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| 161. The Amazing Adventures of Mr. Bean Director: Paul Weiland, John Birkin, John Howard Davies | |
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Reviews (10)
Lots of laughs - echoes from when Mr Bean was fresh and funny. Also, one might note that here we have the first appearence of Mr Bean's nemesis - the three wheeled car. ... Read more | |
| 162. Star Trek - The Original Series, Episode 49: A Piece of the Action Director: James Goldstone, Murray Golden, James Komack, Don McDougall, Robert Butler, Marc Daniels, John Meredyth Lucas, Leo Penn, John Erman, David Alexander, Michael O'Herlihy, Jud Taylor, Herschel Daugherty, Ralph Senensky, Gerd Oswald, Lawrence Dobkin, Marvin J. Chomsky, Joseph Sargent, Herb Wallerstein, John Newland | |
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Amazon.com The episode is played for comedy: Kirk and Spock keep getting kidnapped by the warring hoods, each of whom wants the Federation team to use their technology to defeat the other side. The big payoff, however, is a summit meeting of bosses, where Kirk employs plenty of gangster-movie jargon to get matters settled. --Tom Keogh Reviews (6)
"A Piece of The Action" is a great episode of the original series of Star Trek. It is well written and some parts of it are hilarious, especially the part when Captain Kirk drives a car for the first time. It's also amusing the way that Kirk talks in slang and has to repeat himself for the others to understand him. William Shatner and Leonard Nimoy both give one of their best performances to make this one of the unforgettable episodes of Star Trek. I recommend "A Piece of The Action" to anybody. ... Read more | |
| 163. Quigley Down Under Director: Simon Wincer | |
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Amazon.com Reviews (61)
When he arrives in Australia, Quigley meets Crazy Cora, played by Laura San Giacomo. Cora is a slightly deranged American who believes Quigley to be her husband Roy. Cora continues to believe Quigley to be Roy even after he insists his name is Matthew Quigley. When Quigley finally meets his new employer, Elliott Marston (Alan Rickman), he is disgusted to find out that Marston wants him to shoot Aborigines. Cora has become the self-designated defender of the Aborigines and gets abused by Marston for it. Quigley intervenes and winds up roughing Marston up a bit. Marston then has Quigley and Cora beaten and left in the desert to die. "Quigley down Under" becomes, after this, a set piece movie about good versus evil. This is typical of the Western genre. In this Western though the good guys are a little "gooder" than usual. Both Quigley and Cora are pure hearts who only want what's right for the Aborigines. Cora is more determined to see it happen while Quigley is only interested in it so far as it gets him out of Australia alive. The most interesting part of the movie is the relationship between Quigley and Cora. In most Westerns the woman is a one-dimensional cutout whose only raison d'etre is to stand by in horror as her man goes out to fight the bad guy. However, Cora is a fully fleshed out individual with both a history before Quigley and an existence independent of him. She still does the "stand by in horror" thing; but, it's with a sense of grace and composure you don't often get from that role. From that relationship between Quigley and Cora is where I derive my four-star rating. Absent it, this movie would only get two stars from me. The Western is one of the most overdone genres in the cinema. To be able to find a unique spin on it after so many have been done is a well accomplished task. Another plus for "Quigley down Under" is its cast. The three main players in this movie; Selleck, San Giacomo, and Rickman; are all first-rate actors. That Tom Selleck has not become a film star similar to Tom Cruise or Robert De Niro amazes me. He has an ability to fill a screen like so few actors can. The one actor who comes to mind by way of comparison is Charlton Heston. They both have that ability to project the necessary emotions and feelings of a scene without much effort. Laura San Giacomo is also another actor that I have a hard time figuring out why she hasn't become a star. Her portrayal of Crazy Cora in "Quigley" should have been a springboard to better roles but it hasn't panned out. Rickman is probably the one from this movie to have the best movie career to date. Rickman is one of the best bad guys going and even when he plays an angel ("Dogma") he still has that sideways sneer that makes you wonder what kind of a criminal he would be if he didn't find acting. "Quigley down Under" is not your typical Western, which is why it might not be for those who enjoy movies like "Unforgiven" or "The Outlaw Josey Wales". However, it is a good movie from a non-Western genre standpoint and one that I'd recommend.
