Reviews (8)

Language not present
Contrary to what is indicated, the film does not contain a French track.

Attention, ce film ne contient pas la piste française indiquée dans le détail de l'édition.

"I Know The Feeling. If It Ain't Nailed Down It's Mine."
Awesome movie but not much for bonus features unless you consider subtitles bonus material. Plot: Late WWII. Murphys' ship sunk by German U-boat. Survivors brutally shot up in the water. The rest of movie either goes into Murphys' personality or deals with the U-boat trying to kill Murphy or vice-versa. This is the only movie (Except "The Empire Strikes Back" and "The Omega Man") that I am madly in love with that has an ending that I normally don't like. Has some one-liners including my favourite, "I Know The Feeling. If It Ain't Nailed Down It's Mine." If you like fictional movies that have a WWII storyline this is for you. Cheers.

Murphy's War
An enjoyable film that keeps your attention. A survivor of a ship (Peter O'Toole) and a wounded comrade, (torpedoed by a German submarine), make it to a nearby island, where they are nursed back to health. In the meantime the commander of the submarine realizes that the two British made it to shore.
O'Toole after seeing his comrades gunned down in the water declares all out war against the submarine once he is fit again.
Helmut Griem of "The McKenzie Break," (another fine war film),

unfortunately has a small part as the sub's commander. I don't see any parallel between this film and, "The African Queen," other than both film's showed quite a bit of water :), and I have seen each of the film's several times. It's a different war film; and that's always refreshing... If your looking for hard to find war film's check out "Men In War" with Robert Ryan and Aldo Ray (A well done anti-war action film). Hopefully "The Naked and the Dead" with Cliff Robertson, and Aldo Ray will also be put to DVD soon.

Ahab and the whale
Only in this case it's a German submarine. Peter O'Toole stars as a survivor of a ship sunk by a U-Boat. The rest of the crew is massacred in the water. After this, O'Toole goes off of the deep end in his desire to destroy the sub. This is a retelling of "Moby Dick," with the sub as the whale and O'Toole as Captain
Ahab. Alas, revenge is sometimes not so sweet. The ending is both ironic and memorable.

Adventure in revenge.....
I thoroughly enjoyed this movie, not only because of the intense portrayal by Peter O'Toole as Murphy, but also because of the interesting story line. If one has to make an example of single minded pursuit of an objective, this movie is one of the best. It is an uncluttered adventure in revenge for a British seaman, one of two survivors of a ship sent to the bottom by a German U-boat, who's crew was cold-bloodedly massacred while in the water. Good aerial photography, coupled with a good supporting cast and one period song. Near the end of the movie, the philosophical and moral questions thrown by an exasperated Louis (played by Phillipe Noiret) to an unlistening Murphy says more about why it was entitled "Murphy's War." ... Read more

Reviews (1)

Superb Romantic Adventure Movie!!
The legendary Anthony Quinn and Rita Hayworth star in this superb,romantic Adventure Movie with great exotic locations.It's highly recommended!! ... Read more

Reviews (9)

Skip it...
A movie full of liberal feminist nonsense. Don't bother.

Impressive!
Yes, this movie is about a bunch of females who do cry a lot, who sit around and talk about silly girl issues we've all dealt with. Every time I've had a group of women over visiting I put this movie on...and everyone loves it. It's the ultimate "chick flick". It explores what female friendships are all about and tells the truth about our silly hang-ups and inner feelings. I've yet to meet a woman of any age who wasn't impressed. The fact that most of it was improv makes me respect these women as actresses and as people even more. I would highly recommend this to anyone having a few friends over for a "girls" night. It's the perfect entertainment.

Tear Jerker
I was in tears at many times throughout the movie because it made me remember how important my female friends are to me. It also made me laugh. My boyfriend watched it with me and it made him wish that he could be a fly on the wall in a room full of women.

Yes, it is a B or even a C movie, but I rented it long ago and will be buying it tonight. It is more of a comfort type of a movie for people who can, in a strange way, relate to what goes on.

Awful!
One of the worst movies I've ever seen. Just a bunch of basket cases who get together at a cabin retreat, in Utah I believe, and cry. And scream. And cry. And laugh. And cry. And eat. And cry. And destroy video cassettes. And cry. And pile on top of each other, crying (of course), with a declaration to the Martha Plimpton character (the "outsider" in the bunch) that "You're one of us now!" Awful.

Bravo Linda Yellen
This 1993 made for cable film is directed by Linda Yellen who produced the Vanessa Redgrave TV movies Playing for Time and Second Serve. Both those films showed Yellen's preference for character driven narratives and her willingness to tackle difficult material. This film is based on improvisations by the seven female cast and this shows in Yellen's loose tone with overlapping dialogue and an agitated camera. The story revolves around three seasonal reunions and what makes it interesting is to see how women react to confrontations. Thankfully, there are no guns drawn or fistfights but a sisterhood campfire complete with warrior paint is a little hard to take. It's interesting too when Yellen introduces a male into the nest since he is used solely as an object and she has the wit to balance the inevitable sexual encounter with the other women's reactions to the noise. This reaction has them in a spa and this scene is the highlight of the film when a not too surprising queer confession is made. Even a later tragedy which initially feels soapy is redeemed by giving one actor a huge monologue. Yellen has cast a group of lesser actresses and, because of the nature of the piece, their conversations rise or fall based on the performers ability. Of the seven, best is Jobeth Williams and Helen Slater who share a touching scene about a shared husband as they cut vegetables. Lindsay Crouse and Martha Plimpton provide some spiky edges and Talia Shire seems well cast as a nun, but Jill Eikenberry only has a smile to draw on and her scene with Ally Sheedy rambles. Yellen casts Sheedy as an inarticulate to probably counterbalance her incompetence. Plimpton films the gals with a handheld all the way through, though I wondered who was holding it when we see the finished doco and she is walking arm in arm with everyone else. The film collapses by the end in over-sob but, considering what has preceded it, that is forgiveable. Regrettably, Yellen's follow-up, the 1994 Parallel Lives is less impressive. ... Read more

Amazon.com

Though not as briskly exciting as the 2002 theatrical release, this earlier TV adaptation of Robert Ludlum's bestseller has distinct advantages over its big-screen counterpart. It's far more loyal to Ludlum's serpentine plot, boasts greater latitude of geography and character development (allowing Richard Chamberlain's fine performance in the title role), and rises above TV limitations to achieve a big-budget look and feel. Suffering from amnesia and forced to piece together his past as a world-class assassin, Jason Bourne (Chamberlain) enlists the aid of a Canadian economist (Jaclyn Smith), and this pairing of '80s miniseries mainstays remains consistently intelligent, well paced, and altogether respectable. Chamberlain and Smith have adequate chemistry (albeit somewhat shallow), and their dangerous adventure--and eventual romance--is played out against a dozen European locations. Incorporating more of Ludlum's interwoven subplots, this ambitious Bourne is a globetrotter's delight, with a spy-thriller identity all its own. --Jeff Shannon ... Read more

Reviews (21)

Bourne is a lot nicer than in the book.
This is an intriguing movie and it will hold your attention from beginning to end. The plot is well conceived and there are no holes to drive trucks through. They could not have picked better actors for the characters. They may not match the descriptions in the book; but this is not a book.

The Bourne in the movie is much nicer. You have to make allowances for the transformation to the screen. However he does a lot more borrowing instead of stealing and is not as vicious with people on his travels.

