Reviews (20)

See It Once For The Story, And Again For The Acting
MALICE is one of those movies that you simply MUST see more than once to believe. The first time through, MALICE is a great psychological thriller, with twists and turns through a plot that contains rape, murder, life-and-death trauma, and a fight to the death...all within the first 45 minutes. The second time through, though, provides a look at all the things you might have missed the first time around...and a chance to savor an outstanding performance from perhaps the most underrated actor in Hollywood, Alec Baldwin.

Bill Pullman plays Andy Safian, an associate dean at a small New England college outside of Boston that's currently under siege by a serial rapist who claims his latest victim as the film opens. Nicole Kidman plays his wife Tracy, a volunteer in the pediatrics ward of St. Agnes Hospital. They're renovating a Victorian house and need $14,000 for the plumbing. Enter Alec Baldwin as Dr. Jed Hill, a former high school classmate of Andy's, who's brand new in town and needs a place to stay. Andy needs the money, Jed needs a room, so the two hook up and soon Jed is sleeping upstairs in the Safiens' home...usually not alone, and his sexual escapades are grating on Tracy's nerves. The rapes continue, Andy is fingered as a suspect, and in the midst of it all, Tracy collapses with a ruptured ovarian cyst. Jed operates to save her life (after a night of drinking and wild partying), but renders her unable to bear children...leading to a malpractice suit from Tracy and an incredible soliloquy on surgeons with a God complex from Jed during the deposition.

But once the first half of the film is over, things really start to roll. Without revealing the rest of the plot, suffice it to say that as Andy, Tracy, and Jed all try to start their lives over again, their fates become inextricably entangled.

The movie is worth seeing once as a thriller. But the second time around, Baldwin's mesmerizing performance is what stands out. Jed is charismatic, seductive, and as charming as a cobra as he weaves his spell over the Safiens. Baldwin's ability to jump from utterly charming to incredibly chilling in the blink of an eye is on full display here; it is truly the performance of a lifetime.

See it once for the suspense, and again for the acting.

More twists and turns than Spaghetti Junction
It starts out with the appearance of one type of movie, but before long the true plot begins to take shape. There are so many twists that it can get a little confusing, and may take a second viewing just to clear up those loose ends. On the whole, an excellent movie, with some great acting from Alec Baldwin, Nicole Kidman and Bill Pullman. To go into too much detail about the film runs the risk of spoiling the ending, but if you enjoy Hitchcock thrillers, then you would do well to watch this. Stephen Buxton

Twisting and Entertaining
Proper enjoyment of this diverting little feature requires not knowing the plot twists, so I'll try to not spoil that enjoyment in praising this film.

I join Roger Ebert in not being able to think of another film that throws in a serial killer as just atmosphere - I watched this movie when it first came out a decade ago, then again on DVD yesterday, and I had completely forgotten the part about the serial killer.

Aside from the fact that George C. Scott has left us, it would be difficult to assemble a cast like this wouldn't it? Alec Baldwin, Nicole Kidman, Bill Pullman, Anne Bancroft, Gwyneth Paltrow, George C. Scott, Bebe Newirth, Peter Gallagher all contribute to this film.

I love to watch films of any genre and any country and the sensation I like to have at the end of the viewing experience is "satisfied" - in the same way that I'd like my palate and belly "satisfied" by a good meal. This screenplay twists and turns, but rather than in a Charlie Kaufman "hey-look-at-how-many-unexpected-twists-and-turns-I-can-put-in" kind of way this story moves in a way that wraps up loose ends in a "satisfied" kind of way.

Especially used, this DVD can be had for a song also. It's a satisfactory way to pass a couple of hours.

Key Point Missed on Serial Rapist Subplot
The serial rapist subplot is not unneccessary....it involved Andy (Pullman) being a suspect and the police taking a sperm sample to prove his innocence. Turns out he's sterile....which sets the storyline for Kidman's preganancy and the whole story line with Jed (Baldwin)....this movie was excellently done and some of the quotes (even beyond "I am God")are super memorable

Great All star Cast!
Star studded cast includes Bill Pullman, Nicole Kidman, Alec Baldwin, Anne Bancroft, and Gwyneth Paltrow all gave a Great performance. Excellent Storyline and beautiful scenery. A must-see on your next available weekend! ... Read more

Amazon.com

Take off your thinking caps and toss 'em in a corner, 'cuz you won'tneed 'em when you're watching this deliriously dumb thriller from 1997. Bruce Willis stars as a demoted FBI agent who comes to the aid of an autistic boy whose mind holds a potentially deadly secret. It seems that by gazing on a puzzle magazine and making order out of a hidden system of numbers, the 9-year-old autistic boy (Miko Hughes) has accidentally deciphered a sophisticated top-secret government code. This makes him the prime target of the ruthless bureaucrat (Alec Baldwin, in one of his silliest roles), and Willis comes to the rescue. This formulaic thriller sets up this plot with a lot of entertaining urgency, but you can't give any thought to Mercury Rising or the whole movie collapses under the weight of its own illogic and nonsense. The redeeming values are the performances of Willis, young Hughes, and newcomer Kim Dickens as a woman who agrees (perhaps too easily, it seems) to aid Willis in his plot to outmaneuver the bad guys. Mercury Rising is not a waste of time compared to other formulaic thrillers, but its entertainment value depends on how much you enjoy being smarter than the movie. --Jeff Shannon ... Read more

Reviews (48)

Autism and Encryption. Bruce Willis as partially human.
No doubt underdeveloped and that's a shame because this movie had true potential for being an exquisite story. Hollywood might be surprised what a large audience it could hook with more in-depth characters, less violence and deeper development of themes. Nevertheless, I found this movie taking a hopeful prototypical step away from the tidal wave of macho-action-violence sans substance films that we have endured ad nauseum.

The theme of autism was handled superficially, leaving the viewer with too little information, but the highly structured life-style, the eternal sidelong glance and the savant quality of the autistic boy were certainly intriging aspects in the movie. The beginning of a relationship between Bruce Willis and the boy was also a meaningful element which speaks to a potential in autistic individuals rarely recognized.

In addition, a reader of the book, SIMPLE SIMON, upon which this movie is based, writes an enlightening review about encryption and the powers of the U.S. government which may be accessed at the Amazon site for this book.

It would be nice to know if Hollywood is ever listening. Good storytelling can be extremely satisfying for the audience; without total formulaic stereotyping and without losing dollars. Perhaps the makers of MERCURY RISING might take another small step toward good story telling with their next movie by developing the themes and characters equally well as the action and violence.

The mercury steadily rises in Mercury Rising
I can't believe that "Mercury Rising" isn't more popular of a movie. A 9 year old autistic boy cracks the national security code that everybody thought was impossible to break. Art (Bruce Willis) takes it upon himself to protect the kid from some government officials who want the boy dead.

There might be some minor gaps in the storyline of "Mercury Rising," but nothing that does anything to hurt the movie in my opinion. This movie shows how great of an actor Bruce Willis really is and the boy does a great job too. The effects are also well done and the movie has good suspense.

If you like good suspense movies, I recommend getting "Mercury Rising."

IQ Falling
This one could easily serve as Exhibit B in any indictment of knee-jerk Hollywood anti-Americanism. Exhibit A would have to be a better film.

The premise concerns an autistic child who is able to sightread extremely high-order classified ciphers. He's accomplished exactly that with the National Security Agency's latest version, which he's accessed through one of the lamest plot twists imaginable. (They've placed it in a puzzle magazine to beta-test it--no, I'm not making this up.)

So great -- the NSA hires the kid and turns him loose on Chinese, French, and other unfriendly ciphers, right? No they do not. Wake up -- this is Hollywood. They send goons out to kill him, which is where Bruce Willis, playing a conflicted law-enforcement officer of uncertain antecendents, comes to the rescue. From there on it's the standard huggermugger--unnecessary hairbreadth escapes, elite assassins who turn dopey at the most convenient moment, all-but-omniscient villains who can't see the obvious trap at the climax, etc.