This slam-bang actioner, though often labelled a "Western," actually takes place, not in the American West, but in the Crown Colony of Western Australia, probably around 1875 (there are still convicts there). Selleck plays Matthew Quigley, a soft-spoken marksman from Wyoming, who answers an advertisement by Australian rancher Marston (Alan Rickman) for "the finest long-distance marksman in the world." After three months on a sailing ship, he steps ashore at the port of Fremantle, where he promptly gets into a brawl with what turn out to be three of Marston's men, come to meet him, and is mistaken by displaced "native-born Texian" Crazy Cora Cobb (Laura San Giacomo) for her husband Roy. At Marston Water he offers a display of his skill with his primary weapon, a customized Sharps .45 buffalo gun, and impresses everyone, including Marston, who describes himself as "a student of your American West" and is a fast draw, pinpoint-accurate, and quietly proud of it. Only now does Quigley find out that he was being hired, not to kill dingoes (Australian wild dogs) as he thought, but to clear Marston's lands of the native Aboriginies. He promptly throws Marston out the French window of his own house, but is eventually overwhelmed by Marston's crew and, with Cora, taken out to the desert to die. Managing to kill the two men who fetched them there, he recovers his rifle and big Stetson, but loses the buckboard and horses. Trying to walk out, he and Cora are found by a clan of Aboriginies, who take them in, and when a group of Marston's men appears to hunt the natives down, Quigley takes up his Sharps in their defense. Eventually he eliminates Marston and all but three of his men in a sort of one-man "long hunt," climaxed by a shootout in which, though wounded and battered and admitting that he "never had much use" for handguns (he doesn't even carry one), he kills three men so fast that his shots sound like one. Though there's a good deal of violence in this video--in fact, it will probably be too intense for kids under the age of 12 or so--none of it is gratuitous: each instance either serves to further the story in some way or is portrayed as an inevitable result of the choices and character of the person acting or being acted against. Selleck's Quigley is a '90's version of the classic John Wayne hero: soft-spoken, quietly competent, modest and unassuming (he "spent a night" in Dodge City once, and describes it as "a nice place to get some sleep"), chivalrous toward women and even a little unsure of how to react to them. (His early interactions with San Giacomo's Cora, on the Fremantle docks and in their first outback camp, add a whimsical touch to the movie's tone and should draw laughs from all watchers.) He also has an iron code of behavior, and he doesn't hesitate to learn even from the primitive Aborigines: one of the most delightful sequences finds them teaching him to use a spear-thrower and to suck water out of the sand through a bamboo--after which he repays them by conducting a class in the making and proper use of a rawhide lasso. Rickman is the kind of villain you love to hate: smooth, silky, sneering, yet acting from what seem to him to be completely valid reasons. San Giacomo may be "touched in the head," but she's also earthy, practical, and fiercely loyal to Selleck and to the orphaned Aboriginie baby they find; her story of how she came to be in Australia is touchingly delivered. And, like most of the best movies, "Quigley" can serve as a starting point for some penetrating family discussion. Parallels will quickly be seen between the Aborigines' situation and, not only the experiences of the American Indian, but the "ethnic cleansing" through which the former Yugoslavia suffered, and which kids may have studied in school. Quigley seems not to be revengeful against Marston and his crew of 20-odd tough English and Irish until they act against the Aborigines who have been his and Cora's friends, and even then a case can be made for his killing as many of them as he can hit: afoot and outnumbered, he doesn't want them in the area and angry at him; after the second Aboriginie drive and the accidental killing of a storekeeper's wife, he is simply resolved to keep them from doing any more harm. Though action is the movie's keynote, it is above all the story of how three people inspire one another to certain inevitable acts--in short, like all the best stories, it turns on character. And its characters will remain in the memory for a long time to come. (A side-benefit is the blood-stirring score by Basil Poledouris, which was one of the first CD's I ever purchased.) The cinematography gives a powerful sense of the size and loneliness of the Australian outback (filming was done in Alice Springs and other Australian locations), as well as of how important it is that Quigley seems far better able to adjust himself to it than Marston's men are willing to do. Director Simon Wincer, though not of American birth, has turned out a movie which, while not strictly a "real" Western, should become a classic of the genre. By my criteria, it's definitely a 10--or perhaps even a 12.
