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| 121. Red Scorpion Director: Joseph Zito | |
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Reviews (13)
My three stars go out to the poor bushman who probably played himself and didn't get mentioned in the credits. He's actually the reason why this movie is worth watching. All the rest is cheap anti-communism propaganda of the lowest and brainless level. The director seems to tell us "Hey guys, the Communists got it up their a... in Afghanistan and in Africa too, so why should we blame our boys for having lost the Vietnam War?". The script came from a spoiled child with too much time to do something useful with it. And yet, despite all the "propaganda" bit, "Red Dawn" it is not... if you know what I mean. Thank God for that! It's the simple story of a Spetnaz (the russian equivalent to Special Forces in the U.S. Army or the S.A.S. in the British Army) who gets an assignment as an undercover hitman to kill an African rebel leader. Unfortunately for him, once in the midst of the Rebel group he starts to understand why they revolt and sympathises with their cause. Bad mistake! He's captured by the Russian secret service, tortured and thrown out of the Spetnaz with dishonor. Abandoned in the midst of an unknown African wilderness, he's suddenly confronted with the harshness of the land and must learn very fast how to survive in it. Unfortunately for him some lessons learned are soon forgotten thanks to exhaustion and sleepiness. In fact, no sooner is he asleep that a very venomous scorpion decides to sting him. The real movie starts here. Will he survive or not? Well, thanks to the said Bushman he gets his skin saved for a little longer. At first, the giant Lundgren mocks the little man for being so primitive and so backward and seems to take pleasure at teasing him, despite his gratefulness for having being saved by the Bushman. Very soon though the positions get reversed, and this is the really interesting plot twist of the movie. Lundgren is not a great actor, or even an actor at all, but in his clumsiness and genuine naivete' he gets through in convincing us about his helplessness out there in the wild. Soon enough the wisdom of the old Bushman gets revealed to him and now a true friendship starts to ensue between two worlds as alien and as far apart as can be. Not only do they become friends but start to respect each other as human beings, and out of this relationship comes the final strong reaction of Lundgren when he sees that the Bushman's entire village, family and friends have been wildly butchered by so-called "civilized" people. Lungren's own bunch. While the Bushman hardly utters a word watching the scene and seems to linger in a state of deep shock at what he sees, Lundgren gets upset and swears to the old man that his family won't have died in vain. A noble reaction, but probably one the Bushman wouldn't accept, also because it is not in his nature. From here on the movie returns to his old actioner cliche' of Rambo's fame. Naturally, somebody must have had some doubts on how to end the movie, but such doubts didn't last very long... Pity! Lundgren seems more comfortable acting with the Bushman than surrounded by professional actors and at his level it is more than comprehensible. This is also where he is at his best. So, in conclusion, if you are a Tarzan fan, this movie comes very close to that genre, with a touch of Rambism and a touch of Italian Stave Reeves' Hercules you may be served. If you thought about a deep movie, this is absolutely not it. It's pure escapism with a touch of sprinkled Pathos on top. I would still recommend it just for the poor Bushman who did his job with honesty and generosity. If you are an actor or a Drama student watch him carefully because you may still learn a thing or two about how an amateur can sometimes steal the show from a professional, despite his training and upbringing. I only wished somebody someday will finally retrace the Bushman's name and include it on the DVD or VHS tape cover. He deserves it more than Lundgren... ... Read more | |
| 122. The Very Best of the Bob Newhart Show: Hi Bob! Box Set Director: Alan Rafkin, Alan Myerson, Rick Edelstein, Robert Moore, Don Bustany, Martin Cohan, John C. Chulay, Peter Baldwin, Jerry London, George Tyne, Michael Zinberg, Bob Finkel, John Erman, Richard Kinon, James Burrows (II), Mark Tinker, Peter Bonerz, Jay Sandrich, Bob Claver, Eddie Ryder | |
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Description Reviews (3)
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| 123. Women & Men 2: In Love There are No Rules Director: Kristi Zea, Mike Figgis, Walter Bernstein | |
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Description Reviews (2)