The acting was phoned in. Willis can do many things well, but he can't do conflicted. For some peculiar reason, the guy who fed Buscemi into the wood chipper in "Fargo" has his hair dyed black in this one. All traces of quirkiness evident in his performance for the Coens has vanished here.

The sole exception to the overall blandness is provided by the Bloviator himself, Alec Baldwin. Perhaps the film's major offense is the implication that whole scheme is being carried out in support of Iraqi agents working against Saddam. (Kind of getting a jump on Fatboy Moore here.) Baldwin repeats this contention several times during the film, very impressively, too. With conviction, you might say.

All in all, this is a film that makes "Enemy of the State" look good. A clearer recommendation I cannot provide.

A great concept, utterly defanged of any real meaning
There was an article about a script writer's journey in getting his picture made. I sympathize with the guy. He was down on his luck, his rent was three months overdue, and his wife was getting seriously pissed off.

The plot of his script was simple. It was about an autistic boy named Simon who can read the secret codes embedded in crossword puzzles. In other words, he took a common urban myth and wrote a script about it. Not original, but certainly compelling. Add Bruce Willis to the mix and you have a big budget movie.

Then one day, his agent called. He was nervous. A major studio was offering a six figure number for the movie. When other movie studios heard about it, a war of escalation ensued. Soon, they were trying to outbid each other. The price kept climbing and climbing and climbing.

Finally, the agent had enough. The script was sold. Presumably, the scriptwriter got to stay married and pay off his rent. And, I hope, socked the money away into savings. Because this movie sucks.

The movie went through several title changes, a sure sign that there's a problem. It was originally supposed to be Simon Says, but the execs changed it because nobody knew what that meant. So they changed it to Mercury Rising instead. As Dr. Evil would say, "Riiiight."

There's a few problems. One of them is translating onto screen the depiction of code. Apparently, the movie decides code decryption sounds like a high-pitched whining sound. Perhaps it's an accurate parallel, but it's not fun to listen to.

Simon's autism is depicted a little too accurately. His parents are killed early on, so Simon's on his own and fairly incapable of doing much besides wailing his head off when touched. This is very accurate. This does not make for a pleasant movie.

Willis' character is the usual -- haggard, determined, violent. He isn't much more than that. He gets tangled up in the plot (FBI vs. "Government Bad Guys") and calls in favors.

The bad guys show a distinct lack of common sense. It's so blithly nonsensical that it's not even worth the energy to describe the inconsistencies. Suffice it to say, the bad guys show a boogeyman-like ability to pop up anywhere when convenient, and a surprising inability to do it when it might impair the protagonist.

What bugged me most is that ultimately, this movie could have been about ANYBODY who happened to know Something Secret (TM). It wasn't about the boy's ability to crack code, it was about Bruce Willis' character protecting an innocent. Like in Eraser. Like in Enemy of the State. Like in a dozen other movies. Only in Enemy of the State, the main character's skills actually were USEFUL in the plot. Simon never gets to exercise his code-cracking abilities more than once (to meet one of the soon-to-be-dead informants).

Even in portraying an autistic person, Rain Man and Cube still managed to make the character worth liking instead of utterly pathetic.

The other problem is that the villain's execuse is -- *GASP! -- being a patriot to protect undercover agents in Iraq. Well, that dates the movie just a little bit. Not their fault, necessarily, but certainly the movie loses its sting. In addition, the whole concept of "sacrificing one for the good of all" is a little more strict these days. Ask an American if an autistic boy's life should be spared to save thousands of agents attempting to stop terrorism and more than half will doom the boy.

I can understand why the studio execs bid on the idea. It was a great concept but utterly defanged of any real meaning, failing to utilize its characters, its high-minded ideals, or even its action scenes in a way that makes us care about anybody in the movie. Yes, even an autistic little boy.

LOW BLOOD PRESSURE
Bruce Willis returns in the role of a loose cannon, demoted by the FBI after a hostage situation goes tragically awry. Willis is great in these kind of roles, eliciting both a strong macho appearance, but with an inner sensitivity that evades other actors. Willis' scenes with Miko Hughes as the autistic Simon are the highlights of the film, as is the supporting performances by Chi McBride as Willis' buddy and Kim Dickens as a young lady who gets involved in the situation. Alec Baldwin is smarmy again as the villainous NSA director. The main problem I found with this picture is director Harold Becker's meandering pacing and inability to maintain a tight level of suspense. The climax is great, but wading through some really slow scenes hurts it overall.
Not a great film, but a good one. ... Read more

Amazon.com

You'll find an example of James Woods's most daring and outrageous (some would say outlandish) acting in this 1988 film by director Harold Becker from a Darryl Ponicsan script. Woods plays a fast-rising, sharp-talking salesman, a yuppie on the make with the good life firmly in his sights. Until he discovers cocaine--and then his entire live-beyond-your-means ethos blends with a ravaging addiction that drives his lifestyle strictly down-market. Woods and costar Sean Young (with whom he subsequently had a rather public breakup) explore the wild-eyed outer limits with this particular monkey on their backs, in a movie whose acting-exercise quality usually takes a back seat to the obvious, melodramatic plotting. --Marshall Fine ... Read more

Reviews (4)

Amazing and realistic look at how powerful drugs are!
There are some among us who would like to legalize drugs. They ought to watch this film. There are some who think that drug addiction is just an excuse. They ought to watch this film. In fact if you ever wanted to know what its like to be addicted to cocaine, just watch this movie.

This movie is simply the most powerful depiction I have seen of the devastating effects drugs can have on people. James Woods is brilliant, and the gradual erosion of his life seems to happen without his knowledge. Like the frog boiling in water, it all slips away subtly and quietly. In the end, he depicts the painful and harsh reality of a person who cannot see that he is in any way at fault, and if he gets just "one more break" it will all work out again.

Tremendous film and a very under-rated performance by Woods.

a great film.
James woods is excellent as a high powered salesman who's life goes of the rails as he becomes involved in drugs and high powered business deals.It shows how drugs can ruin ones life.

Cautionary Tale of Drug Abuse
Released during the "Just Say No" 1980s, this film is a cautionary tale of drug abuse. Lenny is a guy just trying to stake his claim in the world, to make a little money. He soon impresses a big wheel who moves Lenny and his wife to California where they are at first overwhelmed by the opulence but then become willing participants in it. Lenny continues to buy, buy, buy until it all crashes down. When the money stops rolling in, he is introduced to cocaine and the story then takes a dramatic turn as we watch Lenny lose it all. James Woods is fabulous as Lenny. I've seen this movie many times and now that I'm writing about it, I think it's time to pop this one into the VCR for another viewing.

WOODS AT HIS BEST
Although somewhat cliche ridden and certainly overly dramatic, "The Boost"presents a truly frightening depiction of cocaine and kinds of drug abuse. A picture of self destruction that is almost hard to believe.

