Reviews (7)

Book vs. Movie
If anyone has read the book series than you will know that they are better than the movies. I personally like the book series better because they for one go into a lot more detail and they have better storie lines.Even though i am very excited about the new movie comming out, I wish they would have made the first and second movies related to the books.

I really do like the movies, but if you have read the book series than the movies are not as good. I am so excited to find out who Mia marrys in the second princess diaries movie! I wish too that the movie would have come out in movie theaters so then we could have seen the movie sooner!

Just different
Although I am an avid follower of the books, I realize that movies when adapted from books are often quite different. So then the question is the movie still enjoyable? While I was saddened by some of the changes in the first movie, it was still very entertaining. I think that this second movie, though now almost entirely different from the books, looks like it too will be entertaining. And I have to say that the Prince Nicholas guy looks more like what I imagined Michael to look. I was not impressed with the Michael from the first movie. He was really not like the character in the book, so I feel no loss at his removal from the second movie. My advice, enjoy the movie for what it is rather than moment by moment comparison to the books.

not as bad as you might think
When I had heard that there was going to ba a sequel, I was excited. I saw a six minute preview, and yes, she is 21. The story line is this: her grandmother is going to abdicate from the throne. Mia will become the queen, but she must marry within 30 days. There is a big hassle to find the right man, and it is down to two guys.I like the fact that they use the same people for the same characters, like Lilly and Joseph. And though other people might think otherwise, I think that this movie will be entertaining, though I agree that the plot does make the first movie pointless.

Look things up folks!
This movie is not strictly set with the books. It is basically a continuation of the 1st movie with a catch.

Other sources I have seen mention that Mia is 21 not 15. A college graduate to boot! Michael would have been a great catch for her except that he was older and graduated high school before she did.

I refuse to give movie spoilers.

No Michael, No movie
I think anyone who has read all 5 of the book series would agree with me that this movie is a waiste of time unless michael and mia are together. If this movie is about her finding another guy to MARRY, then why did they have michael and mia together in the first place? I am not interested in this movie at all, and it is a big dissapointment if you read the books, although the books are 10 times greater than the movies anyways. ... Read more

Amazon.com essential video

Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that--you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni--!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead.--Jeff Shannon ... Read more

Reviews (630)

one of the best comedies ever and dvd extras to rave about!
This is what dvds were invented for -- there are so many great features here! So in addition to seeing one of the funniest movies ever made, you can be entertained for hours with the extras, and the extras are terrific: subtitles in English, French or Spanish; audio track choices -- English (the original mono or a brand new full stereo version), French, a directors' (Gilliam and Jones) track or a commentary track with Cleese, Idle and Palin; a copy of the script overlaid on the film; a painstaking, hilarious Henry the IV-ish subtitle for those who don't like the film; a hard-of-hearing feature; killer rabbit easter eggs; animated menus using Gilliam's original animation; karaoke renditions of 'Knights of the Round Table', 'Sir Robin' and the 'Monks Chant'; a delightful 45 minute visit to the locations with Jones and Palin; an educational film about the 'other' uses of coconuts; Japanese versions of the French Castle and Knights Who Say Ni scenes, including references to the 'holy sake cup'; a 1974 BBC Film Night visit to a location site during filming; photos of tickets, press releases, reviews, posters, production stills and original artwork; trailers; cast credits (Palin played over a dozen parts!) with pictures of each character; a Lego knights version of the Camelot scene; pictures of sketches that were never used (a killer snail?!); a web link.

A lot of effort went into this special edition dvd, and it shows. I particularly enjoyed seeing Jones and Palin visit locations. They were in a jolly mood, their comments are interspersed with film footage, and they meet affectionate and funny fans along the way.

If you like this film you will love this dvd version; if you love the film, you wil adore this two-dvd set. An essential item for your collection.

Highest recommendation.

I Never Thought Looking For A Shrubbery Would Be This Fun!!
In the early 1970's the Monty Python troop (Michael Palin, Graham Chapman, Eric Idle, John Cleese, Terry Gilliam, and Terry Jones) stars from the immensely popular television series Monty Python's Flying Circus began producing, with the help of a fundraising concert headlined by Led Zeppelin and Pink Floyd (You lie!! No, I didn't!), initial photography on what would later become (from all my extensive years of movie watching) the single most unforgivably sidesplitting, enormously irreverent, shrewdly perceptive, unremittingly uproariously aggressive, gruesomely hysterical, and endlessly quotable comedies EVER. Not even Mel Brooks's Best Efforts (The Producers, Blazing Saddles, Young Frankenstein) comes very close to the revolutionary medieval merriment sustained in this royal purebred of cult classics. BAR NONE. No contest here.