'Dilemma', paying homage to the 1950s Hollywood melodrama, features Ray Liotta as an advertising executive, having nightmares because of work pressure, alco-wife, fears for his kids, and the possibility that he might have to go fight in Korea. Mike Figgis' 'Mara' is what you'd expect from a Henry Miller story set in Paris, much talking of talks, little walking of walks. The first two films are done in the style of glum Masterpiece Theatre (e.g. Eugene O'Neill), with contrived situations and stilted dialogue. figgis, hampered by poor material, squeezes some of the empathetic visual magic he would perfect in 'One Night Stand'. ... Read more | |
| 124. From Here to Eternity Director: Fred Zinnemann | |
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Reviews (59)
As Sergeant Warden (Lancaster) and Karen Holmes (Kerr), the wife of his superior, start to fall in love, Private Prewitt (Montgomery Clift) is trying to find a way to avoid participating in his unit's boxing championship. Prewitt finds support from his friend Maggio (Sinatra) who tries to protect him from the pressures around him and finds love with Lorene (Donna Reed), a "working girl" who has temporarily relocated to Hawaii. Into the mix is thrown a sadistic warden played by Ernest Borgnine and the bombing of Pearl Harbor which plunges all involved straight into World War II. "From Here to Eternity" is filled with one character after another who is desperate. All of them are either desperate for power, desperate for love, desperate for acceptance, or desperate to escape their past. Yet, the plotlines in the film do not produce the same emotional jolt it did five decades ago. Extramarital affairs, bullying authority figures, and fallen women are all topics on trivial daytime television shows today. These mature themes just do not hold your interest anymore when looked at through the veil of time. When this aspect of the film is removed, what is left is just a routine "day-in-the-lives" story. Yet the film still has many things going for it. All of the performances are fine: Sinatra reminds viewers just how talented an actor he was in years past, the chemistry between Lancaster and Kerr is still electric, and Clift turns in another low-key but effective performance. And even though it's legacy may be slightly diminished, "From Here to Eternity" will always be fondly remembered as the film that more than any other made making out at the beach fashionable.
However, I'm glad I got this and recommend it despite my gripes. Just be aware of the its shortcomings. It's a great film that speaks for itself and after having the DVD for a few years now, I still find myself taking this off the shelf from time to time.
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| 125. The Structure of Crystals (Struktura Kryszalu) Director: Krzysztof Zanussi | |
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Description Cast: Jan Myslowicz, Andrzej Zarnecki, Barbara Wrzesinska. 1969, black & white. 76 mins. English subtitles. | |
| 126. The Golden Seal Director: Frank Zuniga | |
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Amazon.com Reviews (1)
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| 127. Shootfighter 2 Director: Paul Ziller | |
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Reviews (3)
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| 128. More Police Squad Director: Joe Dante, Jerry Zucker, Paul Krasny, Jim Abrahams, Reza Badiyi, Georg Stanford Brown, David Zucker | |
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Reviews (9)
Buy it NOW!!! You'll thank me later.
(4) "Revenge and Remorse"/"A Guilty Alibi," with guest star William Shatner (dodgers gunfire but then drinks poison), finds Frank investigating the death of a judge and prosecutor who are killed in explosions. The prime suspect is Eddie Casales, a bomber just released from jail, but Frank (as always) has other ideas. (5) "The Butler Did It"/"A Bird in the Hand," takes out guest star Robert Goulet (firing squad after refusing a blindfold) before Frank has to race the clock to find a kidnapped young socialite. Meanwhile, Johnny the Snitch gets a visit from a desperate Tommy Lasorda. I love it when the monkey runs around during the end credits while everybody pretends to stand frozen. (6) "Testimony of Evil"/"Dead Men Don't Laugh," with guest star William Conrad (also thrown from car with knife in chest a'la Lorne Greene in the pilot), Frank has to go undercover as "Tony Dawonderful," a so-bad-he's-funny comic, to infiltrate a night club and break up a drugs ring. "Police Squad" was one of the funniest television shows ever and the movies, while welcomed, lack the simple charm of these episodes. For my money, Nielsen just mugs it up to much on the silver screen, although Priscilla Presley makes up for an awful lot. This is one of those rare shows that is as funny as you remember it being when you catch it again on videotape.