James Wood outdoes himself in yet another fine performance. A film is worth seeing if only because he is in it. ... Read more

Reviews (73)

John Travolta's best role since "The General's Daughter"!
Now, THIS is a John Travolta movie! Especially when this movie is called "Domestic Disturbance", a movie that is packed with so much action and suspense that it never, never, never lets up from one minute to the next! This is director Harold Becker's ("Mercury Rising", "Malice") best film since he directed Bruce Willis in 1998's "Mercury Rising"! The rest of the supporting cast, including Vince Vaughn ("The Lost World: Jurassic Park"), Teri Polo ("Meet the Parents"), Steve Buscemi ("Armageddon"), and newcomer Matt O'Leary were all incredible alongside Travolta. But, to me, this is really John Travolta's movie as he stands out above the crowd as Frank Morrison, a successful boat builder and divorced, but loving father to his son Danny (O'Leary). Frank's ex-wife Susan (Polo) is now married to a new resident named Rick Barnes (Vaughn), also Danny's stepfather, whom everyone thinks of as the perfect gentleman and such, but Rick is not so perfect to Danny when he witnesses Rick killing a person and burning his body inside a factory one night. And quite frankly, the only person who will believe Danny is none other than his father, whom Danny has never lied to before. Rick knows that Danny told his father that night and starts making threats to him about it...but Frank will be damned if Rick thinks that he's going to lay a hand on his son! So, Frank goes out to find out the truth about Rick and bring the truth to light, etc. With lots of suspense from start to finish, leading up to a earth-shattering climax between father (Frank) and stepfather (Rick), you'll agree that "Domestic Disturbance" is one of the best John Travolta films ever made since "Swordfish" and "The General's Daughter"! A DVD must-have for any Travolta fan or any Travolta collection!

Nice in places where it should be naughty.
Stereotypical characters, convoluted logic, and an abundant absence of intelligence abide in "Domestic Disturbance," a thriller that wants to be naughty, but ends up playing nice. What begins as a somewhat interesting film tailspins into an unending chasm of unbelievable plot twists and aggravating characters who make all the wrong choices. Here is a movie that covers familiar ground, yet it fails to spark much interest once things go awry.

John Travolta stars as Frank Morrison, a boat builder whose ex-wife Susan (Teri Polo) is on the brink of remarrying. This, of course, is unacceptable to their 12-year-old son, Danny (Matthew O'Leary), whose outbursts against his parents' divorce have led to being picked up from the police station on numerous occasions. Like any good father, Frank advises Danny to accept that which he cannot change, and to give his new stepfather, the wealthy and popular Rick Barnes (Vince Vaughn), a warm welcome.

Now anyone who knows their thrillers can guess that if there is money involved, then there's usually a tainted past here and there; this film is no exception. The wedding goes off without a hitch, despite the presence of Ray Coleman (Steve Buscemi), a former acquaintance of Rick's who is set on collecting a large sum of money from his old pal. One thing leads to another, contrivances appear, and Rick has a murder on his hands, unaware that Danny witnessed the deed from the backseat of the car in which it occurred.

This is the first in a series of several scenes that look promising, but hold little intensity or surprise. Judging from Danny's "Boy Who Cried Wolf" syndrome, it is easy to foresee that no one will believe him when he reveals what he saw, save for Frank, who must hold a grudge against his son's aggressor if there is to be any action or energy in the story. There's a little bit of cat-and-mouse going on, as Frank searches for the missing Ray and possible clues to take to the police, but it goes virtually nowhere.

The movie seems more interested in showing us just how stupid people can be in such situations, however unbelievable they may be. From the start, Susan stands by her man, defending him against Danny's accusations. Does it ever occur to her that when a strange event happens, Rick was out of the house at that same time? Does she ever stop to think about how her disbelief in her son's statements is affecting him, rather than the old song-and-dance about her marriage to Rick? Even the police are completely clueless, ignoring everything until the end when it hardly matters.

My big complaint with "Domestic Disturbance" is its editor, who has chopped the movie down to a mere 88 minutes, too short for a thriller and too long for a documentary on vengeful stepfathers. Paramount's advertising campaign for the film hit us with a slew of pre-release television commercials, as well as a lengthy and revealing theatrical trailer. There are scenes in both of these, one of which involves a car chase, the other involving a discussion between Rick and Frank in which Rick tries to buy him off. These and others glimpses are not even included in the final cut, and perhaps may have been more interesting than what we see here.

The climax is standard fodder, but it has the ability to generate more intensity than the rest of the film altogether. Travolta turns in a good performance, convincing us of his status as a loving father; Vaughn fails to generate a sense of menace, while Polo does little else except look completely clueless. For all its attributes (which are few), "Domestic Disturbance" adds nothing new to a worn out genre; its lack of lucid plot could be overlooked if not for its failure to generate any level of suspense. '

Note: The film was shot on the eastern coast of North Carolina, in Southport, yet in one scene, Ray mentions his locating Rick was from a childhood memory of Rick's about a family vacation in Maryland. Your thoughts, Mr. McNally?

FATHER KNOWS BEST
DOMESTIC DISTURBANCE is a by the book, easy to predict potboiler, but one directed with sharp verve by Harold Becker and given a boost by the performance of Matthew O'Leary as young Danny. O'Leary went on to show his incredible range in FRAILTY, but in this movie, he brings his doe-eyed innocence and fervent fear to form the core of the movie. John Travolta does well as Danny's father, although he sometimes seems overburdened with trying not to act like Pulp Fiction; Vince Vaughn is appropriately menacing as the wicked new stepfather, but we never really understand his motivation for marrying Polo in the first place. Steve Buscemi shows up in his usual seedy bad guy role, but doesn't get much of a chance to do anything with it.
This is an entertaining movie, and works because it attacks our primal fear of something happening to our kids. It's to O'Leary's credit that it works so well.

A better movie then you think its going to be
Yeah, I'll admit that I watched this disc with very little in the way of hope or expectations but an hour and a half later I was pleasantly surprised at this little thriller. While this film's foundation is comprised of typical 'B-movie' elements the film certainly over-achieves by way of Harold Becker's taut direction and Travolta and Vince Vaughn's excellent performances making this a better thriller then it deserved to be.

As far as overall disc production goes, the video transfer is average at best while the 5.1 Dolby is slightly better. Extras are skimpy as well with a commentary track by Becker, a handful of deleted scenes and a few storyboard examples. Is the disc ultimately worth your purchase? Probably not - but certainly worth your rental dollar should you find yourself craving a well done b-movie thriller.

One of the best movies of its type to come along in years
I really like this movie. Granted, it's a little predictable, and in places maybe Travolta seems a little flat. It has a few other flaws as well. But there are a lot of reasons to like a movie and sometimes you have to make allowences.
What works about it? Matthew O'Leary and Vince Vaughn; the helpless kid & the bad guy. As the movie progresses, the kid gets more and more loveable and the evil dude becomes ever more despicable. Everything you need for this type of movie to be successful; a couple of very good actors in the right roles, convincingly earning, in this case, our sympathy or our bile. Even if the movie holds up in no other way for you, these two actors are sure to do their part. Settings, production, background, or script aside, these two deliver.
Predictable? Somewhat, sure. How many movies aren't? As for Trovolta perhaps being a little off, hey, the man is very busy. Besides, he was supposed to be low-key in this role, the emphasis of the movie being his son's plight. I think ultimately he served that role very well.
So despite its flaws, this movie still works, and I think quite well. If you haven't seen it you should consider doing so. ... Read more

Reviews (19)

Another Fine Pacino Vehicle
This film was made and was in theaters after "HEAT", but before "Devil's Advocate" and I must say that I actually liked it more than "Donnie Brasco". Pacino's John Pappas, actually made me wish that there were such a politician in the big apple after the passionate and vigorous speech given at the funeral in Harlem. The fact that at the end we find out that he was not as "kosher" as we were led to believe in the beginning, along with Danny Aiello's corrupt Anselmo, makes a person lose their faith in the movie's public officials as we do in real life after we've put so much faith and trust in them and we have the good script to thank for that. As for the rest of the cast, John Cusack has never been better as Kevin, the rightous deputy mayor along with Aiello and Fonda (too bad only a hint of affection between her and Cusack). Overall, the underrated "City Hall" is entertaining and suspenseful and a great "Pacino movie". Favorite line: Kevin: "The only thing new in this world is the history that you don't know."