Unlike the movie [Three Days of the Condor ASIN: 6300216748 (see my review September 25, 2000)], They did not let director distort the story for his own agenda. Basic story is someone wakes up with amnesia and naturally must find out who he is and why someone wants to kill him? As with all the amnesia stories he could be good, bad, or (I'm not going to say ugly) the person he is seeking.

BOURNE to be re-make..........
I've seen this tv-miniseries version of Robert Ludlum's bestselling novel many times, that I can actually say the lines and the dialogue in most scenes. However, that doesnt stop me from buying the new dvd version -- one plus, is having a new cover with Richard Chamberlain and Jaclyn Smith. The first one that came out is just plain white cover and the second version is just an artwork. So, this cover version for one is worth collecting.

This version came out in 1988 and became a big hit worldwide in rental video and in some countries, it was released theatrically. Richard Chamberlain and Jaclyn Smith, I must say, did an excellent job in this movie. Jaclyn Smith was a revelation in this movie. Well, she and Richard Chamberlain are well known-as the King and Queen of the Miniseries genre, but this is Jaclyn's first foray to the action/thriller mold and she's very good at it. There's no high-popping special effects nor high-tech flying action scenes, but this movie delivers what an espionage thriller should be. It will hold you from start to finish. It's a non-stop gripping action thriller and the photography and the musical score are absolutely fantastic.

A big thumbs up and worth watching again and again!

Mostly true to Ludlum's novel
I saw the original movie when it aired on TV, and thought it was excellent - a great combination of suspense, intrigue, and romance. Richard Chamberlain and Jaclyn Smith (the King and Queen of the TV miniseries at that time) were both excellent in the starring roles and had great chemistry together. Inspired by the movie, I purchased the book and found the movie to be fairly true to the original. To the reviewer in New Jersey, I can only respond, have you read the book? In my opinion, at least, Richard Chamberlain was much more believable in the role of Jason Bourne than Matt Damon could ever be. From what I've seen so far, the new movie will probably pale in comparison to the original.

Bourne to Review....again!!!
After watching the dvd version of Matt Damon's version of "The Bourne Identity," I can't help myself but watch again(!) the tv miniseries version. The new version is the typical action movie of the current trend to suit the taste of today's movie lovers and I can't disagree with the new audience liking it(I enjoyed it!)and it's hard not to make a comparison but the main reason why this miniseries version is, I believe--and I know most fans will agree-- is the two stars, Richard Chamberlain and Jaclyn Smith. Both stars had a chemistry that Matt Damon and Franka Potente lack. Don't get me wrong, both Damon and Potente are good but the XXX factor doesn't click at all.

Anyway, it's great having both in my collection and maybe years from now, I'll do another review and make a comparison --just in case things changes......

Great Passion
When the new one came out with Matt Dameon I was excited to see it, but was sorely disappointed. There was just emptiness, the story was changed and chopped with the loss of any of the great passion of the TV Miniseries.
The miniseries doesn't have all the special effects, but it has passion from people that are believeable and not contrived as in the Dameon movie. Their characters are real and you understand what they are feeling, from love to frustration, from fear to grief, and from confusion to loyalty. Since the Movie changed the story, none of these aspects where even attempted to be shown, just a love affair with no substance. ... Read more

Reviews (6)

Great film!
James Mason is as handsome as ever. It's a really well worth seeinf film. I highly recommend it.

Not Perfect, But Vastly Entertaining
I have been told that the French predecessor of this film is better, but I don't see how. The compelling true story of the downfall of the Hapsburg family is recounted here with an emphasis on the personal tragedy of Prince Rudolph. Here is a man trapped in a loveless marriage, domineered by his tyranical father, deprived of the love of a mother who tries to dazzle everyone, caught in the uprisings of democratic politics, and addicted to cocaine to dismiss his pain. To add to his personal pain, he meets a beautiful, penniless noblewoman, whose family is basically out of favor, and falls hopeless in love. The politics, the personal manipulation, the suffering of the lovers is beautifully presented by MGM in their grand style. Sharif may not be the optimal Rudolph, but who could be immune to Catherine Deneuve's charm. James Mason is a perfect cold and stern Emperor, and Ava Gardner (miscast) fares adequate as the Emperess. It is James Roberton Justice, who plays the Prince of Wales, who steals the movie. His every scene is a joy. The European character actors who fill out the cast do a fine job, and the story unfolds as the tragic love should. Whether you believe that Rudolph killed his mistress and himself, or that his father had the secret police remove him, you will enjoy this movie. Good musical score too!

Schmaltz
In early 1889, Crown Prince Rudolph, son of Emperor Franz Joseph and heir to the Hapsburg Empire, took his teenage mistress, Baroness Maria Vetsera, to a hunting lodge called "Mayerling." What happened there has been the subject of a good deal of speculation, but the most popular version is this: That sometime in the early morning hours of January 30th, Rudolph killed Maria with a single shot from his revolver, and then, some hours later, took his own life. How they came to this moment in time is the subject of the film, "Mayerling" which stars Omar Sharif as Rudolph and Catherine Deneuve as Maria.

The film is highly sympathetic to the lovers, portraying them as kindred souls beset by the prejudices and stupidities of everyone around them. Rudolph's liberal political views and Maria's innocence are made much of, and the idea that they were driven to the desperation of a suicide pact is central to the persuasiveness of this film. Unfortunately I have a hard time buying any of it, and perhaps it's partly because I know too much about the real couple and their situation, but I think it's also because the film is so heavy-handed that we feel more bludgeoned than persuaded. Sharif is wooden as Rudolph, but in all fairness some of the lines he's asked to deliver are almost laughable. The Oedipal subtext between Rudolph and his mother, Elizabeth, has no real purpose beyond titillation, and it is frankly difficult to believe in Deneuve as ingénue. Had all the roles been written with more authenticity the story might well have worked as a tragedy, but Terence Young, who apparently drew on the novels of Claude Anet and Michel Arnold to write the screenplay, has taken the easy route here, complete with cardboard villains and people's heroes. Not even James Mason as Franz Joseph or the ravishing Ava Gardner as Empress Elizabeth can propel this particular film out of the category of Bad Romance.

The look of the film owes more to the era in which it was made than that which it seeks to portray. Makeup, hairstyles, even costumes reflect a sixties sensibility which may have put audiences at ease in 1968, but which are jarring today. Frankly, this is one of the things that can really turn me off of a film; I tolerate it in "Doctor Zhivago," but in "Mayerling" it becomes so distracting, that any credibility this film might have had for me goes right out the window whenever I see an actress with overdone, sixties-style eyeliner or lots and lots of hair woven into intricate, sixties-inspired dos. I suggest you give this one a miss unless you're in the mood for some schmaltz.

Mayerling, a must see movie
A perfect example of Omar Sharif's brilliant acting, I wish we could see him again in big US produced movies to use his rare talent in new movies instead of losing him again to the Egyptian movie producers. In this movies you can see how much this great man can say just with his eyes to his also incerdible co-star Catherine Deneuve, wonderful movie and beautiful sceneries and acting, a must see. would recomend Doctor Zivago and some of his Egyptian movies .