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| 129. Fun Director: Rafal Zielinski | |
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Reviews (7)
The movie itself has no chapters, so if you want to see something in the end of the movie you'll have to use the fast forward button from the beginning of the movie. There are no subtitels. The movie is full screen and the quality of the picture isn't great either. I'm happy that i finally got a dvd version of this movie. Not that happy on the dvd itself. Four stars for the movie. If the dvd was better, and had extra's like a commentary, i might have rated it five stars.
My response to the DVD itself is mixed. Not much in bonus materials -- this is of course a by-product of how low-budget the production was. I had interviewed a key member above the line who said that this shoot was literally scrapped together, so it's a marvel the film came together at all. Though director Rafal Zielinski is known mostly for trashy exploitation flicks (Screwballs, Jailbait), this was his moment of greatness. Much credit, however, should go to writer James Bosley. The screenplay was adapted from his stage play and the dramatic scenes and characters are so compelling that the film was already halfway there. The dialogue moves with a relentless forward momentum and there's never a boring moment with the characters' internal life. The vital central scene between tough-as-nails counsellor Jane (24's Leslie Hope, giving her career-best performance) and hyperactive teen Bonnie (a staggering performance by Alicia Witt) literally crackles with life and pathos. Fun was rightly celebrated for its acting (two acting awards at Sundance Film Festival), or it is the four performances that hold this film together. Witt is a marvel, a whirlwind of energy that gives way to unexpected intensity and sorrow. Renee Humphrey gets the more conventional brooding role and does a fine job, but it is Witt's erratic, lovable, yet internally seething Bonnie which embodies the spirit of the film. She had brought many elements of herself to the role (Witt herself was the one who had learned to speak at the age of one month), and while that strays from the original play (where the character was far less precocious and much more of an everygirl), it works wonderfully in the context of the film. Hope has never been better, her steely resilience anchoring the film's perspective, and William R. Moses is great as visiting journalist John, and the audience's way into the psychological world of Bonnie and Hilary. One more honorable mention to cinematographer Jens Sturup, who executes the dual visual style of the film beautifully. The scenes in colour look assured, warm and expressive, making it hard to believe this film was shot in a matter of days. And Sturup's handheld camera work in the black-and-white sequences is superb, where he executes a degree of "editing in camera" which made me believe, for the first several years since seeing this film, that there was far more intercutting in those dialogue scenes than there actually was. The gripes I have about this DVD is that though the film was made low-budget, the release is really a bit too cheap. The DVD sleeve, for example, looks like a low-res colour photocopy, and the layouts are quite amateurish as well, far worse than the VHS release from the mid-'90s. That wouldn't have been a problem, but the DVD itself also suffers from jumps and lapses. While this could be a one-off problem on my personal copy, I somehow got the feeling that this release wasn't done by pros. If another superior edition of this film comes out on DVD, I'll definitely be first in line. In the meantime, I think it's still worth owning this DVD, if only to see one of the best, most emotional independent films made in the '90s, made against the odds in true guerilla fashion.
This story is reminiscent of "Heavenly Creatures", one of Kate Winslet's first films and based on a true story. I recommend both films, but warn the potential viewer that there are pretty gruesome scenes in both movies. So much for sugar and spice -- one wonders if these girls are anything other than pure evil ....