Good but I expected more
"City Hall" is one of those movies that I watched expecting the best. It had a great cast and crew of which I have seen excellent films from. But all I got in the end was a lukewarm film. The premise is great. Political corruption always makes for an interesting movie and it certainly is interesting. Sadly it suffers from its own plot. So much time is spent trying to uncover this scandal that occurs in this film that there is no time to get to know any of the characters. Al Pacino plays the mayor of New York and while he handles the role passionately the script does not allow his character anytime to develop as with Cusak, Fonda, Aiello. The cast is supurb. In fact I do not believe I have seen better from John Cusak who rarely gets a stab at complex films such as this and Bridget Fonda and Danny Aiello both give excellent supporting performances. The intereaction between Cusak and Fonda also seemed really fake as well not by the actors fault but the screenwriters. There is no chemestry where one would expect. It isn't all that bad of a film. Fans of the actors should definately rent it especially for a really good Pacino monologue (they had to throw that in somewhere). The film had the director and the cast but what it needed was a better script.

Al Pacino, John Cusack, and Danny Aiello are great!
This is one of the best crime-drama movies during the late 1990s. It was filled with a great cast, a huge storyline, and many of the players involved gave great performances. Pacino was great; he should have been nominated for something. John Cusack was good too, as long as the viewer doesn't mind his Louuu-siana accent. He may come off as annoying if you can't stand this dialect. The way that Pacino's character interacted with Cusack's character was believable, dramatic, and slightly comical at times. Danny Aiello was superb as always. David Paymer was great in a supporting role. Bridget Fonda was good but not memorable.
There were times when this picture mentioned so many characters, probably too many. It may take a second viewing to remember, "which Zapatti was which?" After so many cross-references, one has to stop and think just to recap.
The ending didn't have a lot of sting. It was built up for so long in a good way and then was a little bit of a letdown. This was one of the few letdowns in the film
I think that since the movie wasn't billed as a huge, blockbuster big screen hit, it made some forget that this movie even existed. Pacino was great but the film's lack of "splash" in the theaters may have accounted for no nominations. It was semi-successful in the home market, and viewers are still learing that this title is out there. Made in 1996, it still stands up seven years later and should still be popular for many years from now.

So, make yourself some lemon pudding (you'll see) and rent this movie! Overall, a great picture.
4 ½ out of 5!!!

A GOLDSMITH CLASSIC
Jerry Goldsmith's combines essences of George Gershwin and Leonard Bernstein in this inspired soundtrack. The sites and sounds of New York seem to waft over the senses as the flowing strings and French horns play. Piano and percussion highlight gang conflict. Classic stuff!

Grab a bagel, sit back, relax and enjoy this one.

Practice Run
Composer Jerry Goldsmiith's score for the drama City Hall is a real letdown. It sounds a lot like the music he would use later for LA Confidential. Sure, there are a few subtle differences here and there, but for the most part, the scores are too similar for my tastes. I am not used to Goldsmith doing this all that much. Even the stuff of his that isn't quite as good, usaully has some originality to it. The music for City Hall must have been a warm up for the latter film I mentioned. Most of the City Hall soundtrack spends its limited running time just reworking the main title-this tactic is not uncommon in a majority of film music-to use a certain amount of repetition-it's just usually not done this much for a single film. Horns, piano, and the drum are pretty much it.

The CD has 12 tracks and a running time of 30:14. My recommendation would be be to skip this, and seek out the the 2 soundtrack albums for LA Confidential, instead. At least the score sounds a bit more developed and there's a bit more musical variety ... Read more

Amazon.com essential video

Memorable mostly as the film that introduced filmgoers to Tom Cruise and Sean Penn, both of whom nearly steal the film from its nominal star, Timothy Hutton. Hutton, fresh from his Oscar for Ordinary People, plays the top cadet at a private military school run by George C. Scott. When the announcement is made that the school will be closed, the inmates take over the asylum with military precision. Hutton is caught among his sense of duty to mentor Scott, the rabid militarism of cadet Cruise, and the rational arguments of Penn, as Hutton's best friend. Then a cadet kills one of the cops responding to the crisis, and suddenly this game of playing soldiers takes on a warlike atmosphere. But director Harold Becker can't hold it together; Hutton isn't up to carrying the film, and the tension rapidly drains from the Darryl Ponicsan script. --Marshall Fine ... Read more

Reviews (10)

A must -see for young leaders!
Taps is a powerful reminder of how youthful passions can lead to disastrous results if misguided or led out of context. Very good acting by Tim Hutton and George C. Scott. Also a glimse of young Tom Cruise.

An Amazingly Prescient Movie
Saw this movie on cable a few years after it came out. I didn't think too much of it back then--but what a difference 20 years makes! Taps is, without a doubt, one of the best teen angst movies ever made. The unique twist here is that teens are (literally) fighting for increasingly anachronistic ideals: duty, honor, and country. Partly due to their methods & partly due to their militaristic demeanor, the society outside the school gates (good symbolism here) spurns their cause. In the time since 1981, the trend has been to tolerate, defend, and even reward, abberrant behavior. As a result, the film gets high marks for correctly predicting that these kids are on the wrong side of history. The casting was also extraordinary with outstanding performance all around. Cruise's performance was especially strong--perhaps the best he's ever done. I also find it uncanny that this film was able to cast two of today's top stars (Penn & Cruise) as leads. These factors have actually helped Taps improve with age--an extremely rare achievement.

Taps is worth watching.
If you are a military buff, or a fan of Tom Cruise, Sean Penn, or George C. Scott, then this is the movie for you. Very interesting plot, (honor, duty, country) patriotic, some action, but seems to drag along at times. Great movie to watch if you have nothing to do.

All Star and All Good
The cast is 100% all star and the movie is excellent about young men with one goal but different values about what they would do to achieve that goal. A great hit movie!

A Tragic Proof That Hutton Is As Good As Actors Come
Given the other reviews, plot summary in this one would be superfluous, yet I feel compelled to say "Taps" is a deeply moving tragedy. The characters are very real, the situation is very believable. The film has its share of comic relief, but the story is so sad and the acting so very good (even Cruise, whom I generally loathe, was perfectly cast) that if you are given to tears you may prefer to watch it alone, but whether you are or whether you're not, you definitely should watch it. ... Read more

Reviews (21)

Ellen Barkin is on the prowl
When "Sea of Love" comes to mind, it's difficult not to think about the powerful sexual attraction between Al Pacino and Ellen Barkin that consumes both actors and makes their characters believable. Pacino has the right mix of a burned-out veteran cop who's lonely and bitter at losing his ex-wife to a fellow police officer, and Barkin's Helen is a sexy, tough and complex business woman and single mother with a hard-edged exterior who's also lonely and reaching out for love. Barkin, as always, is great to look at, with her crooked, predatory smile and seems like a tigress hunting for prey, which two scenes illustrate perfectly. The way Helen glides up to Frank Keller in her tight skirt when he enters her shoe store is one of the film's best moments, and the way she materializes out of the shadows and approaches Keller in his dark hallway is high drama and very powerful. Helen also seems to have the better of it in her sex scenes with Keller and has him back on his heels, her hunger for sex palpable and credible. It's a shame that Barkin doesn't appear until the movie is 43 minutes old but she certainly makes the most of her remaining screen time. The film takes its time in establishing the characters and has some dull stretches but the two stars make it work very well. The surprise ending is bit of a letdown, perhaps because there's no suggestion that it's coming. Phil Phillips' 1959 hit gets several reprises here and is, of course, the film's title.

Dangerous and Sexy
When Al Pacino, one of the greatest actors of our time, decided to return to movies after a long self imposed absence, he chose this Harold Becker thriller and simply exploded back into American cinema. A moody, pulsating score, a lonely city at night atmosphere, and the sexy Ellen Barkin helped to create an erotic and suspenseful thriller like no other.

Someone is placing personals and killing men, leaving the old '45 "Sea of Love" playing at every murder scene. Pacino and his partner John Goodman decide to place their own personal and meet women, hoping one will be the killer. Pacino uses something his sick father had written to his mother years ago and it might just be good enough to attract the killer.