Quigley (Tom Selleck), investigates a report on human right violations by the English settlers against the aboriginal population of Austria. (Obviously, Quigley had improved the inter-racial relationships in his native Wyoming to perfection: black, indians, white, all live in equality, peace and harmony, and now he is on a mission to do the same in Austria) Quigley quickly discovers the horrible truth, and being a superman, supperherro, suppersshooter, quickly brings justice. All bad guys (english, irish, scotch) are punished, aboriginals are free. No more slavery, genocide, collonialism and exploitation. A blond Texan woman shares his passion and adopts a little black baby; the baby fell from a 200 feet cliff and survived! Have fun! Ernesto Ce Gevara
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| 164. Little Rascals Vol. 1 Director: James W. Horne, Nate Watt, James Parrott, Gordon Douglas, Robert A. McGowan, Gus Meins, Fred C. Newmeyer, Robert F. McGowan | |
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Reviews (1)
Actually the central character in "Fly My Kite" (1931) is Grandma (Mrs. Margaret Mann), who reads the gang pulp stories, gives them friendly advice, and even puts on the boxing gloves to spar with them. But her son-in-law Dan (James Mason; no, not that one) wants to send the old lady to the County Home so he can move into her house with his new bride. But then it turns out Grandma has some gold bonds now worth $100,000. Dan wants to steal the bonds but Grandma has tied them to the tail of Chubby's kite. This one features Farina, Chubby, Mary Ann, Stymie, Wheezer, and Pete the Pup, as well as some fun stunt work by Grandma's double. In "Honky Donkey" (1934) Wally's mom sends him home with chauffeur Don Barclay, but the lad wants to meet with his friends at a vacant lot, where they have made a merry-go-round powered by Algebra the mule. Chased from the lot the Barclay drives the gang (and their mule) to the mansion where Algebra engages in predictably but hysterical destructive behavior. It seems Algebra will only move if you sneeze, at which point he chases the offender, and only tops if he hears a bell ringing (Remember, this is supposed to make sense to KIDS). One of the nice touches by director Gus Meins is how he uses Spanky and Scotty to react to the antics of Barclay and the mule. This one also features Stymie, Tommy and Buckwheat. "Beginner's Luck" (1935) is the classic two-reeler where Spanky is entered in a local amateur contest where he will recite Mark Antony's funeral oration from "Julius Caesar." Of course, Spanky knows "all actors are sissies," and gets the gang to promise to heckle him big time. But then he meets Daisy Dimple (Marianne Edwards), who wants to win so she can buy a new dress. When she gets stage fright Spanky decides to win so he can give her the money. This sets the stage for one of the great scenes in "Our Gang" history, as Spanky has to put up with the verbal and spitball assault from his friends and the frantic attempts by his mom to get her little darling off the stage. A fitting companion piece to that classic is "Reunion in Rhythm" (1937), where the gang stages a musical show for the Adams Street Grammar School class reunion. The entertainment consists of Darla singing "Baby Face" to Porky, Spanky leading a chorus line singing "Broadway Rhythm," Alfalfa singing "I'm Through with Love" after failing to impress Georgia, and Buckwheat trying in vain to recite "Little Jack Horner." There is some introductory footage of an actual Our Gang reunion, which is rather awkward; but we do get to see "Stymie" with hair. This is a solid first volume and if the idea here is to parcel our one classic along with several above-average Little Rascal comedies, that is certainly going to work. ... Read more | |
| 165. Welcome to Sarajevo Director: Michael Winterbottom | |
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Amazon.com Reviews (21)
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| 166. The Last Wave Director: Peter Weir | |
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Reviews (19)
The early movies could not easily portray ideas and concepts which were beyond simple props. An example is a car scene prop - a car with a painting of a scene in the background. Dreams are the most diffifult imaginal form of concept to convey because a dream is pre-reality. Artists since the dawn of art have tried to portray dreams. From that art we arrive at religion, science and hence psychology. Art is a communication of the abstract. In this film, the Dream Time is communicated as it is: an imaginal world which overlaps the objects we perceive as a real world. Future Shamans must always be aware that our Ancestors knew what reality was based upon their sense of Pre-Imaginal Conception. Shamans of the Animalistic Religions knew that We Dream Our Reality because We Percieve through our Imaginal Sense of Reality. Never believe that the props are real. The props are the illusion. The message of this movie comes from the line; " You are already in trouble. You forgot how to dream..." We forget that the props of our world are our inventions; in another time, another realm, our beliefs mean nothing. We dreamt the meaning into them. Dream Awake; Dream Aware. The Dream Time gives us clues if we can remember that we are living our dreams, and for some our night mares. If we know that we are creating our illusions, we might be able to live like our ancestors... with the nature as our home.
I mean, the third wave, for christ sake. It's over. Your outa here. Done. Would you be remembered as a quality addition to the human race? Really, "Who are you?" I can add no more than my peers here, as all except one giant bozo found this film to be as good as I did. ... Read more | |
| 167. Roadside Prophets Director: Abbe Wool | |
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Amazon.com Reviews (15)
I wish I was riding with these nuts. They're full of fun and surprise. I never had time to analyze the plot before it threw another unforseeable twist at me.