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| 130. Last Resort Director: Rafal Zielinski | |
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Reviews (16)
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| 131. Police Squad Help Wanted Director: Joe Dante, Jerry Zucker, Paul Krasny, Jim Abrahams, Reza Badiyi, Georg Stanford Brown, David Zucker | |
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Reviews (8)
(1) "A Substantial Gift"/"The Broken Promise," the March 4, 1982 series premier with guest star Lorne Greene (dumped out of a car with a knife buried in his chest), finds Frank investigating the murder of a teller at the bank. His girlfriend Sally says it was a recently fired employee, but Frank has his doubts. There is a great scene involving Frank trying to get clear about "Jim Fell" and an equally funny visit to the Dentist. (2) "Ring of Fear"/"A Dangerous Assignment," with guest star Georg Stanford Brown" (crushed by a falling safe), has Frank working the case of a boxer who is murdered after refusing to take a dive. This means a visit to Jim's Gym for Frank, who ends up working with a real dog. (3) "Rendevouz at Big Gulch"/"Terror in the Neighborhood" takes out guest star Florence Henderson (gunned down in her kitchen while making a meal and singing) before Frank and Norberg go undercover at a dance studio to crack down on a protection racket. I really like the fight at the studio. Why on earth did this hysterical show not succeed? Well, apparently there were so many sight gags (e.g., the Japanese Garden consisting of Japanese people standing in large flower pots), that people actually had to WATCH the show, which, it seems, they did not like to do. Now they have to pay to watch Frank Drebin in the movies. Go figure.
As it stands, six installments are all we have, and they are the funniest TV episodes ever produced, with a dream comedy cast headed by Leslie Nielsen, Alan North, and Peter Lupus. North and Lupus were to continue onto the big screen for the "Naked Gun" series, but studio bigwigs insisted they be replaced by actors with greater name recognition. What a shame! This, and the second "Police Squad!" video, present the episodes in uncut form. The less said about heavily-edited cable airings of this masterpiece, the better. ... Read more | |
| 132. BASEketball Director: David Zucker | |
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Amazon.com Reviews (161)
Though it stars Matt Stone and Trey Parker, BASEketball doesn't really resemble South Park so much as Zucker's other straight-faced screwball comedies, and it's obvious these two fit into that rubric perfectly. It is not merely that Matt Stone puts a sex toy in his mouth, it is the zeal with which he attacks it that makes the scene a gut-buster. Zucker supposedly cast the duo before South Park became such a phenomenon, and it's a gamble that paid off artistically. Not everyone's gonna like this movie. Some won't get it, a few more might be really turned off by a guy-on-guy kiss near the movie's climax, and the rest just won't find it funny for whatever reason. For everyone else, there's no shame in howling with laughter.
However, I do not recommend this to anyone who dislikes bathroom humor on principle. Though each joke is well-executed, each corny, melodramatic quip delivered with deliberately dewy-eyed sincerity, it is unapologetically juvenile, raunchy, and pretends to have no amount of redeeming value. But even its lack of values came as a surprise to me, for I can't help but give it more credit than it seems to give itself for having very strong underlying themes of maintaining integrity (believe it or not), and of course, friendship. Bottom line - if you're looking for good clean fun, this is not for you; but if you're feeling a little off-color, goofy and in the mood for a guilty pleasure, this is a film that, at the least, will make you laugh in spite of yourself.