Mayerling
A Beautiful re-make of the 1938 classic. ... Read more

Reviews (46)

a heart-warming film
This film was apparently based on the true story of a 13 year old girl, Wei, who was recruited to take over a rural classroom for one month while the teacher is on family medical leave. The teacher tells her that too many kids are dropping out of school and that if no kids have dropped out when he returns, she will get an additional 10 yuan reward in addition to the 50 yuan that the mayor has promised her. When one of the boys goes off to the city to earn money for his destitute family, Wei goes after him. When she arrives in the city she finds that the boy became separated from his traveling companions at the bus station and nobody knows where he is; he is lost and wandering the city alone begging strangers for food and sleeping in alleys. Wei is determined to find the boy, but why? Is it for the reward or does she actually care about him? It seems she was initially motivated by the reward but then later when she realized he was lost it touched her heart and she wanted to find him. The child actors were so cute and natural, I enjoyed their performances. A charming story with a happy ending.

Less is More
Zhang Yimou lifts the vail and provides a wonderous glimpse into life in rural China. The movie tells the story of a young girl who must take over a small rural school while the regular teacher goes away to take care of family matters. If upon the return of the teacher there is "Not One Less" student, she will be paid, but if she looses any of her pupils, the money she so desperately needs will be forfeit. She is soon tested as she finds students are torn between going to school and obligations to help their families tend the land. The young girl, Wei Minzeh, who has no previous acting experience is stunningly sweet, incredibly determined, and savy. It is hard to imagine why she was not nominated for Best Actress. The Director did much more than expose life in China to the outsiders view, he showed the universality of human traits such as indifference, bureaucratic thinking and finally compassion. Ulitimately one realizes that this movie could have just as easily been filmed in West Virginia, Maine or the farmlands of California.

GOOD
WHAT CAN I SAY?IT IS VERY GOOD.I LOVE THE MOVIE.IT IS MY FAVOR,GREAT WOEK

Another Great Film from Zhang Yimou
I really think that Zhang Yimou is the best director alive today. While in a sense he has dropped off from his ultra classic early dramatic collaborations with Gong Li (Red Sorghum, Ju Dou, Raise the Red Lantern, Qiu Jou, To Live, Shanghai Triad), I still find the humble films of this middle stage of his career to be heartwarming and engrossing in a most subtle way. Happy Times, The Road Home, and Not One Less are all simple films that manage to express and evoke a surprising depth of sympathy and emotion, much like Frank Capra was able to do during the classic era of American cinema with films like It's a Wonderful Life, It Happened One Night, and Mr. Smith Goes to Washington. And the fact that Not One Less was done with non-actors is a triumph not only for their success but also for the innovative courage that Zhang continues to display. Many consider films like this to be evidence of Zhang's fall from grace. On the contrary, I think they show why he is so great. How could he improve upon Raise the Red Lantern, the veritable Casablanca of Chinese cinema? Rather than continuing with similar films, he made the bold move to forge other paths. The next phase of his career will apparently be wuxia films. I have a feeling it is there where his name will come back into the popular radar abroad. Not that he should be concerned, as he's done very well without it, as the future will surely show...

A quasi-realistic fairy tale of modern China
Wei Minzhi (played by Wei Minzhi, essentially playing herself) is a 13-year-old peasant girl pressed into being "Teacher Wei" at a small rural elementary school when the regular teacher must take a month off. She knows one song (a Maoist propaganda song) and that not very well. She hasn't a clue about how to manage a classroom. Her arithmetic is suspect and her people skills are those of a self-centered beginner. It's not even clear that she wants to do the job. In fact she seems more concerned about the 50 yuan she's supposed to get than anything else.

Thus acclaimed Chinese film maker Zhang Yimou sets the stage for a most compelling fairy tale which illustrates how the determined spirit of a little girl might triumph over poverty, ignorance, and the hard-headed reality of the post-Maoist bureaucratic society.

And is she determined! She is given 30 pieces of chalk and warned not to waste any of it. The lesson plans are to copy some lessons on the chalkboard and to get the students to copy the copy. That's it! Both the regular teacher and the town's mayor point to the other as the one who will pay her. When the regular teacher starts to leave without paying her, she chases after him. She is told she will get paid when he returns, and if all the students are still enrolled, she will get a ten-yuan bonus.

Thus we have the movie's title and the source of "Teacher Wei's" determination. When one little girl is picked to go to a sports camp because she can run, Wei hides her from the authorities. When Zhang Huike, the class trouble-maker (played by Zhang Huike), quits school and heads for the city to find work, Wei schemes ways to get him and bring him back.

At this point the magic begins. With this common goal both teacher and the kids figure out ways to raise money to send Wei by bus to the city and back. They figure the cost for Wei's round trip and for Zhang Huike's one-way trip back, with the kids themselves taking the initiative at the chalkboard with the math. Wei makes them empty their pocketbooks, and when there is not enough she takes them on a field trip to a brick-making factory and together they move bricks to raise the cash. Again they calculate how many bricks they must move at so many "cents" per brick.

I mention all this because what is demonstrated, by the by, is some real teaching and learning taking place. In fact the mayor comes by and peeks into the classroom and is delighted to see that the substitute teacher knows how to teach math!

This sequence of events is very moving and is at the heart of the film. Any teacher anywhere in the world will recognize how brilliantly this is done. The kids become so eager to learn that they learn effortlessly, which is the way it is supposed to be. Furthermore, one of the phenomena of the profession is exemplified: that of the real teacher learning more (partly because she is older) than the students from the lessons they encounter.

Now, it is true that director Zhang Yimou does not show us the real poverty that exists in China nor does he point to the horrid dangers encountered by children who go to the city to work. Neither the little boy nor Teacher Wei is preyed upon in the manner we might fear. Recapitulations of the baser instincts of human beings are not part of Zhang Yimou's purpose here. This is in fact a movie that can be viewed by children, who will, I suspect, identify very strongly with the story. Zhang Yimou is talking to the child in all of us and he does it without preaching or through any didactic manipulation of adult verses child values. It is true he does manipulate our hearts to some degree, but with all the ugliness that one sees in the world today, perhaps he can be allowed this indulgence.

Although I would not say that this film is as good as Zhang Yimou's internationally celebrated films such as Red Sorghum (1987) (his first film) or Raise the Red Lantern (1991) (which I think is his best film) or The Story of Qiu Ju (1991) (which this film resembles to some extent), it is nonetheless a fine work of art exemplifying Zhang Yimou's beautiful and graceful style and his deep love for his characters and their struggles. And as always his work rises above and exists in a place outside of political propaganda as does the work of all great artists.

Perhaps more than anything else, however, one should see this movie to delight in the unselfconscious, natural, and utterly convincing "amateur" performance by Wei Minzhi as a most determined and brave little girl. She will win your heart. ... Read more

Reviews (3)

More Truth Than You Can Handle
More than just a movie, Double Crossed is a primer for those who wonder just how serious our government is on the war on drugs.The main players of this true story do not come to light untill 10 years later. Who was Attorney General for Dade County where Barry was first arrested and recruited into DEA? Who was Governor of Arkansas, the destination for the cocaine shipments? How much did they know, and how did they use that knowledge to further their carrers. Other players in this story include Ronald Reagan, Ollie North, and George Bush. Truly a story of strange bedfellows.

I concur
Based on a true story,Barry Seal was the man who brought down the druglords in South America. He also paid for it with his life,at the hands of the US Government. You really want to see how the Gov does business? Check it out!