I've ridden must of the trip portrayed on this film on my own Road King, but didn't have anyone as cool as John Doe or Adam to hang with. Watching this movie I can always pretend. ... Read more | |
| 168. G-Men vs. the Black Dragon Director: Spencer Gordon Bennet, William Witney | |
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Reviews (9)
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| 169. The Tall Men Director: Raoul Walsh | |
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Amazon.com Reviews (8)
The story is hardly short on action. There's blizzards, Indian attacks, cattle drives, and plenty of male/female friction. But it doesn't add up to anything particularly exciting or even interesting. It was a surprise to me, given not only the cast, but also the director Raoul Walsh, who certainly knew his way around action and adventure, not to mention how to pace a film. There are a few good moments, especially the final drive with the cattle, but not enough to sustain any interest in the characters or the story. The actors are fine, but the missing energy really hurts the film. It's a large scale Western, but the scale doesn't impress.
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| 170. The Andromeda Strain Director: Robert Wise | |
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Amazon.com Reviews (76)
Quick overview ... A capsule (code named 'scoop') returns to earth with a leathal new germ aboard which kills by soldifying the blood in the body. After the inital recovery disaster, a prearranged team of scientists are called together at a special underground laboratory to isolate and determine capabilities of the new germ. The ending I'll leave to you ... see the movie. Fast paced story with a believable script. Well acted out although the lead was a little wooden. Basically, one could see this scenario as actually having happened at one time or another due to germ warfare research. No music in this. Rather like "Forbidden Planet" the sound effects make up for that. Good blend of fact and fiction. This flim should keep you glued to the TV set. This is a good movie for those that like science fiction. Too bad it's priced so high. I would hope for a re-release at a modern price. I have the VHS version and will wait until the DVD drops some to buy it. *Highly Recommended* ~P~
1971's THE ANDROMEDA STRAIN is one of the few science-fiction movies released in the immediate wake of Stanley Kubrick's 2001: A SPACE ODYSSEY (1968) that has successfully retained high status in the SF genre, and that's because it is also one of the few SF films from that era that actually takes the genre seriously and challenges the viewer's intellect. Based on the novel by Michael Crichton--one of the first movies based on a work by this now highly sought writer & director--scripter Nelson Gidding and director Robert Wise have crafted a stimulating film that is as much a scientific detective story as it is a sci-fi thriller. Audience members are kept on the edge of their seats as the scientists race against time to prevent the alien microorganism from destroying life on earth, yet viewers are also clued-in enough to stimulate their gray matter and keep them speculating right along with the film's characters. Yes, 30+ years of hindsight might make the special FX and the film's depiction of technology seem a bit dusty and dated, but Gidding's plotting and Wise's creative and innovative directing keep the excitement and the earnestness intact. To some viewers, the ending might seem a bit contrived, but overall THE ANDROMEDA STRAIN represents brilliant SF filmmaking. The acting is pretty good, too, and Wise was ingenious in casting generally low-profile actors as the scientists, which contributes to making the characters seem true-to-life. One of the most brilliant examples of this is the casting of brash, average-looking Kate Reid as the gritty Dr. Ruth Leavitt. As is common practice in Hollywood, Wise could have chosen a sexy starlet (think Raquel Welch in 1966's FANTASTIC VOYAGE or, more recently, Rene Russo in 1995's OUTBREAK) in hopes of increasing the box-office draw. But Wise knows that in order to sell the plausibility of the plot, the characters must also feel genuine, and the wise (no pun intended) casting of non-glamour actors like Reid in this type of role more accurately reflects the real world and therefore enhances the film's overall sense of realism. The DVD release of THE ANDROMEDA STRAIN from Universal Studios belongs in the film collections of all serious science-fiction fans. Not only does it offer the film in anamorphic widescreen at its original aspect ratio of 2.35:1--which, by the way, allows viewers to awe over some of the brilliant multi-view compositions of certain shots that were aesthetically mutilated in pan-and-scan versions--but it also offers a fascinating and insightful feature commentary by director Wise and a featurette on writer Michael Crichton. Of course, there is the requisite theatrical trailer, too. And all this for a very reasonable retail price.
