANALYSIS:

Overall, this is a perfectly harmless and sweet love story cookie cut from the same mold like all others in the genre. There are a handful of touching scenes with the couple and Marissa's son Tyler (Tyler Posey) provides a lot of the best scenes in the film. The interaction between the main characters and between Marissa and her co-workers, particularly the butler and security guard, are superb. In all, this is a nice picture to see.

THE VERDICT:

Overall, this probably won't qualify as a "must-see" but it definitely ranks as a "good viewing choice." Overall, this flick will probably work best for, young couples on a date, younger crowds on an outing or of course, J'Lo fans. In all, you probably won't be (too) disappointed if you see it but then again if you choose to pass on it, you won't exactly really miss much either.

Recommended

An Instant Classic
Maid in Manhattan is a gem, a romantic comedy destined to be one of the classics. The story of a hotel maid who accidentally meets an aspiring senator and contrives to have him believe she is actually a wealthy hotel guest harkens back to the romantic comedies of the 1940's. Indeed, Liam Neeson is a modern-day Cary Grant in this film.

The movie, in addition to all the fun, points out serious issues of class and race differences. And in a very touching way, the movie asks us to take a look at ourselves: our jobs, our lives, and to ask ourselves, are we holding back from our dreams because we have been taught that this is as far as we can go? Maid in Manhattan is inspiring to anyone who has looked wistfully at a star, but did not believe she deserved to try to reach it.

Bob Hoskins turns in a wonderful performance as a hotel butler. He has some of the best lines in the film.

Maid in Manhattan
Maid in Manhattan DVD ~ Jennifer Lopez is your average romatic comedy and I love it for being this. There is no social comentary, no pretense and loads of fun. 5/5.

average chick flick
well all ive got to say about this movie is its another chick flick. guy sees women. women sees guy, they meet in some awkward situation, they fall in love eventually, the end. the movie doesnt really have anything special about it (except that it has jlo in it of course...... lol) but i honestly wouldnt even rent it unless u rent movies a lot. but if u got like comcast digital cable look for it on there.

J-Lo in an Apron?
This is based on the old Cinderella theme. J-Lo plays a maid in a hotel in Manhatten, meets an Assemblyman played by Ralph Finnes but pretends to be someone else, gets found out, loses job but Ralph finds her and they fall in love - ah sweet. J-Lo is not a bad actress but Ralph Finnes is rubbish - how does he get the parts? Does he tell the taxman he's an actor? Natasha Richardson plays a stereotypical English snob (what, never!) and Bob Hoskins as a non-part, doesn't really contribute anything to the story.

Seems that some parts of the story were edited out - there always seems to be something missing.

Not too bad but not worth buying unless your a big J-Lo fan. ... Read more

Reviews (6)

over-looked gem!
Billy Wilder was such a genius in film-making,it's astounding. What really set him apart, I think, was his knack for knowing who to cast in what role. What really gives this film its kick, is Marlene Dietrich in a role that proved once and for all that yes, she can act!
Set in Berlin right after the end of World War Two, and at the beginning of the American occupation of their sector of Berlin,
the film is really a dialogue on the human trait of survival through the worst. The main charactors are bent on surviving their individual circumstances, as each interacts with the others in the story.
Dietrich portrays a former Nazi lounge singer, keeping an American officer sugar-daddy so she can stay alive and well in Berlin, John Lund plays her American officer on a leash, and Jean Arthur is the upright(and uptight) US congresswoman from Iowa who throws a wrench into everybodys life by arriving to check on troop morale.
This film has many truly wicked one-liners, and puts one to mind of Dietrich's days with Von Sternberg, what with all the shadows and over-head lights. Certainly, Dietrich definately benefited from this, she never looked at all her 47 years. Jean Arthur, I've heard, wasn't pleased with the pains Dietrich took with the lighting, but mainly she wasn't too thrilled with her part. She needn't have worried. She portrays the straight-laced congresswoman perfectly, the right foil to Dietrich's sultry singer. Each actor is just right in their role, and one also wonders why John Lund sort of disappeared after this, he was very good in this film.
The cast and script are just perfect, and the lighting and photography are top-notch. This film was a sucess, but due to its subject matter and time frame(at a time when most americans still thought of Germany as the enemy), it wasn't a huge hit. However, it did rejuvenate Dietrich's career yet again, for perhaps the hundredth time. Well worth having in your collection!