Buy it, you'll like it!
Having seen this movie on HBO several years ago, I have searched to rent or buy it. Hopper is incredible as Barry Seal, fearless and overflowing with confidence as he negotiates his way through precarious situations on every side. Men will envy his guts, much like Al Pacino. I'm ordering it. It's worth the price of four or five rentals-really. ... Read more

Amazon.com

It's life in the Theater with a capital T in this film adaptation of the London and Broadway hit by Ronald Harwood. Though we see other people, the film is really a duet between Sir (Albert Finney), an aging actor-manager who runs his own theater company, and Norman (Tom Courtenay), his dresser, who gets him into costume and, ultimately, into shape to go onstage each night. Sir is on his last legs; Norman is alternately his cheerleader, his parent, and his whipping boy--whatever it takes to get Sir up to performance level each night. Finney perfectly captures the vainglorious insecurity of this aging ham, whose career has never quite matched his expectations but who has to convince himself each night (with Norman's help) that a performance in the provinces is as big a deal as treading the boards in the West End. The film lives and dies, however, with Courtenay's neatly nuanced performance as Norman. No man is a hero to his valet--but Courtenay finds the affection along with the disdain that are part of this character. A great backstage tale. --Marshall Fine ... Read more

Reviews (12)

The show must go on in spite of co-dependancy and lunacy
Albert Finney is the actor character--a consummate Shakespearean actor who has perhaps played the role of King Lear one or two too many times, and is now in the midst of a mental meltdown prior to this latest curtain going up.

Tom Courtenay is the actor's dresser--a consummate professional who now faces the tackle of piecing back the shards and fragments of his creation--the actor who must go play Lear.

The only thing you need to know are the two main actors: Finney and Courtenay. Both were nominated against each other in the same category of lead actor in the Oscar race. Both were worthy of winning, and perhaps that is precisely why they both lost. They are both powerfully over the top in different ways--Finney being out of control and constantly in a state of dramatizing his backstage life like he is in front of an audience, and Courtenay as his rather prissy, fretting, "keep it together" devoted caretaker of his on-screen partner. The relationship between the two is intensely professional, very confrontational, and very personal. If those all sound contradictory, yes. For these actors to pull this off on so many different levels is amazing to watch. Their vocal battles are superb and highly entertaining. The only reason I can figure out why they lost their nominations are because the roles were both at the same level of campy, showstopping pompousity. They equally shared the screen; it is impossible to figure out who is the true singular leading man in this pair. The film's tightly matched duo makes you ponder the eternal question of who is the true artist--the performer, or the one who prepares the performer to be who he is?

See this excellent piece of cinema; it is truly a feast of great acting. Oh, yeah, director Peter Yates was fabulous in how he didn't bore you with cinema school trickery, and just let the actors steal the show. Yates also was recognized with a nomination for this picture. It is sad this film went home empty handed that year at the Oscar ceremony, but it would be even sadder if you didn't give this little gem a chance. SEE IT!

Probably worked better on stage
Some plays translate well to film, and others don't. Glengarry Glen Ross is an example of one that translates beautifully. The Dresser is certainly an interesting film; Albert Finney and Tom Courtenay deliver strong performances, (although they both are over the top) and one does feel the atmosphere of World War II England, but this story simply works better on stage.

Brilliant drama about drama
I have always loved the theater and actors. The Dresser pays great homage to the noble art of the thespian but also captures the isolating nature of their work.

Finney and Courtenay are both brilliant as the waning star and the has-been confidant. Their relationship is one of the most poignant ever written. Courtenay's character is a passionate study of both desperation and unflagging loyalty.

This one is truly a keeper for anyone who loves theater, actors and just good drama.

Brilliant
Others have said what a splendid film this is. I will add that it is also a rare thing: a movie that is smart and not a bit didactic.

Like much good art, The Dresser tells us more about human nature than the whole vapid enterprise of psychiatry. Imagine how dull these characters -- all of humanity -- would be after drugging and doping by shrinks.

Will there be anymore Shakespeares after Prozac? Does psychiatry even allow for as much noncomformity and artistic freedom as does communism? No more moral conflicts, no more tragedy. Just serene banality. The antithesis of this film. The antithesis of life.

If you are a devotee of what Thomas Szasz has called "The Therapeutic State," you almost certainly with neither understand nor like the film.

[...]

If you like Shakespeare and the English, You'll Love This
England, 1940, during the blitz: all the young actors are in uniform, hospital, or dead. Albert Finney, playing an aging Shakespearean, carries on as best he can, leading his troupe of women, and men too old or damaged to fight. Actually, he doesn't lead, but rather is daily cajoled into carrying on by his dresser (played by Tom Courtenay). Courtenay is wonderful as the fussy, loyal, oh-so-English man behind the man, maintaining a desperate hold on his good humour even as his life is coming apart in shreds as Finney disintegrates.

It is easy to see that Finney was classically trained, and that his booming stage voice must have rung through many a theater. The snatches of Shakespeare that we do see are great fun, as is the byplay between the old man who can do them in his sleep and even the most humble members of the crew, who by now know all the cues. But mainly this is the story of two men, one an artist who is used to taking what he needs from those around him, and the other who gives his life over to that man, and to some idea of carrying on the great work. This is not a happy film, but it is a great one. ... Read more

Description

A film about the love an Irish family holds for each other and their country. ... Read more

Reviews (4)

A Real "Culchie" Film
Two thirds of Ireland's popoulation doesn't live in the towns most Americans have heard of like Galway, Cork, Dublin. This film hit life in small market towns (down the country) square on the head. The scene where the lads are off in the delivery van to the disco the next town over is dead on, all piled into the back and bouncing around on wee roads for miles. The macho posing and abuses hurled back and forth eventually leading to a row sadly couldn't have reminded me more of my numerous nights out with friends in the Midlands. This is the Ireland they don't want you to see in the travel brochures..complete with post dole day, chip shop trash. And the amount of times I've overheard people there speak the words, "Say nothing 'til ya hear more..." says quite a few have viewed the film as well. My suggestion is to try and find a copy of "Father Ted" (Channel 4) or "Podge & Rodge" (RTE) instead. The countryside is beautiful though.

Is about the hardships of trying to make it on your own.
I thought that this was an excellent movie. Set in Ireland, it is about a young man, who after his mom dies, tries to make it on his own. He does not like to listen to his father, because he thinks that he killed his mother. He goes and he lives with a very outgoing friend named Cocoa. When they go to town across the border, he sees a girl that he instantly falls in love with. They meet and do fall in love and eventually she gets pregnant. The two families have two totally different approaches on what to do. The girls family ships her off, and punish the boy for what he has done to their daughter. All in all I thought that this was an excellent movie.

Funny yet serious Irish movie
Worth it just for the character Cocoa. He was hilarious and the actor who played him did an excellent job!