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| 171. Kitty Foyle Director: Sam Wood | |
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Amazon.com essential video Reviews (10)
"Kitty Foyle" tells the quite simple story of a modern White Collar working girl who finds herself in the position of being courted by two entirely different men from different stations in life. Wyn Strafford (Dennis Morgan) offers Kitty the glamour of Philadelphia society in a lifestyle of priveldge, position and very set social values, while struggling intern Mark Eisen (James Craig) has only himself and his dreams to offer her. Growing up in the poor part of town Kitty as a child dreamt of the sort of life that Wyn represents, beautiful clothes, nice cars and appearances at all the society events like Philadephia's Assembly evening. Meeting and falling in love with Wyn Kitty thinks that all those earlier dreams have come true and soon she finds herself being swept off her feet into marriage with one of Philadelphia's best families. Meeting his family however finds Kitty being made only too aware of her humble beginnings and this clash of two different levels of society results in Kitty divorcing Wyn only to discover that she is carrying Wyn's child which she later loses in childbirth. Happily reciprocating Mark's uncomplicated love for her that involves no standards for her to be meeting, Kitty becomes engaged to him. Then as if by magic Wyn returns to her life yet again and momentarily arouses all those old passionate feelings she still has for him that she never really feels for Mark. With an offer to go away with him to South America, Kitty is for a moment prepared to abandon all to live this dream with Wyn again when her conscience reminds her of just what type of position she is placing herself in with the still married Wyn. Kitty begins to realise what a fine person Mark is and that he is a man who really loves her for herself and is waiting to marry her and give her the type of loving existence she really craves. Back to her senses Kitty decides to go ahead and marry Mark and have the loving marriage she has always wanted where she is appreciated for what she is, not who. Vintage soap opera it is indeed but "Kitty Foyle", shines with real characters and emotions that we can all identify with. Dennis Morgan does wonderful work as the besotted Wyn, the victim of family background and expectations and his screen chemistry with Ginger Rogers is magical and very romantic. James Craig as the humble doctor has the less flashy role of the two men but his simple playing and sincere dialogue really hits the right note in playing a character that has nothing but love to offer his beloved. There was alot of controversy in 1940 about whether Ginger Rogers really deserved the Oscar over the quite formidable competiton that year from Katherine Hepburn in "The Philadelphia Story", and especially Joan Fontaine in "Rebecca". The jury will always be out on that one I guess but Rogers playing of Kitty is wonderful and she has her best scene in her confrontation with Wyn's mother (Gladys Cooper in a small but wonderful performance). For that scene alone where she drives home a few truths about their family and the rules they live by, some award should have been forecoming. Nominated for a total of five Academy Awards "Kitty Foyle",could never be regarded as one of Hollywood's unforgettable classics. Ginger Rogers helps lift what is basically a soap opera to a higher level with her assured playing of the typical working girl who is both romantic and practical. It's a joy to see her in a dramatic role and it led the way for some other great dramatic performances by Rogers through the 1940's decade. Take a look at the ultimate working girl saga in the Sam Wood directed "Kitty Foyle".
The charm of KITTY FOYLE rests squarely on Miss Rogers' ability to create the aura of a woman who loves two men, although unequally. Morgan and Craig are purposely bland, and very nearly interchangeable, so it is no surprise that Kitty bounces back and forth between them. Along the way, director Sam Wood presents New York as a backgound that is just perfect for young lovers to meet in quaint Italian restaurants. Eduardo Ciannelli is cast against type as an Italian waiter who brings to mind Mister Botchagaloop of Abbott & Costello fame. By the time the closing credits roll, it comes only as a minor surprise as to which lover Kitty chooses. KITTY FOYLE is no great film, but it is a grabbing piece of pre-WWII soap that showcases the talents of an actress who for far too long had been admired more for her hoofing legs than her thespian skills.
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| 172. The Comancheros Director: Michael Curtiz, John Wayne | |
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Amazon.com The Comancheros was the last credit for Michael Curtiz, who, ravaged by cancer, ceded much of the direction to Wayne (uncredited) and action specialist Cliff Lyons. With support from Wayne stalwarts James Edward Grant (coscreenplay) and William Clothier (camera), the first of many rousing Elmer Bernstein scores for a Wayne picture, and a big, flavorful cast including Lee Marvin (the once and future Liberty Valance), Nehemiah Persoff, Bruce Cabot, and Guinn "Big Boy" Williams (in his last movie), they made a broad, cheerfully bloodthirsty adventure movie for red-meat-eating audiences of all ages. Even the liberal-pinko Time magazine had to second the salute from leading lady Ina Balin at film's end: "Take care of yourself, Big Jake ... we've sort of gotten used to you." --Richard T. Jameson Reviews (20)