In steps Barkin, a single mom hotter and sexier than origional sin. Pacino doesn't get her prints on a glass like every other suspect who answers the ad and we spend the rest of the film wondering if this mistake will cost him his life. Pacino tells Goodman he has eliminated her as a suspect and begins a sexually charged relationship that begins to be more. But he can't tell her he's a cop because of how they met and his suspicion explodes in his face when she finds out.

A lot of this film is about mistrust and suspicion, and a very messed up Pacino, desperately lonely and trying to move on from his divorce. Barkin is dynamite, but may also be the killer. When Pacino discovers all the victims knew Barkin, things get evermore dangerous. In addition to the electricity between the two leads there is also a fine script and great support from minor players to create one of the most nail biting thrill rides of all time.

There is a memorable scene where Pacino is frantically searching for his gun while Barkin is in the bathroom you just have to see. One of the most erotic scenes in screen history takes place in a supermarket late at night as Sade's band instrumental "Siempre Hay Esperanza" from her Stronger Than Pride album plays sexily in the background.

Think you know who the killer is? You might. Then again, it might be a suprise. Don't rent this one. Buy it. You'll watch it more than once. I guarantee it.

STYLIZED EROTICA
With the exception of 1983's SCARFACE,the 80's were a bust for Pacino. This was his comeback outing and it is a stylized erotic journey that would have been grossly misplaced outside NYC. These are New York characters. No other way to describe them, no other need to. Harold Becker is an under rated American director and this is best best work since THE ONION FIELD (1979). The music is seductive (save for 3 versions of the title track). And wickedly sexy Ellen Barkin literally works off with the film when she meets Pacino in a West Side supermarket wearng only a trenchcoat and heels. It was enough to make me shop there.

Great thriller!
I really liked this well-directed movie that is full of suspense throughout. Barkin absolutely sizzles. She has never looked better.

Writers of personal ads seem to be getting murdered. Pacino investigates and finds a pattern in the ads in that they are all poetic. Pacino hopes to trap the killer by placing a similar ad. Barkin happens to be one of the ladies that answer his ad and he gets involved with her. All the time he is not sure if she is the killer that he is tracking.

This movie was before the Internet explosion, so the idea of a personal ad in a newspaper may seem dated. However, the movie still works well.

Barkin, baby, where'd you go?
This is one of those films I love- the kind that sits on my shelf, I forget about for a while, and when I finally remember it one rainy day and put it on, it seems like new all over again... and I remember why I got it in the first place.

Pacino is Frank Keller, a NYC cop who is a little beat by life, doesn't get all his daily recommended allowance of beauty sleep, and who, on occassion, has a wee problem with the drink. Maybe not the sort of a man you'd be beating down mama's door to show off, but, ya know, a decent kinda guy. He's working on a murder investigation, assisted by the always reliable John Goodman, and due to circumstances and the trouble with 3am, becomes romantically involved with one of the suspects.

Enter Ellen Barkin- as the tagline reads, she may be the love of his life... of the end of it. Either way, she is definitely working the celluloid charm that made "The Big Easy" so steamy- although here it's more edgy and direct than bashful.

The film rolls along at a good pace, never quite spelling anything out for sure so you're thankful that it's on DVD and don't have to throw things at the TV when commercials cut in. Beyond the intensity of his scenes with Barkin- and there is some damn fine sizzle to 'em- there are some great moments that really help bring out Pacino's character and make him more human- vulnerable, profane, sore, sweaty- than other roles I've seen him in since; when he tells a guy the "Yankee's meet'n'greet" is all booked, and his mutterings when he sees one of the blind dates still at the bar don't have the theatrics of some of the more "Al Pacino movie" characters, and are all the better for it.

Also, the scratchy, tense relationship his Frank Keller has with his co-worker nicely sets off the easy partnership he strikes up with Goodman's Queens detective; their camraderie and somewhat comical difference in stature made for an unexpectedly great part of the film.

Altogether, a terrific watch, and makes you wonder just how the hell Barkin ended up playing a Minnesota beauty queen's mom. Musta been 3am somewhere then. ... Read more

Amazon.com

This film wraps up the big wrestling match that Terry Davis's novel left unresolved. It also makes Carla (Linda Fiorentino, in her screen debut) less of a bad girl. What it does capture is the book's flowing feeling of power and the possibility of youth. Probably best known for presenting a just-emerging Madonna singing "Crazy for You," Vision Quest also uses Matthew Modine nicely. He doesn't typify the usual coming-of-age youth, but his character, Louden Swain, isn't the typical youth, period. Swain needs to win the Washington State wrestling championship, and he's up against a guy who carries logs up stadium steps. He's also involved with an older woman, Carla, and learning that love and all that stuff is much harder than pinning an opponent. Ah, youth. --Keith Simanton ... Read more

Reviews (51)

themes counter mediocre acting to produce excellence
Since most of the people submitting reviews here are wrestlers, ex-wrestlers, or are associated with wrestling, it is very easy to have a biased point of view towards this movie. While some people critique the screenplay or acting, those that enjoy it are looking past the acting and into the theme of the movie.

After reading the book, it becomes evident that the movie is quite different. While the book focuses on growing up ("coming of age") and life, the movie focuses more on the wrestling aspect, obviously to appeal to the masses. I'd say the book was more award-winning material, while the movie was more inspirational. Wrestling, although a big part of Louden Swain's life, was not as overpowering in the book. The book was not about wrestling per se, but about life and growing up. The movie concentrated on the wrestling aspect more which makes it an excellent motivator. Despite the sometimes mediocre screenplay, this movie is a classic to wrestlers because it shows that the human spirit will overcome all. It accurately portrays the blood, guts, and tears that accompany an athlete involved in the sport. As another reviewer commented, the "Rocky" for wrestlers. A definite recommendation to all wrestlers.

good movie, bad DVD
I'm really hoping that they re-release this movie soon. In terms of the Rocky-esque movies, this is one of the better ones. I liked it even better the second time around because I noticed just how realistic Modine's performance is not only as a wrestler, but also as a highschooler.

The problem with the DVD is that (1) the transfer is positively awful, (2)it's standard as opposed to widescreen (not a big issue in this case), and (3) there are no features. The main problem, of course, is with the quality of the transfer, which probably looks better on some VHS versions of the film.

Re-release this into a more non-hurried DVD format and this rating will go from 3 stars to at least 4.

"You ever hear of Pele?"
There are a lot of reasons to love this movie - It's a great coming of age tale, a solid 80's high school film - and all the reasons that other reviewers have already shared... but it stands out, in my opinion, for providing the most elegant argument for why we as a society love sports and athletes Towards the end of the movie one of the charachters gives a little pep talk about watching Pele play soccer... "and I tell you I started crying... yeah that's right I started cryin..."

Vision Quest
I absolutely love this movie, despite the wrestling. This movie isn't only about wrestling, it's about coming of age, and the human spirit.

DVD version is much better than VHS
I have looked at some of the reviews on the suggested
bad quality of the picture of the DVD version, but I
feel this current full-screen DVD version of Vision
Quest is still very good and a heck of a lot better than my
VHS store bought version. Yes, a wide-screen and special
edition DVD packed with features and with some restoration
of the original film would be great, but this DVD version
will do until then. Also, for those people who do want
a choice of having the full-screen format you may want to
buy this DVD now because if Vision Quest is ever released
in a new special edition it may be released in wide-screen
only format so this full-screen version may be hard to get
at some point in the future. ... Read more

Reviews (20)

See It Once For The Story, And Again For The Acting
MALICE is one of those movies that you simply MUST see more than once to believe. The first time through, MALICE is a great psychological thriller, with twists and turns through a plot that contains rape, murder, life-and-death trauma, and a fight to the death...all within the first 45 minutes. The second time through, though, provides a look at all the things you might have missed the first time around...and a chance to savor an outstanding performance from perhaps the most underrated actor in Hollywood, Alec Baldwin.