A fabulous coming of age film
Not to be missed. The acting is fabulous and the angst of growing up is realisticly portrayed. Not sugar coated and censored but actively seeks to be true to the younger set of today. ... Read more

Amazon.com

Neil Young's 1982 comic mess of a feature left many faithful fans baffled andwas otherwise unappreciated at the time of its release.But with the benefitof hindsight and shifts in pop culture in the last couple of decades, much ofHuman Highway now feels warm and funny where it once lookeddisastrously undisciplined. Nostalgia helps: gilded memories of Devo'sdecadent antics long ago now make their recurring role in this film (asnuclear plant workers bathed in a suspicious red glow) almost sentimentallyappealing. Similarly, Dennis Hopper's role as a chattering nutcase andshort-order cook named Cracker looks sharper and more laughable now, and DeanStockwell's perfectly timed performance as a slimeball businessman is evenmore entertaining knowing the former child actor was on the threshold of acareer revival. (Stockwell is also credited as a writer and codirector ofHuman Highway.) The story, such as it is, concerns the goofy goings-onat a remote diner and gas station just down the road from a disintegrating nuclear plant. Stockwell's character has inherited the failing, ramshackleeatery and is crafting secret plans to torch the place. Meanwhile, Young'scharacter, a dorky mechanic, swoons in the presence of a favorite waitress(Charlotte Stewart), bickers with his boyish partner (Russ Tamblyn), anddreams of playing music to an audience. Much of the film looks spontaneouslyconceived, but the players are all so good they know exactly where the laughsare. Influences are easier to spot now, too, particularly the freewheelingset-ups of Paul Morrissey and John Waters (though without their perversity).The hyperreal sets and backdrops actually anticipate Tim Burton by a coupleof years, and overall the direction is more sure than most of us could see atthe time. --Tom Keogh ... Read more

Reviews (17)

A brilliant "inside joke". Parody and satire at its best.
Neil Young is the enigmatic "godfather of grunge." DEVO defined themselves as a representation of "de-evolution" ... whatever that means. The fact that these two forces would combine to produce "Human Highway" makes a whole lot of sense.

It's just a quiet day in a little one horse town, occupied for the most part by the workings of the diner, the garage and the thermonuclear power plant on the hill. Something goes wrong at the diner, the mechanic has a personality crisis triggered by a head trauma, and ... oh, yeah ... there's a leak at the power plant. "Barrel go boom," as the power plant worker so succinctly puts it.

"Human Highway" is NOT a laugh-a-minute. It really only seems to "work" on repeated viewing. The satire of the rock music scene is as funny as the goof on nuclear power. The psychedelic flashback segment is done with affection.

Though the film introduces Neil's music into a DEVO-esque scenario, and includes songs from different points in his career, this is NOT a "rock and roll" movie per se.

The traditional folk song "It Takes a Worried Man (to Sing a Worried Song)" appears twice in the movie, and is really what sets the tone. The DEVO take on Dylan's "Blowin' In the Wind" has me in stitches each time I hear it.

Overall, I think you should give this strange little film a chance. Neil fans can add a star. Hardcore DEVO fans can add to stars.

It really DOES take a worried man!

Very interesting spoof-type movie!!!
Neil has always been known for his strange diversions of character and music. This is no exception. This is perhaps the strangest spoof type movie I've seen. However there's something to it. Sure, the movie was obviously low budget--Sure, the scenery and props were inspired by Neil's Lionel train collection. But, you have to look past this and really not take the film too seriously.

There is some twisted satire in this film.. some funny hidden comedy by Neil, Dennis Hopper and Dean Stockwell. I think this movie is best watched more than once.

I truly appreciated the dream sequence..when Neil's character, Lionel Switch (what a name huh?) dreamed of being a rock star.. then suddenly it diverts to a strange camping/outing/POW WOW scene.. with the background music of "Going Back.." from his "Come A Time" album.. it's done in pyschedelic/neo-80 sytle that truly, in my opinion, is beautiful..

I've always appreciated Neil's interest and concern of the Native American welfare.. this movie touches on that too..

No, this movie is not "Saving Private Ryan" and it wasn't made for film recognition or Oscar awards.. it's done in the name of fun and to perhaps convey a message.

And.. you know what? Perhaps I'm a little biased (being such a big Neil fan and all) but Neil came across as a pretty good actor too..

Rent it.. add it to your collection.. and enjoy the music..again, particularly the dream sequence...

I hope Neil relives his Bernard Shakey director pseudo-role and comes out with another film.. He always keeps things interesting!

A very mixed bag
Just because you like ice cream and tomato sauce doesn't mean you should mix 'em together. I think that's what happened here. I couldn't imagine not liking a movie with Neil Young, Devo, Dennis Hopper, Dean Stockwell, etc.... well, live and learn.

The pieces of this movie don't hang together well. It's like there were two different films and someone just mashed them together with no regard for whether or not they would fit. On one side we have the somewhat didactic Devo pieces, with Booji Boy in a role similar to the chorus in a Greek play; he's like a court jester, who gets away with speaking ugly truths because he's too silly to take seriously.

On the other side we have Neil Young's surreal pseudo-story. Despite some interesting snippets of dialog, no particular thread is developed far enough to inspire any real interest in the story, and no character is developed enough to make us care what happens to them. Which, in a way, is probably Young's point - the tiny events of our little lives just aren't as interesting as we think they are, and they don't matter. But that doesn't make for engaging storytelling.

But, between Devo's solid personification of doom and Young's dreamlike depiction of everyday life, there is one amazing performance which, in my opinion, redeems the movie. It's their joint rendition of "Hey Hey My My." This lengthy, frenzied, and apparently spontaneous studio session is the only honest moment in the entire movie. All the campiness, tongue-in-cheek lecturing, and coyness that candy-coats the film's depiction of our shallow, ugly civilization is put aside for a straightforward primal scream. The speeches and the dreamy videos are nice, but the wailing fury of this number is a catharsis of disgust, contempt, and disillusionment. Young and Devo work together as if in a trance, and no one seems to want to break the spell. It's genuine and moving.

One Fine Day In Linear Valley
Apart from "Dr. Strangelove", I think this is the only pre-apocalyptic comedy I've ever seen. Young's film, however, takes a warmer approach; most of the characters are likeable and the ending is softened quite a bit from what you would expect. It was interesting to see some of these folks playing against their own public images: Neil Young plays himself, a dorky garage mechanic, and a crack-smoking crooner who looks like Wayne Newton. Charlotte Stewart ("Eraserhead", "Twin Peaks", "Little House On The Prairie") plays Young's cute waitress girlfriend, Russ Tamblyn plays his equally-dorky friend Fred who falls down a lot, and Dennis Hopper plays a genial, loudmouthed chef (a bit like Ralph Kramden). The members of Devo appear in the film as well (along with their mascot Booji Boy, who has a great surreal conversation with Tamblyn); they play a snide group of nuclear waste-disposal guys whom no one likes except Hopper's character, who thinks they're the hope of America. They tend to act as a sort of harbinger of doom, along with a crow who also seems like a bad omen whenever he shows up...
The film really has no story; it's just a series of incidents that continue on until the movie ends, but the incidents are fun to watch and sort of bittersweet in retrospect. And the music is good too!

Human Highway
One of the elements that sets this apart from a "B-rated" film is the fact that there are quite a few notable actors in it - not to mention Devo. It might help if you are a big Neil Young fan to appreciate it, but I know people who don't know Young well, and still enjoyed the film. The plot and chronlolgy / significance of some scenes may be a bit difficult to determine the first time through, (particuarly the opening after the nuclear meltdown) but there are still a lot of funny scenes and lines. Overall, a very enjoyable film, especially for college students. ... Read more

Reviews (8)

Nine¿s Red Wine
Red Sorghum is almost two movies in one. The first half is comical and fun-spirited, while the second half (once the Japanese attack China) is full of horror, death, and sadness. There is a lot of symbolism and historical commentary in the movie, and anyone who appreciates Chinese culture and history will probably enjoy the movie.