John Wayne plays Captain Jake Cutter, the big, brawling Texas Ranger who attempts to bring in a prisoner who keeps escaping his grasp, "Monsoor" Paul Regret, played by Stuart Whitman very well. Another notable performance is Lee Marvin's Crow, the contact between Cutter and the Comancheros. He doesn't have a very big part, but what is there is very good. The film also stars Ina Balin, Nehemiah Persoff, Michael Ansara, Patrick Wayne, Bruce Cabot, and Joan O'Brien. Elmer Bernstein also turns in another excellent score that has elements of the Sons of Katie Elder and The Great Escape. The DVD offers a widescreen presentation which looks very good, two trailers(one in Spanish), and also Movie Tone News about an award presented involving the movie. More John Wayne movies should be put out like this, and I give credit to the companies putting out so many new ones recently. A very exciting, enjoyable Duke western that all his fans will love! ... Read more | |
| 173. Ziegfeld Follies Director: George Sidney (II), Eugene Loring, Roy Del Ruth, Robert Lewis, Norman Taurog, Charles Walters, Vincente Minnelli, Lemuel Ayers | |
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Amazon.com Reviews (12)
Parts of the show were absolutely bizarre. Lucille Ball (before her I Love Lucy days) marches out in a froufrou pink feathery outfit, then makes like a dominatrix--cracking a whip repeatedly at a bevy of scantily-clad cat girls. That was decidedly surreal. So was the scene with the barren, bubbly wasteland inhabited by seductive, lounging women. It felt like a Ren and Stimpy moment. My favourite parts of the show were Judy Garland's song about the inventor of the safety pin (although the rest of the act was too over-the-top for my tastes), and any time Fred Astaire danced. I'm intrigued at the apparent carelessness and nonchalant grace of his movements. He does a backwards spinning leap onto a step, and it looks like a lazy movement. With Jackie Chan, even the ease with which a wall is easily scaled is marked with a certain frantic energy. With Fred Astaire, I almost expect him to fall asleep--but I mean this in a good way. His ease of movement is so natural, he probably could dance somnambulistically. I think my favourite performance of his was the one with Gene Kelly. Watching the two of them dance together was quite slashy. Ahh, if only men danced together like that more often on film. The only other time I can recall seeing it done so well was in the opening scenes of Ken Russell's Valentino.
Made in 1946, "Ziegfeld Follies" starts off with William Powell as Florenz Ziegfeld going over his memories while in heaven. He decides to make another play. Here is a list of the different musical numbers and short skits: *BEAUTIFUL GIRLS* - Fred Astaire introduces us to many beautiful girls, including Lucille Ball as a fiery wildcat tamer. Technicolor certainly does a lot of good for her, it's strange not seeing her 'I love Lucy' smile! 5/5 stars *WONDERFUL MEN* - Virginia O'Brien gives a funny parody song, remember her as Kitty in the Marx Brothers movie 'The Big Store'? 5/5 stars *A WATER BALLET* - Called America's Mermaid, Esther Williams dons on her swimsuit as she performs a beautiful water ballet. 4/5 stars *NUMBER PLEASE* - A simply hilarious skit, Keenan Wynn plays a man on the verge of a breakdown as he tries to call 'Plaza 5-5597'. 5/5 stars *TRAVIATA* - I'm not much of a fan of opera music but James Melton and Marion Bell can certainly sing. I love the costumes! 2/5 stars *PAY THE TWO DOLLARS* - Victor Moore wants to pay the two dollars, but his lawyer Edward Arnold won't let him! Unfortunately, though meant to be funny, watching this was a bit frustrating for me. 3/5 stars *THIS HEART OF MINE* - Fred Astaire gets to woo a princess (Lucille Bremer) while having ulteriar motives. Of course, love is unexpected! Nice choreography, it is again proved that Astaire can have a woman fall in love with him just by waltzing together! 5/5 stars *THE SWEEPSTAKE TICKET* - Funny Fanny Brice is priceless in this skit! Hume Cronyn and William Farley (from the "I Love Lucy" show) also star but Fanny Brice steals the whole number. 5/5 stars *LOVE* - Latin love song steamily sung by Lena Horne, don't fast forward! 4/5 stars *WHEN TELEVISION COMES* - Could easily be the best skit in the whole movie, Red Skeleton is one of the greatest comedians out there. SMOOOOOTH! 5/5 stars *LIMEHOUSE BLUES* - Another Fred Astaire and Lucille Bremer dance number. Both might have done heavy make-up to have almond eyes, but their dance style is unmistakable. 4/5 stars *AN INTERVIEW* - Judy Garland is given a bit of a corny interview. Listen to her liven up towards the end, her voice is just so powerful and purely divine! 5/5 stars *THE BABBIT AND THE BROMIDE* - Easily the best dance number in the whole movie and the best tap-dancing you'll ever see. I mean, that's what you'll get when you put together the best of the best, Gene Kelly and Fred Astaire. This number alone will make buying this tape worthwhile. 5/5 stars *BEAUTY* - In one word, beautiful. Kathryn Grayson stuns me every time I hear her voice. Cyd Charisse also gets to do some ballet, though short. 5/5 stars Here's some trivia:
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| 174. The Best Years of Our Lives Director: William Wyler | |
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Amazon.com essential video Reviews (78)