Bill Pullman plays Andy Safian, an associate dean at a small New England college outside of Boston that's currently under siege by a serial rapist who claims his latest victim as the film opens. Nicole Kidman plays his wife Tracy, a volunteer in the pediatrics ward of St. Agnes Hospital. They're renovating a Victorian house and need $14,000 for the plumbing. Enter Alec Baldwin as Dr. Jed Hill, a former high school classmate of Andy's, who's brand new in town and needs a place to stay. Andy needs the money, Jed needs a room, so the two hook up and soon Jed is sleeping upstairs in the Safiens' home...usually not alone, and his sexual escapades are grating on Tracy's nerves. The rapes continue, Andy is fingered as a suspect, and in the midst of it all, Tracy collapses with a ruptured ovarian cyst. Jed operates to save her life (after a night of drinking and wild partying), but renders her unable to bear children...leading to a malpractice suit from Tracy and an incredible soliloquy on surgeons with a God complex from Jed during the deposition.

But once the first half of the film is over, things really start to roll. Without revealing the rest of the plot, suffice it to say that as Andy, Tracy, and Jed all try to start their lives over again, their fates become inextricably entangled.

The movie is worth seeing once as a thriller. But the second time around, Baldwin's mesmerizing performance is what stands out. Jed is charismatic, seductive, and as charming as a cobra as he weaves his spell over the Safiens. Baldwin's ability to jump from utterly charming to incredibly chilling in the blink of an eye is on full display here; it is truly the performance of a lifetime.

See it once for the suspense, and again for the acting.

More twists and turns than Spaghetti Junction
It starts out with the appearance of one type of movie, but before long the true plot begins to take shape. There are so many twists that it can get a little confusing, and may take a second viewing just to clear up those loose ends. On the whole, an excellent movie, with some great acting from Alec Baldwin, Nicole Kidman and Bill Pullman. To go into too much detail about the film runs the risk of spoiling the ending, but if you enjoy Hitchcock thrillers, then you would do well to watch this. Stephen Buxton

Twisting and Entertaining
Proper enjoyment of this diverting little feature requires not knowing the plot twists, so I'll try to not spoil that enjoyment in praising this film.

I join Roger Ebert in not being able to think of another film that throws in a serial killer as just atmosphere - I watched this movie when it first came out a decade ago, then again on DVD yesterday, and I had completely forgotten the part about the serial killer.

Aside from the fact that George C. Scott has left us, it would be difficult to assemble a cast like this wouldn't it? Alec Baldwin, Nicole Kidman, Bill Pullman, Anne Bancroft, Gwyneth Paltrow, George C. Scott, Bebe Newirth, Peter Gallagher all contribute to this film.

I love to watch films of any genre and any country and the sensation I like to have at the end of the viewing experience is "satisfied" - in the same way that I'd like my palate and belly "satisfied" by a good meal. This screenplay twists and turns, but rather than in a Charlie Kaufman "hey-look-at-how-many-unexpected-twists-and-turns-I-can-put-in" kind of way this story moves in a way that wraps up loose ends in a "satisfied" kind of way.

Especially used, this DVD can be had for a song also. It's a satisfactory way to pass a couple of hours.

Key Point Missed on Serial Rapist Subplot
The serial rapist subplot is not unneccessary....it involved Andy (Pullman) being a suspect and the police taking a sperm sample to prove his innocence. Turns out he's sterile....which sets the storyline for Kidman's preganancy and the whole story line with Jed (Baldwin)....this movie was excellently done and some of the quotes (even beyond "I am God")are super memorable

Great All star Cast!
Star studded cast includes Bill Pullman, Nicole Kidman, Alec Baldwin, Anne Bancroft, and Gwyneth Paltrow all gave a Great performance. Excellent Storyline and beautiful scenery. A must-see on your next available weekend! ... Read more

Reviews (51)

themes counter mediocre acting to produce excellence
Since most of the people submitting reviews here are wrestlers, ex-wrestlers, or are associated with wrestling, it is very easy to have a biased point of view towards this movie. While some people critique the screenplay or acting, those that enjoy it are looking past the acting and into the theme of the movie.

After reading the book, it becomes evident that the movie is quite different. While the book focuses on growing up ("coming of age") and life, the movie focuses more on the wrestling aspect, obviously to appeal to the masses. I'd say the book was more award-winning material, while the movie was more inspirational. Wrestling, although a big part of Louden Swain's life, was not as overpowering in the book. The book was not about wrestling per se, but about life and growing up. The movie concentrated on the wrestling aspect more which makes it an excellent motivator. Despite the sometimes mediocre screenplay, this movie is a classic to wrestlers because it shows that the human spirit will overcome all. It accurately portrays the blood, guts, and tears that accompany an athlete involved in the sport. As another reviewer commented, the "Rocky" for wrestlers. A definite recommendation to all wrestlers.

good movie, bad DVD
I'm really hoping that they re-release this movie soon. In terms of the Rocky-esque movies, this is one of the better ones. I liked it even better the second time around because I noticed just how realistic Modine's performance is not only as a wrestler, but also as a highschooler.

The problem with the DVD is that (1) the transfer is positively awful, (2)it's standard as opposed to widescreen (not a big issue in this case), and (3) there are no features. The main problem, of course, is with the quality of the transfer, which probably looks better on some VHS versions of the film.

Re-release this into a more non-hurried DVD format and this rating will go from 3 stars to at least 4.

"You ever hear of Pele?"
There are a lot of reasons to love this movie - It's a great coming of age tale, a solid 80's high school film - and all the reasons that other reviewers have already shared... but it stands out, in my opinion, for providing the most elegant argument for why we as a society love sports and athletes Towards the end of the movie one of the charachters gives a little pep talk about watching Pele play soccer... "and I tell you I started crying... yeah that's right I started cryin..."

Vision Quest
I absolutely love this movie, despite the wrestling. This movie isn't only about wrestling, it's about coming of age, and the human spirit.

DVD version is much better than VHS
I have looked at some of the reviews on the suggested
bad quality of the picture of the DVD version, but I
feel this current full-screen DVD version of Vision
Quest is still very good and a heck of a lot better than my
VHS store bought version. Yes, a wide-screen and special
edition DVD packed with features and with some restoration
of the original film would be great, but this DVD version
will do until then. Also, for those people who do want
a choice of having the full-screen format you may want to
buy this DVD now because if Vision Quest is ever released
in a new special edition it may be released in wide-screen
only format so this full-screen version may be hard to get
at some point in the future. ... Read more

Reviews (7)

Enlightening Movie of a true crime story
The Onion Field is a true story by Joseph Wambaugh, a former policeman who knows of what he writes. The actors, especially James Woods actually looks like the killer he plays. Ted Danson is seen in his first major movie role, for only a short time, but an important character in the movie, which caused the LA Police Department to change it's rules about never "giving up your weapon" to anyone. It has a somewhat surprising ending, when you find out who is "remembering" the ordeal which is the basis of the theme of the movie, and how it affects his life. Joseph Wambaugh is at his best when he writes TRUE CRIME stories, such as this as well as "The Blooding", about the first time DNA was used to solve a case, which took place in England. He can hold you spell-bound.

Cop Drama That Made Cop Figures Human
"The Onion Field" is another one of those gripping cop dramas that makes it puzzling that the film didn't receive a single Academy Award nomination. Based on the true story and scripted by former cop Joseph Wambaugh (who also wrote the book), "The Onion Field" describes the mental breakdown of a cop (portrayed with excellence by John Savage) who witnesses his partner's murder in an onion field in California, the frustrating nature of the justice system and the loopholes it contains. The chilling contrast between Savage's fragile cop and James Woods' disturbing killer is highly intriguing. But most importantly, "The Onion Field" is a film that gives big screen cop figures a human, emotional quality, all filtered here by the high calliber acting and well written script.