Red Sorghum is an outstanding movie that is filled with beautiful imagery and lush colors. As I sat watching it, I found myself noticing the red splashes displayed about the screen like a Jackson Pollock painting and hearing the reverberation of numbers. I began to attempt to analyze the symbolism, but lacking the Chinese or Eastern background needed to "feel" the innate meaning, I stumbled over my own thoughts. Nonetheless, I will at least give note to the things that stood out and try my best to give my own impression about what they might mean.

Red, which is the color of luck, and, consequently, the most common color for wedding gowns and gift wrapping, is photographed in Red Sorghum like no other in my memory. From the red gown that graces Gong Li's body to the sun above and from the wine that flows from fired pots to the blood that runs from opened veins, hues of red permeate every inch of the screen. There are many possibilities for the meaning in the movie. It would be too simplistic to say that it means luck, because it just does not fit every circumstance in the movie. More than that, it most often seems to signify the life giving force. Blood is red, as is the nourishment of the wine, the color of the sun's rays upon the land, the sensuousness of the silk wedding gown, etc. The entire first half of the film are celebrations of life and it is filled with basic essences of the spirit and passion. But the second half of the movie is dominated by the Japanese invasion and violence of attack and retribution. The very end of the movie is entirely cast in red during a solar eclipse. Thus, red could be used to contrast the celebratory nature of living with the emptiness felt after a great loss. But I also thought that the ending was possibly just showing the eclipse of the red sun of the Japanese flag and replaced by the piercing red of the Chinese Communist Party. It is hard to say exactly, and I was unable to find any commentary on the use of color specifically.

Another very prevalent use of symbolism was the number nine. Nine is typically associated with longevity, since the two words sound identical. The heroine's name was nine and she was the ninth child, there were 9990 li on the road to Qingshakou, additionally the wine was prepared and blessed on the 9th of September, which was also Nine's birthday. The wine was called "18 Mile Red" [which is two nines together or the one added to eight is nine] and wine itself is pronounced the same as the number nine. On top of all that, the Japanese invaded nine years after the beginning of the story. This screamed to be analyzed much beyond the traditional meaning associated with the number. This could simply be a patriotic depiction of how the Chinese civilization will go on forever, even in the face of adversity; but the root meaning is still unknown to me. I am unable to find any commentary discussing this topic. Additionally, any attempt to change the traditional meaning to fit the circumstances of the movie would be a stretch being that I'm Western and I lack the full cultural awareness necessary to fully understand such subtleties.

One use of symbolism which did seem evident to me was the use of the Japanese execution of two characters in the story, San Pao and Liu Louhan. San Pao was used to symbolize the KMT, since rather than cursing the Japanese, he instead cursed the Chinese butcher ordered to flay him. San Pao was portrayed as a weak spirited villain who cowered from the Japanese and spat on the face of the Chinese butcher. Liu Louhan, on the other hand, symbolized the CCP and was shown to be very brave. He cursed the Japanese until his last breath, the movie says.
These are just a few of the uses of symbolism in the movie Red Sorghum. There are certainly more. However, I have barely scratched the surface of the meanings of these alone. Perhaps only the filmmakers know the symbols full extent and meaning. Maybe one day I may be able to ask them...

Barbaric and beautiful
Although I don't think this is quite as good as some of the other films that master Chinese film maker Zhang Yimou has made--e.g., Raise the Red Lantern (1991); The Story of Qiu Ju (1991); Ju Duo (1990)--Red Sorghum is nonetheless an outstanding film strikingly presented visually and thematically.

Gong Li stars as the betrothed of an old leprous wine maker. The film opens with her being carried in a covered sedan chair to the consummation of her wedding by a rowdy crew from the sorghum winery. It is the 1930s or a little before. They joust her about according to tradition and sing a most scary song about how horrible her life is going to be married to the leprous old man. Through a break in the sedan's enclosure as she sits alone in fear and dread she catches sight of Jiang Wen, a burly, naturalistic man with a piercing countenance. A little later after a bit of unsuccessful highway robbery during which she is released from her confinement, they exchange meaningful glances. The young man doing the voice-over identifies them as his Grandmother and Grandfather. (Obviously the leprous old man is going to miss out!)

Zhang Yimou's technique here, as in all of his films that I have seen, is to tell a story as simply as possible from a strong moral viewpoint with as little dialogue as possible and to rely on sumptuous sets, intense, highly focused camera work, veracious acting by a carefully directed cast, and of course to feature the great beauty of his star, the incomparable and mesmerizing Gong Li. If you haven't seen her, Red Sorghum is a good place to start. Jiang Wen is also very good and brings both a comedic quality to the screen as well as an invigorating vitality. His courageous and sometimes boorish behavior seems exactly right.

I should warn the viewer that this film contains striking violence and would be rated R in the United States for that and for showing a little boy always naked and for the "watering" of the wine by Jiang Wen and the boy. Indeed the film is a little crude at times and represents a view of pre-communist China and its culture that the present rulers find agreeable. The depiction of the barbarity and cruelty of the Japanese soldiers is accurate from what I know, but I must say that this film would never have seen the light of day had communist soldiers been depicted in such a manner.

Nonetheless the treatment is appropriate since Red Sorghum is a masculine, lusty film suggesting the influence of Akira Kurosawa with perhaps a bit of Clint Eastwood blended in. There are bandits and tests of manhood. The men get drunk and behave badly. Masculine sexual energy is glorified, especially in the scene where Jiang Wen carries Gong Li off to bed, holding her like a barrel under his arm, feet forward, after having "watered" her wine as though to mark his territory. The camera trailing them shows her reach up and put her arms around his neck and shoulder as much in sexual embrace as in balance.

Obviously this is Zhang Yimou before he became completely enamored of the feminist viewpoint; yet somehow, although Gong Li is allowed to fall in love with her rapist (something not possible in contemporary American cinema), Zhang Yimou manages to depict her in a light that celebrates her strength as a woman. One can see here the germination of the full blown feminism that Zhang Yimou would later develop in the aforementioned Raise the Red Lantern, Ju Dou and Qiu Ju.

As usual in Zhang Yimou's films not only are the sets gorgeous but the accompanying accouterments--the pottery, the costumes, the lush verdure of the sorghum fields, even the walls and interiors of the meat house restaurant/bar and Gong Li's bedroom--are feasts for the eyes, somehow looming before cinematographer Gu Changwei's camera more vividly than reality.

There are some indications here however that Zhang Yimou had not yet completely mastered his art, and indeed was working under the constraint of a limited budget. For example there was no opening in the sedan through which Gong Li could see Jiang Wen, and there shouldn't have been one (a peephole maybe). The pouring of the wine (into presumably empty bowls that obviously already contained wine) by Jiang Wen needed more practice. In his later films Zhang Yimou would reshoot such scenes to make them consistent with the audience's perception. Additionally, Gong Li's character was not sufficiently developed early on for us to appreciate her confident governance of the winery she had inherited. "Uncle" Luohan's apparently jealous departure from the winery and his implied relationship with and loyalty to Gong Li were also underdeveloped.

However these are minor points: in what really matters in film making--telling a story and engaging the audience in the significance and the experience of the tale--in these things Zhang Yimou not only excelled, but gave promise of his extraordinary talent that would be realized in the films to come. See this by all means, but don't miss his Raise the Red Lantern, in my opinion one of the greatest films ever made.