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| 133. Courage Under Fire Director: Edward Zwick | |
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Amazon.com essential video Serling soon finds discrepancies in the case of a downed Medevac helicopter in the rocky Kuwait territory. What unfolds in flashback are several versions of Walden's tactics (à la Kurosawa's Rashomon) to rescue the soldiers and survive the downing. As with Glory, Director Edward Zwick's cast of unknown and famous faces always comes off as the real article. Walden's crew is especially convincing. Matt Damon as the medic comes off as the giddy scaredy-cat when telling his story to Washington. In battle he's a flawed, humorous soldier. The most surprising work in the movie is done by Lou Diamond Phillips (as the group's gunman), whose career hadbeen headed to straight-to-video oblivion. Then there's Ryan. She has done well with dramatic work in the past (When a Man Loves a Woman, Flesh and Bone) but has never been able to escape the romantic-comedy image. With dyed hair, a light accent, and the dramatics of the situation, Ryan finally has an enduring dramatic film. Even though she has half of Washington's screen time, her brave and ultimately haunting performance makes Courage something special, right down to its curious but rewarding final scene. --Doug Thomas Reviews (34)
"Courage Under Fire" makes excellent use of the "Rashomon" technique, wherein we get to see each person's version of what really happened in Iraq. Sterlings own feelings of guilt and responsibility for what happened in Iraq provide an additional level of depth to the narrative (more so than in Kurosawa's original classic film in fact). Some may find the parallel attempts to find redemption to be somewhat heavy handed, but ultimately the film succeeds because of the solid acting performances. In addition to Washington and Ryan, who knew have a scene together, there are solid performances from Lou Diamond Phillips and a very underweight Matt Damon as surviving members of Walden's crew, Michael Moriarity as the General, Scott Glenn as the reporter, and Regina Taylor as Sterling's wife. Certainly this film is closer to the reality of Desert Storm than "Three Kings," but the main enjoyment here is watching Ryan and her crew do the same lines with totally different meanings because of radical changes in context while Washington tries to find meaning in his own life.
Under the surface this becomes a better movie. Denzel's character is struggling with a friendly fire incident he was just involved in and is willing to take responsibility that the Pentagon will not allow him. His inner struggle is a fine secondary story line and as any good soldier would do he is doing without the help of his family (his wife is trying to help) or his friend and commanding officer (whom he will not turn to). An excellent insight into human emotion, the conflict of war, the battle of the sexes and one man's struggle to do what is right. A worthwhile addition to any DVD library.
Meg Ryan appears in the movie only in several of the numerous flashbacks. The movie revolves around two storylines: the facts behind the death of Meg Ryan's character, CPT Walden, and the life of LTC Sterling who has the unfortunate assignment to uncover what really happened when CPT Walden was killed. Throughout the movie, LTC Sterling must face his own demons, including a drinking problem, difficulties with his wife, and a Washington reporter hounding him for information on the story he's researching. Lou Diamond Phillips and Matt Damon also appear in the movie, both of whom portray soldiers who witnessed the events that led to CPT Walden's death.
You should also read a few of the other reviews about this movie, they are very well-done. This story is about Denzel Washington's character (Sterling) who is assigned to investigate a dead helicopter's actions after their aircraft went down in the first Gulf War. (1990) The deceased helicopter pilot is Meg Ryan's character (Walden); she gets precious little screen-time in this movie ... it is perhaps the only criticism I can think of that is valid. I don't need to tell you the rest of the details, story and technique of this film, other reviews do this as well as anyone possibly could. What I do have to offer is a word about the acting of this movie. Normally Denzel Washington plays action characters, and Meg Ryan almost always seem to do a comedy/drama about a woman in love. Here both actors are engaged in a radical departure from their normal fare. I don't know how many Oscar's this film was nominated for, (and I don't really care, Oscar's seem to be as much about politics as anything else); but Washington, Ryan, and Damon all give performances that are quite worthy of this award. And the rest of the cast is very good as well. I would personally like to say that this film could have easily been the best picture of the year, and the actor's could have easily walked away with several statues. The director could have won an Oscar as well. In the end, you are irrevocably drawn into the story and live it, just as you should be with a really good film. My only word of warning is that this is a real tear-jerker, the end of this one could have you crying like a baby. There are few films that I would recommend to anyone, this movie is definitely one of those. (Of course you have to put the kids to bed, some of the words, action, and violence are not really suitable for children.) A+ ... Read more | |
| 134. Firefight Director: Paul Ziller | |
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| 135. Adventures of Wilderness Family 2 Director: Frank Zuniga | |
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| 136. Private Benjamin Director: Howard Zieff | |
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| 137. Courage Under Fire Director: Edward Zwick | |
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(1) In the scene where the Meg Ryan character dies while charging the Iraquis and firing an M16, we can see down the muzzle of the rifle, and the "muzzle" is a mere pinprick. Obviously, this is a blank gun. A small thing, but jarring to those who know guns, at a key moment in the film. (2) The entire premise of the movie is bogus. An Army helicopter pilot played by Meg Ryan has been killed in combat, and has been nominated for a posthumous Medal of Honor. Denzel Washington's character is tapped to investigate the circumstances surrounding her death. This is a political hot potato because, if he recommends her award, she will become (drum roll) THE FIRST WOMAN EVER AWARDED THE MEDAL OF HONOR. False. Historically, factually false. Dr. Mary Edwards Walker of the Civil War Union Army was awarded the Medal of Honor on November 11, 1865. This is, um, kind of an important point. Either the folks making this movie didn't know that, in which case they're sloppy, or they chose to ignore it, in which case they're willfully dishonest. Did I mention I enjoyed this movie?