This film paints a picture of the struggles of World War II servicemen that they faced AFTER the war was over. It was a more personal struggle of men returning home after being away for many years, and after experiencing horrors that their loved ones could never fully understand. They return home as changed people, and come home to changed lives. The story of such a homecoming experienced by thousands of men after World War II is told from the perspective of three fictional characters: Captain Fred Derry, a bombadier in the Army Air Corps (Dana Andrews), Sergeant Al Stevenson, an Army infantryman (Frederich March), and Seamen Homer Parrish(Harold Russell). They happen to meet on the plane to their hometown, having never met before, and immediately form a bond built upon mutual understanding of the experiences of war and the anxieties of returning home again. Captain Derry came from a poor background before the war, and married a blond bombshell (Virgnia Mayo) while in the Air Corps. He hopes to return home to a better life, a nice home with his wife, and a better job. This was not to be, as Derry struggles to try and deal with bad job prospects (no one in the civilian world needs a bombadier) and a cheating wife. In a poignant moment in the film, Derry (at his lowest) tells his Father to throw away the citations for his medals, because "they don't mean anything". His Father reads the one for the Distinguished Flying Cross, signed by General Jimmy Doolittle, and a look of pride comes over the old man's face for his son's heroism that makes you want to cry and cheer all at the same time. It also makes the viewer see how criminal it was for such a man to be made to feel worthless. Sergeant Stevenson comes home to better circumstances, being a banker in the civilian world with a wife, two grown children, and a nice apartment. But he too must confront troubles, as Stevenson must get to know a family that progressed without him, and balance his job with his desire to aid servicemen seeking G.I. Bill loans. He battles with his bank's bosses over the loan issue, and also struggles with alcoholism. Seamen Parrish's problems are the most obvious. He lost his hands during the war, and now must come home to his family and fiancee with hooks for hands. The actor who potrayed Parrish, Harold Russell, was a real disable veteran, and lends credibility to the role that no one else could have due to real life experience. This may seem like a depressing film, but it is actually uplifting in its entirety because it does show that hope doesn't die, and that you really can come home again after all. It is also a film of historical importance due to the insights it provides into post-World War II America, and the struggles of veterans in the post-war years. Captain Derry, Sergeant Stevenson, and Seamen Parrish, and their individual struggles to reclaim their lives can provide the student of history an important perspective on the many real life veterans who returned home, and the country of the time they returned home to. The film has certainly earned accolades over the years. It won the Oscar for Best Picture of 1946. It was named by the American Film Institute as one of the 100 Best Movies ever made, and was also named as one of the most important films of all time by the National Archives for the National Film Registry. "The Best Years of Our Lives" is not to be missed for both its dramatic poignancy and its insight into an important period of American History. And its a beautiful sight to behold in DVD quality.
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| 175. Betrayal Director: Paul Wendkos | |
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Dr Jacques COULARDEAU, University of Perpignan ... Read more | |
| 176. The Phantom Director: Simon Wincer | |
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Amazon.com Reviews (58)
Unfortunely the critics in their wisdom contributed to the short run at the box office office nevertheless the viewers know quality. The Phantom and all he stands for lives in the hearts of those willing to understand.
Sure, the prospect of an Indiana Jones-type film is a fun idea, but it's nowhere in the vein of the the films in that series; it never generates any thrills or genuine fun. The action sequences are simply too routine and are occasionally terribly choreographed. As for the script, it's been a while since I've heard dialogue this hackneyed. It makes the recent Mission to Mars look like something written by David Mamet in comparison. The plot's also fairly ridiculous and is done with a touch of camp, but nowhere near enough to at least make the movie so bad it's almost enjoyable to watch. I can't believe Jeffrey Bowman doesn't show any of the creative touches he put in The Last Crusade. Performances, the less said the better. The only guy who does a fine job is Billy Zane, and though he never always convinces as a superhero, he's charismatic enough to make the experience bearable. Treat Williams as the villain overacts to an extent I would rather not describe. Catherine Zeta Jones also shamelessly hams it up with a cheesy accent; I bet she's taken this film out of her resume. As for Kristy Swanson, I guess we can tell why she won't nowhere. If anything, the movie proves she's not a very capable actress.
This is one of the best adaptions of a comic book (cartoon strip) ever captured on film. This is the type of movie meant for children of all ages. If you're looking for a movie with deep meaning, thought provoking dialogue and lots of introspection, what the heck are you doing watching The Phantom? Go see a different movie. If you're looking for entertainment in the vein of pulp fiction heroes from the Golden Age this is the movie for you.