Funny, Suspenseful, Stunning, and Haunting
A true and rare tour-de-force that will keep you in suspense even after the movie has ended. It's disappointing that this movie does not have a sequel - I was hungry for the tale to continue through the next two generations. A real gem of a find, which successfully incorporates comedy, drama, romance, action, epic scope, and (truly heart-rending) tragedy.

Recommended most highly and without reservation.

Cute,sensual,breathtaking and brutal
A debut of Zhang Yimou and Gong Li but among the last that I had the chance to watch and all the waiting was absolutely worth it. It was surreal, great cinematography, powerful drama but very sensual and sexy, eventhough you don't directly see the steamy stuff. The cast were great. Not to mention grandpapa (Jiang Wen)was extremely HILARIOUS and FUNNY and what a foreboding, muscular hunk too. I can understand why grandmama (Gong Li ) melting and quivering all over ! Yes, Jiang Wen is famous in Asia...perhaps not so in the western world unless you are a world/Chinese cinema fan.

I can imagine him "drooling" when he first laid eye on Grandmama (gorgeous Gong Li). And the song that he sings to Gong Li in the Sorghum field was in fact teasing her and very very funny. In a drunk scene, he was soooooo pathetic, that Gong Li didnt know what to do but to punish him with a broom , had me reeling on the floor laughing myself silly.

Eventhough mandarin is not my first language, I understand most part of the language and the nuance and usage of the word is incredible and made the characters seems really really comical and silly. Excellent !!!

The movie are shot in a hue of reddish orangy glow and the effect was stunning. The first half of the movie basically concentrate on the two lovers and the sorghum field that they work on and their relationship to the staff workers.

The second half of the movie is a totally different subject and rather brutal depicting the arrival of the Japanese invasion including bondage,interrogation and torture.

Lets just say its quite sad and tragic. The period of the Japanese invasion, in which my own grandma and granpa had gone through, often fascinates me and yet it gave me goosebumps.

No doubt, Zhang Yimou is among the best directors in the world. The video presentation is very good...but I am definitely wanting a DVD version for this classic, along with "A Mongolian Tale" and the new movie "Devils at my Doorstep" acted and directed by my favourite Jiang Wen.

Now I am having all this imaginations of how my own grandpapa woos my grandmama :))...

please...
The closest any director has come to the tone of a fairy tale. Pastoral, downright funny, and bitterly sad, but not so mired in familial obligation like most modern Chinese film. ... Read more

Amazon.com

King Solomon led a grand life, thus rating this epic movie told intwo parts, averaging 86 minutes apiece. Director Roger Young chronicles the king's rise from the weakling mama's boy of Bathsheba to a ruler known forhis wisdom, international alliances, construction of the Jewish temple, and oh yes, those thousand wives--concubines included. Part 1 spends the firsthour tracing the rivalry of Solomon (Ben Cross) with half-brother Adonijah, before and after the death of their father King David (Max Von Sydow in abrief appearance). It then makes a 10-year leap to dramatize hisfamous method of divining the true mother of a contested infant. In Part 2, the filmmakers embrace the legend that Solomon and the Queen of Sheba (Vivica A. Fox) had a romantic as well as political alliance, suggesting thatthey were the star-crossed loves of each other's life and introducing somesoft-focus nudity. With the queen's departure, Solomon descends intomaterialism and idolatry. The performances are strong and the script, penned by Bradley Winter, artfully weaves in background information to give theviewer helpful historical context. --Kimberly Heinrichs ... Read more

Reviews (16)

3 out of 4 are Excellent; Those 3 are worth the price alone!
Three out of these four DVDs are excellent! This is probably the nicest series of Bible stories available. The photography is beautiful, as well as the costumes, props and sets; the acting of the main characters is superb, likeable and believable; and the scripts usually stay very close to the actual Bible verses.

Genesis is the only stinker in this set. It is nothing like the other 3. The Genesis DVD has nice photography, but it does NOT act out the Bible scenes like the other three movies do! Genesis just narrates a reading of the book of Genesis, while showing contemporary desert people going about their daily lives.

If you are undecided about buying the whole set, then I would suggest buying at least one of these separately. "Jeremiah" is my favorite, and it really captures the attitude of a humble prophet being persecuted by the wayward Israelites. "Esther" is probably the most accurately told of these three good movies. It is a pretty clear storytelling, where the other movies sometimes change the order of events (but still portray the overall message accurately). "Solomon" covers the biggest chunk of Scripture, retelling many scenes of the life of Solomon and what Solomon wrote in the Bible.

I would rate the Genesis movie with 1 star, for being so misleading as to its content. But the other 3 films, Esther, Solomon, and Jeremiah are all 5 star movies! Even with the useless Genesis, the price of this DVD set is still a bit cheaper to buy the three good movies here, at one price, than to buy them one at a time.

It's ok
I just recently purchased this movie from Amazon.com, and they flashed up a message that the NTSC format may not be playable in Australia. Well, it is playable! All modern VCR's sold in Australia can play (and some can record) NTSC tapes. I have found this very useful as 'Solomon' and the other movies in this series have never been released in Australia.
'Solomon' is a solid, well acted drama (what do you expect, with Ben Cross taking the leading part). I found the first part of the movie quite entertaining, with plenty of action, as old King David's reign comes to an end and two brothers compete for the throne.
With the sequences dealing with the building of the Temple, I felt that little respect was paid to the holiness of the dwelling place of God, or of the Ark of the Covenant. Solomon treated the Holy of Holies with triviality. The inside of the temple walls were covered with gold, so the makers of the set should have paid more attention to detail.
Overall, the movie is well done, with a bit of laid back humour, especially when Solomon greets all his children after a hard day at the 'office'. If you like Biblical dramas, this is worth getting, provided you allow for a bit of 'licence'.

Fabulous Bible movies
Now I have to say that 3 of these movies are absolutly great, but the genesis one is a stinker! Esther, Jeremiah and Soloman are all dramatisations of the Biblical stories with great actors who put in brilliant performances. Genesis is a bunch of weird looking guys just walking around with a boring narration. And the narration does not even match what is on screen half the time. If Ed Wood did a Biblical epic it would look like Genesis!

Ok, glad I got that off my chest. Buy the box set, use Genesis for a frisbee!

God made him strong, women made him weak
A romanticized but quite accurate account of what is written in I Kings and II Chronicles, this made-for-television film is exceptional and boasts a brilliant international cast and fabulous settings.
Filmed in Quarzazate, Morocco, the landscapes are wonderful, and the buildings and set decoration, in warm amber shades, are a visual delight, enhanced by the cinematography of Raffaele Mertes. The terrific score by Patrick Williams also adds much to the atmosphere.

The section devoted to the Queen of Sheba has been embelished, but Viveca A. Fox is ravishing as the queen, and it makes for great drama.
The emphasis on this part is to show Solomon's destructive tendencies; women were his weakness, and the rationalizations for his behavior his undoing. From Adam to modern history, it's a common story, but in the case of Solomon, what he gave up for his weakness was God's mighty blessing, and the inheritance he would leave his heirs.

Ben Cross ("Chariots of Fire") as this complex character is marvelous, and he is surrounded by a superb supporting cast. Though it's hard to take the nordic air from Max von Sydow (who in 1965 played Jesus in "The Greatest Story Ever Told"), he is nevertheless an aging giant of a man as King David, and France's great Anouk Aimee plays Solomon's mother Bathsheba with vigor, as she holds on to the reins of power with tenacity.
Other notable performances come from David Suchet (who was so good in the 1998 "The Perfect Murder") as Joab, Ivan Kaye as Solomon's half-brother Adonijah, and Richard Dillane as the laborer who ultimately rules ten of the twelve tribes, Jeroboam. Even the smallest parts are believable, which reflects on the excellent direction by Roger Young.
This is a Bible epic well worth owning for repeated viewing; some of it is poetic, some of it action-packed, often inspiring and thought provoking, and always fascinating.