An almost unknown classic by a great director!!
Hard to believe this film is barely acknowledged today,except in maybe a cultish way. If Carroll Reeds' THE THIRD MAN was the great post-war Vienna must-see, Billy Wilder's A FOREIGN AFFAIR must be the great post-war Berlin must-see. This one starts out with some of the best aerial footage of bombed-out Berlin ever seen. The ruins seem to go on for miles. Certain burnt-out US soldiers main concerns are making a killing on the black market, and making a hit with the local Frauleins. Mr. Lund's character says it best, that he,like many of his peers, is sick of the battles, politics,phony causes, and just wants to live, if that's possible. The civilians go from one moment to the next in earnest persuit of mere survival. The naive US Congresswoman(Arthur) wants to "reform" these military slackers,but she slowly realizes her cause is pretty pointless. Then we have the sultry cabaret singer (Dietrich) living in a bombed out ruin,who may have some answers to nasty questions about war criminals. Some great scenes are here,including Mr. Lund doing the old tablecloth trick (ie. pulling off a tablecloth so the silverware stays in place.) Great bar/carbaret scenes with Marlene making an attempt to keep the drunken soldiers under control. And a lot more...Like THE THIRD MAN, this one reeks with world weary atmosphere and cynicism, the latter a staple in any Wilder movie. Don't miss this one!!

Agreeably sour.
This underrated Wilder comedy is more pleasurable than some of his more acclaimed, 'serious' films. it badly needs the Preston Sturges touch - to excise those longueurs for a start - but it has an agreeable sourness that poisons any move towards fairy-tale resolution. When the most sympathetic character in this tale of the US Army and senators is an opportunistic Nazi turned 'nightclub singer', you get where Wilder's coming from.

His vision of American military imperialism is presciently negative, astonishingly so in 1948, as is the sexual frankess, the shifting sado-masochism of Lund's relationship with Dietrich (linked to Nazism); the bawdy innuendo of that with Jean Arthur. The film also works as a tribute to Marlene Dietrich, a creation of light and mirrors who,unlike 'earthier' stars like Arthur, will never be caught.

A timeless romance
Marlene Dietrich, Jean Arthur and John Lund star in A FOREIGN AFFAIR, a humorous romantic drama centered around post-war Berlin.

Erika Von Shluetow (Marlene Dietrich) is an ex-Nazi now reduced to doing cabaret in a blackmarket nightclub. She is being courted by an American soldier, Captain Pringle (John Lund).

On her way to Berlin is Phoebe Frost (Jean Arthur), an icy woman from America, who is going to record her visit and report back to the government. Erika is meant to be doing time in a labour camp for her Nazi dealings, but Pringle always manages to get her through.

Phoebe finds out about her and decides to track her down, and Pringle decides the only way he can save her life is to lead on Phoebe and bribe her into letting Erika go.

Billy Wilder's film is a joyous delight, with Dietrich and Arthur in top form. Dietrich performs the Frederick Hollander songs 'Black Market', 'Illusions', and 'Ruins Of Berlin'.

In reality Dietrich was horrified at the thought of playing a Nazi femme fatale, as she was very strongly against Hitler and what he was doing to her homeland. During the war she entertained the Allied troops.

Marlene's a treat for the eyes in this one...
Believe it or not, the love goddess of the 20th century is first seen brushing her teeth in this film. It just keeps getting better, honestly. Jean Arthur's a delight, John Lund is flustered, but Marlene's the one to watch. ... Read more

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This film about Ethiopian distance runner Haile Gebrsellasie, who won gold at the 1996 Atlanta Olympics and is considered one of the greatest runners of all time, is a dramatization that often appears to be a documentary. Beautifully photographed, the footage shot in Haile's native land is often spectacular enough to ma