"Courage Under Fire" makes excellent use of the "Rashomon" technique, wherein we get to see each person's version of what really happened in Iraq. Serling's own feelings of guilt and responsibility for what happened in Iraq provide an additional level of depth to the narrative (more so than in Kurosawa's original classic film in fact). Some may find the parallel attempts to find redemption to be somewhat heavy handed, but ultimately the film succeeds because of the solid acting performances. In addition to Washington and Ryan, who never have a scene together, there are solid performances from Lou Diamond Phillips and a very underweight Matt Damon as surviving members of Walden's crew, Michael Moriarity as the General, Scott Glenn as the reporter, and Regina Taylor as Serling's wife. Certainly this film is closer to the reality of Desert Storm than "Three Kings," but the main enjoyment here is watching Ryan and her crew do the same lines with totally different meanings because of radical changes in context while Washington tries to find meaning in his own life.
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| 138. Marvin's Room Director: Jerry Zaks | |
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Reviews (73)
Greatly acted by almost everyone (including a very young Leonardo Di Caprio), great score, excellent screenplay, a tinge of wry humor through it all, and gutwrenching emotion. I picked up the DVD for Streep, and found her character a little one-dimensional. But when I really think of it, the most remarkable thing about the film is how it reveals how similar the two sisters are, despite their non-trivial character differences. Both abandon one part of their family to sacrifice for another part -- they each merely take different parts, and that's why Lee's character is not as bad, selfish or one-dimensional as she first seems. Lee's problem was understanding love. Despite all her lovers, Lee (Streep) had to learn the real meaning of love from her spinster sister Bessie (Keaton). Worth buying, as anyone with a heartbeat will watch this gem more than once. Highly recommended.
Gwen Verdon is wonderful as the absent-minded Aunt Ruth who really brings a lot of comedy into the movie. Hume Cronin was simply wonderful, even though he didn't have any actual speaking lines, his actions throughout the movie seem to bring the disfunctional family together. Robert DiNero plays the very kind Dr. Wally who also brings a sweetness into the film. But the person who, in my opnion, really shines in this film is Diane Keaton. She has a rare talent and it definitely shows in this movie. The ending was so wonderful as well. I am glad that they ended on a positive note instead of a sad one. My advice: Rent this movie!!!!!
Greatly acted by almost everyone (including a very young Leonardo Di Caprio), great score, excellent screenplay, a tinge of wry humor through it all, and gutwrenching emotion. I picked up the DVD for Streep, and found her character a little one-dimensional. But when I really think of it, the most remarkable thing about the film is how it reveals how similar the two sisters are, despite their non-trivial character differences. Both abandon one part of their family to sacrifice for another part -- they each merely take different parts, and that's why Lee's character is not as bad, selfish or one-dimensional as she first seems. Lee's problem was understanding love. Despite all her lovers, Lee (Streep) had to learn the real meaning of love from her spinster sister Bessie (Keaton). Worth buying, as anyone with a heartbeat will watch this gem more than once. Highly recommended. ... Read more | |
| 139. Cast Away Director: Robert Zemeckis | |
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Reviews (503)
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