Accurate
Overall these are very accurate. I would like to point out, that many biblical scholars believe that Solomon did in fact marry the queen of Sheba. This is based on the history of the nation of Sheba (aka Ethiopia) and although the Bible dosen't explicitly say that they were married, there is nothing in Scripture that would contradict it. In fact the people of the Ethiopian nation were followers of the Jewish faith, that is why the Ethiopian enuch in Acts is reading from the Old Testament. According to the history of that country Solomon and the queen had a son and he sent priests and Levites to train him in the faith. This isn't somthing that the films makers made up.

Esther and Jeremiah are also very accurate, but I thought that Genesis was a little slow. It is mainly narative. After the story of the Creation it could have been acted out. ... Read more

Reviews (63)

Are you ready for the Final Round?!
Even though I'm no longer going to subscribe to Nintendo Power anymore (since my subscription is gone for eternity), I totally love this movie just like all of you Pokemon fans out there. However, this movie can be shocking at first, but once you try it enough times, it shouldn't be that shocking. Anyway, this movie contains the following:

"Pikachu and Pichu", a mini movie that takes place in the big city where the Pichu bros. try their best to guide Pikachu back home before Ash Ketchum notices his Pokemon are missing. It's very funny to see those Pokemon fight against 1 obstacle after another. Ha! Ha! Ha!

"Spell of the Unown", a major movie that takes place in the hilariously bizzare wasteland of Greenfield where everything turns to crystal. Sounds creepy does it? But not only that, you get to meet Entei, a legendary Fire-type Pokemon with the best Pokemon voice, unlike Mewtwo and Lugia which are just plain wimps. That's because those other 2 Pokemon that first existed in Pokemon 1 and 2 tend to have bad voices, but this one has a good voice.

What I do like about this movie:

"Pikachu and Pichu" has really huge laughs, unlike "Pikachu's Vacation" and "Pikachu's Rescue Adventure", plus it has more G/S Pokemon, which is superior.

"Spell of the Unown" has really good animation, good laughs, and good voices, unlike "Mewtwo Strikes Back" and "The Power of One", plus it has 3 soundtracks that has you moving and grooving to the beat, along with 2 excellent looking Pokemon (Unown and Entei) and 3 forms of the final boss, Molly.

What I don't like about this movie:

"Pikachu and Pichu" may tend to get annoying and loud at times during the film.

"Spell of the Unown" is a movie that could be too creepy for little kids, plus it's way too loud! Ahhh!

I'm sure this review will help all of you, but I'll see ya in the Special movie, Mewtwo Returns on December 4, 2001. Good luck! You'll need it!

Da best Pokemon movie to date!
Simply put, this movie is beautiful! The short film, "Pikachu and Pichu", is much better than the previous shorts, basically 'cause Togepi DOESN'T get lost! The main feature, "Spell of the Unown" (or "Lord of the Unknown Tower", however you want to put it) kills both "Mewtwo Strikes Back" and "Pokemon 2000: The Power of One"! Beautifully animated and equipped with a moving plot, "Pokemon 3" is, hands down, the best Pokemon movie to date. Unlike "PK 2000", the characters in "PK 3" actually bend in with the computer-generated graphics. The plot is not as predictable as "PK 1", and it also gives a little background info on Molly and her family, so the audience actually knows what the hell is going on. Not to mention that one of the coolest Pokemon of all appears in this movie.... ENTEI! ^_^ There's only one problem with this movie. Team Rocket is in it for a grand total of five minutes! Team Twerp is way overrated! >_< Hopefully, TR will have a bigger part in "PK 4", but 4Kids may not even bother to put it in theaters, unfortunately. It just might be one of those straight-to-video films.... *sigh* All in all, "PK 3" gets two paws up, and more if I could. Even those who aren't Pokemon fans won't be dissapointed. Show your support to keep Pokemon's flame burning brightly! Ii Kanji!

Pokemon Three - Entei Rules
This is the best Pokemon movie out of the five I've seen, in my opinion. The music is absolutely amazing: if they could make a REAL soundtrack with the ACUTAL music, I'd buy it immediately. You've all heard summaries of it from the other raters, so I'm not going to give one to you here. The voices of the characters match with their personalities, the plot takes a step away from Ash-Please-We-Need-Your-Help-Only-You-Can-Do-It and the 'save the world' junk. Yes, for once, Ashy-boy DIDN'T ride on a mythological being, and he DIDN'T stopped one 'undefeatable I-Am-The-Strongest-Alive' 'Mon from destroying humanity, or whatever. The characters can relate to every-day, real people as well - some are strong, like Entei, some are along a lot, like Molly, and some are so determined it's scary, like Ash...and some are just place ditzy, like James of Team Rocket. This is worth every .5 of a cent, in my view, and I would get the DVD if I could. The character also change in the movie depending on the experiences they went through, much like actual people, instead of shrugging, and saying 'okay, that's over' like a few movies had done.

An okay pokemon movie
I saw this a while ago. It was ok but not the greatest movie ive seen. Ive seen the 1st 2nd and 3rd movie. I want to see the 4th and 5th movie. I kinda out grown pokemon but its ok. I like Chobits, Super Gals, Sailor Moon, And Sakura Wars there all good.

Outstanding!
This movie was Awesome! I saw all the Movies in theatre but this one was my favorite. This movie, as with the other movies had a great message. This one says you're not alone no matter how lonely you feel and that people do care about you. It also says that if you believe in yourself then you will make it through the rough times. It shows tons of new Pokemon and the animation and script were incredible. This movie Rocks You just gotta' see it! ... Read more

Reviews (92)

A simple, yet wholly moving and beautiful film.
Eclipsing any romantic comedy or drama from Hollywood in the last 30 years, The Road Home achieves so much by doing very little. Master filmmaker Zhang Yimou successfully captures what it's really like to fall in love for the first time through his use of cinematography (sumptuous as always), unparalleled attention to detail, and, as always, a super strong cast (spearheaded by relative newcomer, the beautiful Zhang Ziyi). Unlike most romance movies, there is no love-making in this film. There is no kissing. The characters show their love through little things that we often take for granted: preparing food, giving small yet meaningful gifts, and other gestures. Like most of Zhang Yimou's films, there is relatively little music, however, the music that is there is perfect. It rises to the occasion when needed and dies down when not.
All of the elements of this film work together like clockwork...better than clockwork. It manages to get its message across more than western romances through uncomparable use of setting and shot framing, costume and make-up, lighting (with some brilliantly-back lit shots of the actors), and figure behavior.
Now about the DVD. This is a film whose setting was meant to be seen only in widescreen. The picture holds up well both in sun-lit outdoor conditions and slightly darker indoor scenes. The voices are set at a nice level and when the score hits its high note, the sound is heavenly...even through a plain Dolby Surround system.
Plain and simple, this is a film which should not be passed up.

A romantic fantasy with a universal theme
This 1999 Chinese movie is directed by Zhang Yimou, who also brought us "Raise the Red Lantern". It stars Zhang Ziyi, the beautiful young actress who, the following y