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| 177. I Dream of Jeannie: Waiter There's a Girl in My Bottle Director: Richard Goode, Herb Wallerstein, Jerrold Bernstein, Bruce Kessler, Larry Hagman, Claudio Guzmán, Leo Garen, Hal Cooper, Michael Ansara, Gene Nelson, Russ Mayberry, Theodore J. Flicker, Joseph Goodson, Oscar Rudolph, Alan Rafkin, Jon Anderson (III), E.W. Swackhamer, Richard Kinon | |
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In 'The Lady In The Bottle', Anthony finds Jeannie's bottle and releases the glamorous girl for the first time! 'My Hero?' has Jeannie sending Anthony back to her old Arabian village to marry him. Anthony is more than a little taken aback! The pilot has also made an appearance on video in a ghastly colorised version, which omits Jeannie's subtitles on the island and changes the opening credits to not include the supporting player's names. Pure sacrilage!
In the second episode, "My Hero",Jeannie "blinks" Captain Nelson back to ancient Persia where he meets another Genie. This one is a huge, nasty, male Genie named Ali and he doesn't care too much for Captain Nelson. Jeannie also comes to the mistaken conclusion that she and Captain Nelson will be getting married! When Captain Nelson tells her that his plans are different, she leaves him at the mercy of Ali!
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| 178. Mr. Bean: The Best Bits of Mr. Bean Director: Paul Weiland, John Birkin, John Howard Davies | |
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Reviews (23)
Well flash forward. Our grand daughter is now his number one fan. Two years old and she can't wait to visit us. She sits for hours watching this wonderful comedian and all his antics. We can't pry her away from the "telly". "Mr. Bean Grandma - Mr. Bean!" Mr. Atkinson, if you're out there Alexis H. is deffinantly you're number one fan and oh, by the way, please could you do a few more new episodes? I've seen the Best Bits of Mr. Bean about 1000 times. Please just a few new ones for Alexis! Bean is delightful and funny all his episodes will make you laugh. Money well spent. Fun for the whole family.
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| 179. Ordinary Magic Director: Giles Walker | |
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Jeffrey (nicknamed Ganesh by his father) is forced to return to Canada to live with Charlotte, his father's sister. Jeffrey's beliefs are as foreign and unsuited for Canada as his wardrobe. Charlotte is not entirely able to take care of herself, let alone a teenager who is different. She has been ignoring legal notices for some time and is in danger of losing the family's ancestral home. Jeffrey's fellow high school students and even his teachers quickly single him out as different. He is mocked for his different way of speaking but the students and faculty soon learn that Jeffrey has an inner strength that makes him different in positive ways as well. Some students are more generous of spirit. Tom, the captain of the high school basketball team, and Lucy, a girl at the school, take an interest in him and befriend him. Jeffrey finally gains acceptance and a bit of local notoriety when he starts to aid his aunt in the struggle to keep the family home. He explains the principles of satyagraha to her and they begin a hunger strike that end up changing the whole town. This movie is a great story, well told. The movie has an honest, genuine, life affirming quality ably served by the Cat Stephens music sprinkled throughout. Ryan Reynolds and Joe Roncetti are adorable as Jeffrey and Tom and Glenne Headly is very convincing as Charlotte.
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| 180. Best of Eddie Murphy - Saturday Night Live Director: Gary Weis, Bill D'Elia, Dave Wilson, Walter Williams (IV), James Signorelli, Tim Robbins, Beth McCarthy-Miller, Christopher Guest, Mike Judge, Robert Altman, Adam McKay, Eric Idle, Andy Warhol, Robert Marianetti, Claude Kerven, David Wachtenheim, Paul Miller, Albert Brooks, Paul Thomas Anderson, Robert Smigel | |
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Reviews (3)
There are a few memorable skits on this tape, however. Buckwheat lives again to have an odd reunion with Alfalfa, Eddie delivers one of his vintage Stevie Wonder impressions, Mr. Robinson returns to the neighborhood, and Murphy goes undercover as a white man in his memorable documentary White Like Me. Throwaway skits such as Milestones (with Eddie as Desmond Tutu) and Hairem Skarem (with Eddie as an effeminate hair care professional) manage to dreg a few laughs out of the indifferent material. Gumby gets his own Christmas special, but the bad moments outweigh the good in this particular skit. The real highlight here, in my opinion, is Black History Moment. Eddie fudges his lines a couple of times and compensates with some very funny ad libs. With the good comes the bad. Harry Anderson's eight minutes of comical magic seems to bring the video to a crashing halt. Lifestyles of the Relatives of the Rich and Famous, with Martin Short playing Jerry Lewis' niece, is bad; The Stairs, with Martin Short as a soldier who has no clue as to how to climb stairs, is even worse; Julia Louis-Dreyfus' A Christmas Message is simply atrocious. Eddie Murphy fans will certainly find some good material on this tape, but it comes with some pretty unfunny baggage. Don't let the title fool you: this is a far cry from a Best of Eddie Murphy video.
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