"Have you ever heard of the 'Little Lindbergh' Law?"
Those are the bone-chilling words spoken by kidnapper and soon-to-be killer Gregory Powell (brilliantly portrayed by James Woods) just seconds before fatally shooting Sgt. Ian Campbell (sensitively portrayed by a pre-"Cheers" Ted Danson) near an abandoned onion field in the disturbing, psychologically intense film THE ONION FIELD (1979). This film, directed in an appropriate brooding, deliberate style by Harold Becker, recounts the events that took place on March 2, 1963, as well as the aftermath of subsequent trials that took their mental toll on Sgt. Karl Hettinger (brilliantly portrayed by the underrated Method actor John Savage).

Brilliant police novelist Joseph Wambaugh, whose earlier work "The Choirboys" became warped in the screenplay adaptation process and, as a result, got turned into an occasionally funny but ultimately unsatisfying movie in 1977 (in which James Woods, not coincidentally, had appeared), made sure this time that he had complete control over the screenplay for THE ONION FIELD. In doing so, the film version remains faithful to the events described in the book, as it recounts the slow build-up to the terrible crime in parallel scenes; one showing the criminals, and the other showing the police officers before their fateful meeting. It also shows the slow psychological breakdown that is suffered afterwards by the surviving officer, who is tortured by a seemingly endless cycle of trials as well as the derision of his police superiors who felt that he could have done more to prevent the tragedy.

The only major fault that I find in the film is its irregular chronology of the aftermath; it provides no dates for each scene, which is bad because a scene that takes place days after the previous one will be followed by a sudden jump of ten or more years into the future. This gets confusing to the viewer, who will suddenly--an unexpectantly--find a longhaired 1970's Gregory Powell spouting out prison law to a fellow inmate following a scene where the crewcut '60's Powell is defending himself in court. Also, the landmark 1973 Supreme Court decision that (temporarily) outlawed capital punishment, thereby instantly commuting Powell and Jimmy Smith's death sentences to that of life imprisonment, is barely even mentioned, despite its obvious significance. Nevertheless, THE ONION FIELD is a compelling, and faithful, dramatization of one of the most shocking murder cases of the 1960's. It is just another small piece of American history, and is recommended for anyone who wants more insight into the development of our modern legal and law enforcement systems. Of course, I also recommend it for everyone who considers themselves to be film buffs. HIGHLY RECOMMENDED

About As Interesting As Watching Onions Grow
For some reason, whenever Hollywood tries to make a movie out of a Joseph Wambaugh novel, the film tends to fall flat. And "The Onion Field" is a good example of how a good book can be turned into a bad film.

"The Onion Field" has all the makings of a good film: A good cast, high drama and a true-life story with a poignant message. However, this film does not make full use of these characteristics and the end result is a movie that never realizes its potential. If anything, "The Onion Field" is a long, boring film that leaves you feeling empty and drained.

They don't make 'em like this anymore
"The Onion Field" brought up the tail end of a "golden era" of intelligent, gripping and realistic American crime dramas that began with 1967's "In Cold Blood", and continued through the 70's with films like "Serpico" and "Dog Day Afternoon". Director Harold Becker ("City Hall", "Sea Of Love") assembles the perfect cast to portray the true story of a kidnapping and cold-blooded murder of an L.A. police officer in 1963. John Savage's usually distracting tics and twitches are put to good use as the high-strung, guilt-ridden cop who survives the harrowing incident. James Woods infuses his edgy, psychotic cop-killer with an underlying native intelligence that makes him even more frightening than usual. Newcomer Franklyn Seales is quite memorable in a layered performance as Woods' conflicted accomplice (unfortunately, Seales all but vanished after this potentially star-making role). Ted Danson and Ronny Cox also give excellent support. The scene dramatizing the "onion field incident" itself chills the viewer with the same unblinking realism that made "In Cold Blood"'s deliberate, step-by-step re-enactment of the Clutter killings so haunting. The film can also be seen as an unflinching look at the American justice system, and the resulting lose/lose scenarios that sometimes occur on both sides of the docket. Riveting and unforgettable. ... Read more

Reviews (5)

Big Town, Little Movie
Matt Dillon stars in this Ben Bolt movie about a young gambler from the 50`s that goes to Chicago in order to improve his life. Diane Lane and Tommy Lee Jones also give standout performances here, and most of the cast is convincing enough. The problem seems to be Bolt`s direction, entirely average and bland, which doesn`t provide any particural memorable moment or scene. There are no impressive camera-angles here, so what counts is really the plot. The worse thing is that the plot is just adequate yet nothing special either, presenting a typical rags-to-riches storyline with cliched characters and unsurprising situations. The acting makes it work in a mildly interesting manner, though, so the movie still manages to be an entertaining pick for a rainy day. "The Big Town" is another average film worth watching once and be done with it.

Not a keeper.

Diane Lane is a feast for the eyes
The luscious Diane Lane was the reason I rented this movie (and would buy it as well, should it become available). I was on my Diane Lane binge when I saw this, along with Lady Beware, Priceless Beauty, The Outsiders and Rumble Fish. What can I say? I missed out on her movies as an adolescent. Seeing her in The Perfect Storm inspired me to seek out her earlier work.
The Big Town stands out as one of the better movies she was in, with an entertaining plot of a dice hustler played well by Matt Dillon. It seems they enjoyed acting together as well, having both been in Coppolla's Rumble Fish and The Outsiders.
There are a great collection of other character actors in this film as well, including Bruce Dern, Tommy Lee Jones and Tom Skerrit. Suzy Amis is sympathetic as Dillon's other love interest, but she doesn't hold a candle to the sex kitten Lane.

Dice players rejoyce
I first stumbled across this movie on cable in the late 80's. I loved it then and still do today. Great story, great casting, great acting & great period film making. Diane Lane is not to shabby either as a strippin' diva with a taste for the fast life. Matt Dillon plays a complete craps stud who can win any dice game no matter the stakes or cash on the table. Tommy Lee Jones, Tom Skerrit, Bruce Dern & Lee Grant all contribute with awesome performances to this "Gem Club" of a movie. I sincerely hope we'll all be lucky enough for this title to be available soon on DVD. Heck, I'd love to have a DVD with tons of extras too if it was up to me but it it's not. I can always dream though...

The movie aint Citizen Kane, more like, Citizen (Diane) Lane
I give it a 5 star rating. why? Cause Diane Lane is such a hotty! I grew up with Dillion/Lane in the Outsiders and Rumble Fish, (two other great movies), and I always had a jones for Diane Lane (I guess so did Francis Ford Coppola). And to see her in this movie as a stripper, well, what can I say, it really floats my boat. This movie is my "guilty pleasure"....I dont care that everyone hates it, I love it! (Today's movie making is nothing to brag about, anyway).

When things get hot, people get burned ... bet on it!
Based on the novel The Big Arm by Clark Howard with a screenplay by Robert Roy Pool, this drama directed by Ben Bolt feels like an adaptation of a large canvas novel with all the detail left in, so that everything reads as subsidiary. Set in the Chicago of the 1950's, Matt Dillon stars as a dice player from Indiana seeking the big time. However, when you're juggling at least 4 plots it's only natural that not all of them will come together for a satisfying conclusion. The most promising one concerns Dillon's Hustler-like competition with Tommy Lee Jones as the owner of a strip club, with Jones having the same spot between the eyebrows as Dillon. The problem with filming dice is that the actual game is monotonous, so the best Bolt could do is create tension by delaying the next roll or the raising of financial stakes, though he does provide an early montage of Dillon with David Marshall Grant on a winning spree and falling dice and money to the sounds of Shake, Rattle and Roll on the soundtrack. The only other visual trick is the sparks of an overhead train on it's tracks as Dillon and Diane Lane as Jones' stripper wife kiss to Fever. The best of the screenplay is a laugh line of sarcasm and forboding given to Meg Hogarth as Dillon's mother re his dice mentor's funeral "I nearly got crushed in the crowd", and Cherry Jones as a Patsy Cline-like singer who sneaks up behind Dillon, covering his eyes with a guess who? Dillon says her perfume gives her away and she replies " Aint nobody gonna give me away but my daddy". This use of eyes and the eyes of the dice are also parallel with Bruce Dern as the husband of Lee Grant, Dillon's employer. Dern is a former dice champ who has been blinded, but unfortunately this plot point gets no payoff. Dillon is also given two romantic partners in Lane and Suzy Amis as a mother of a child out of wedlock. The madonna/whore dichotomy is rather obvious, and the symbolism worse, with Amis' child scoring points for her and the way Lane is presented so unflatteringly scores points against her. Lane's fan dance doesn't help, since the focus on the scen is more Dillon's twisted attraction/repulsion. The 1950's period works for Dillon's razor etched beauty, the perfect locale for his photographer Bruce Weber appeal, and he even gives a Method touch to the way he hits his own face with a restaurant menu. Watch for Lolita Davidovich as another of Jones' strip club entertainers. ... Read more

Amazon.com

One night in 1963, two plainclothes LAPD officers were abducted by armed small-time criminals after a routine traffic stop, then driven to a remote area where one was brutally executed. The other officer managed to escape and the perpetrators were captured and brought to trial. Despite overwhelming evidence, the slayers managed to drag the justice process on for years through appeals and delaying tactics, one of them making use of the prison law library to become a "jailhouse lawyer." Taken from the Joseph Wambaugh book, The OnionField is a true story about a case that changed LAPD policies forever. More than a simple police procedural, though, the film is a character study that follows the aftermath of the murder for all involved. John Savage, as the surviving officer, is called on over and over to reenact the event in court, chided by his superiors and eventually fired from the force, with redemption a long way off.He does a great job in a harrowing role as frustration, guilt, and depression cause his life and career to disintegrate over time. There are impressive early performances by Ted Danson and James Woods (setting the tone for countless raw-nerve, psycho-lowlife roles that Woods would take on in the future). The compelling script, written by ex-cop Wambaugh (with no studio interference), is a reminder of why he's one of novelist James Ellroy's favorite writers. It's a story of tragedy and hope, dignity and pain, with a potent emotional payoff. --Jerry Renshaw ... Read more

Reviews (7)

Enlightening Movie of a true crime story
The Onion Field is a true story by Joseph Wambaugh, a former policeman who knows of what he writes. The actors, especially James Woods actually looks like the killer he plays. Ted Danson is seen in his first major movie role, for only a short time, but an important character in the movie, which caused the LA Police Department to change it's rules about never "giving up your weapon" to anyone. It has a somewhat surprising ending, when you find out who is "remembering" the ordeal which is the basis of the theme of the movie, and how it affects his life. Joseph Wambaugh is at his best when he writes TRUE CRIME stories, such as this as well as "The Blooding", about the first time DNA was used to solve a case, which took place in England. He can hold you spell-bound.

Cop Drama That Made Cop Figures Human
"The Onion Field" is another one of those gripping cop dramas that makes it puzzling that the film didn't receive a single Academy Award nomination. Based on the true story and scripted by former cop Joseph Wambaugh (who also wrote the book), "The Onion Field" describes the mental breakdown of a cop (portrayed with excellence by John Savage) who witnesses his partner's murder in an onion field in California, the frustrating nature of the justice system and the loopholes it contains. The chilling contrast between Savage's fragile cop and James Woods' disturbing killer is highly intriguing. But most importantly, "The Onion Field" is a film that gives big screen cop figures a human, emotional quality, all filtered here by the high calliber acting and well written script.

"Have you ever heard of the 'Little Lindbergh' Law?"
Those are the bone-chilling words spoken by kidnapper and soon-to-be killer Gregory Powell (brilliantly portrayed by James Woods) just seconds before fatally shooting Sgt. Ian Campbell (sensitively portrayed by a pre-"Cheers" Ted Danson) near an abandoned onion field in the disturbing, psychologically intense film THE ONION FIELD (1979). This film, directed in an appropriate brooding, deliberate style by Harold Becker, recounts the events that took place on March 2, 1963, as well as the aftermath of subsequent trials that took their mental toll on Sgt. Karl Hettinger (brilliantly portrayed by the underrated Method actor John Savage).

Brilliant police novelist Joseph Wambaugh, whose earlier work "The Choirboys" became warped in the screenplay adaptation process and, as a result, got turned into an occasionally funny but ultimately unsatisfying movie in 1977 (in which James Woods, not coincidentally, had appeared), made sure this time that he had complete control over the screenplay for THE ONION FIELD. In doing so, the film version remains faithful to the events described in the book, as it recounts the slow build-up to the terrible crime in parallel scenes; one showing the criminals, and the other showing the police officers before their fateful meeting. It also shows the slow psychological breakdown that is suffered afterwards by the surviving officer, who is tortured by a seemingly endless cycle of trials as well as the derision of his police superiors who felt that he could have done more to prevent the tragedy.

The only major fault that I find in the film is its irregular chronology of the aftermath; it provides no dates for each scene, which is bad because a scene that takes place days after the previous one will be followed by a sudden jump of ten or more years into the future. This gets confusing to the viewer, who will suddenly--an unexpectantly--find a longhaired 1970's Gregory Powell spouting out prison law to a fellow inmate following a scene where the crewcut '60's Powell is defending himself in court. Also, the landmark 1973 Supreme Court decision that (temporarily) outlawed capital punishment, thereby instantly commuting Powell and Jimmy Smith's death sentences to that of life imprisonment, is barely even mentioned, despite its obvious significance. Nevertheless, THE ONION FIELD is a compelling, and faithful, dramatization of one of the most shocking murder cases of the 1960's. It is just another small piece of American history, and is recommended for anyone who wants more insight into the development of our modern legal and law enforcement systems. Of course, I also recommend it for everyone who considers themselves to be film buffs. HIGHLY RECOMMENDED

About As Interesting As Watching Onions Grow
For some reason, whenever Hollywood tries to make a movie out of a Joseph Wambaugh novel, the film tends to fall flat. And "The Onion Field" is a good example of how a good book can be turned into a bad film.

"The Onion Field" has all the makings of a good film: A good cast, high drama and a true-life story with a poignant message. However, this film does not make full use of these characteristics and the end result is a movie that never realizes its potential. If anything, "The Onion Field" is a long, boring film that leaves you feeling empty and drained.

They don't make 'em like this anymore
"The Onion Field" brought up the tail end of a "golden era" of intelligent, gripping and realistic American crime dramas that began with 1967's "In Cold Blood", and continued through the 70's with films like "Serpico" and "Dog Day Afternoon". Director Harold Becker ("City Hall", "Sea Of Love") assembles the perfect cast to portray the true story of a kidnapping and cold-blooded murder of an L.A. police officer in 1963. John Savage's usually distracting tics and twitches are put to good use as the high-strung, guilt-ridden cop who survives the harrowing incident. James Woods infuses his edgy, psychotic cop-killer with an underlying native intelligence that makes him even more frightening than usual. Newcomer Franklyn Seales is quite memorable in a layered performance as Woods' conflicted accomplice (unfortunately, Seales all but vanished after this potentially star-making role). Ted Danson and Ronny Cox also give excellent support. The scene dramatizing the "onion field incident" itself chills the viewer with the same unblinking realism that made "In Cold Blood"'s deliberate, step-by-step re-enactment of the Clutter killings so haunting. The film can also be seen as an unflinching look at the American justice system, and the resulting lose/lose scenarios that sometimes occur on both sides of the docket. Riveting and unforgettable. ... Read more