Endlessly stockpiled with hauntingly hysterical sketches that will probably never leave your mind (no matter how hard you try) including, The Knights Who Say Nei, The Self-Abusing Monks (Eah aay ess eay dom eay nay), The Black Knight, The Trojan Rabbit, the Ever-Appearing Verbally Abusing French (I don't want to talk to you no more!!!), The Enchanter Named Tim, The Killer Bunny, The Bridge of Death (What is the capital of Hysteria?), The Old Woman Named Dennis, and so many countless more great sketches to include here that I'd die trying. Monty and Python and the Holy Grail remains an ever-enriching mirthful cult-classic that just seems to improve with age. Since Columbia has a bountifully hefty new special edition of the Holy Grail out now there should be no excuse, if you've never seen it (I think I'll go for a walk!!), just drop everything your doing (including Bringing Out Your Dead) and go experience this life changing movie today. You won't be disappointed, just tell them the Knight Not Appearing In This Film sent you, and they'll know what to do.

As for the options on the special edition here's a run-down:

Disc One: -"21st Anniversary" cut of the film running an extra 24 seconds; -Anamorphic Widescreen; -Dolby 5.1 track; -Original Mono Track; -Audio commentary with Terry Gilliam, Terry Jones, John Cleese, Eric Idle and Michael Palin; -subtitles "for people who don't like the film" (you get the text from Shakespeare's Henry IV instead); -an "on-screen screenplay" feature which lets you read the screenplay as you watch the film; -"Follow the Killer Rabbit" feature;

Disc Two: "Three Mindless Sing-Alongs"; -"The Quest for the Holy Grail Locations" featurette; -"How to Use Your Coconuts" educational film; -"Monty Python and the Holy Grail in Japanese" (with English subtitles); -the BBC Film Night special "On Location with the Pythons; -an interactive cast directory; -still galleries with Terry Gilliam's original sketches and behind-the-scenes photos; -"A Load Of Rubbish" with mystery items; -unused ideas and other material; -two trailers
and web-links.

Both discs represent the absolute final word resource for EVERYTHING and I do mean everything you'd need to know about the Python's greatest film. An Absolute Necessity for any Python Fan!!

P.S. You can't base a system of government just because some watery tart threw a sword at you.

What are you going to do, bleed on me?
excellent. Possibly the funniest movie ever made. Who could forget such a line as "I fart in your general direction. Your mother was a hamster and your father smelt of eldeberries." This is a great movie and a great dvd edition that gives it justice. This is completely worth the money. A comedy Classic.

This movie didn't make me Run Away! (or) Run away FASTER!!!
Monty Python and the Quest for the Holy Grail is, by far, my favorite movie -and I'm sure it always will be! Being a truly hilariously-random film, this DVD does an awesome job of showcasing this fact to the highest extent. The killer white "rrrrabit" will live on in my heart forever, and I will always be knowledgeable that African swallows are non-migratory. What other movie has a group of knights requesting shrubberies -from King Arthur, no less- to create a 'two-level effect with a path through the middle'? Only Monty Python and the Holy Grail.
The movie might sound strange as I mention these things out of context, but I assure you it is much stranger when Monty Python says it!
So, to conclude this review, I definitely give "Monty Python and the Quest for the Holy Grail" DVD a 5 star rating, as I know it will entertain millions for years to come. Enjoy!

The Lego Camelot Number Alone is Worth the Price
Who would have thought that, after nearly 30 years, the world's goofiest movie could be made even moreso? Not only is this DVD a comedy triumph (it would be simply if it were the DVD version of the classic film, in which a crew too broke to afford horses for King Arthur and his Knights changed history and college kids' banter forever by introducing coconuts as migrating props). Oh, no, this DVD is one that may become a standard for other DVDs. Just look at this list of extras above! To be sure, some of them are fluff. The "load of rubbish" selection is simply some receipts and a few odd notes. But most of it is stupendous.

The first disc contains the movie itself, along with some choices of how to watch it.... subtitles, commentary by directors Terry Jones & Terry Gilliam or by John Cleese & Eric Idle & Michael Palin. Then "for people who don't like the film", there's subtitles from Shakespeare's "Henry IV, Part II". Now, these do not faithfully follow Henry IV verse by verse, but they do come from the play, and it's hilarious how the phrases Shakespeare wrote do actually match up with the action on the screen.

Disc Two contains several mementoes: a film of John Cleese, Terry Jones, and "Grail" production manager John Young (who also played the hapless "Historian" towards the end of the film, and the "I'm not dead!" guy) paying a return visit to Castle Doune , in 2000. At first it's fun to hear them reminisce at the filming site, but since it's a very small spot with nothing but a wall and a bit of ground, they appear uncomfortable and that quickly gets old. More interesting is the home movie made by the two Terries when they looked for prospective film locations in the seventies. Their excitement is palpable.

A somewhat painful scene (except for the chance it gives us to watch Terry Jones in action as a director) is the BBC documentary made during filming. The interviewer seems more interested in trying to be funny himself than in the Pythons. But there are several great comic extras, including words to some songs, a coconut skit, two scenes dubbed in Japanese, and best of all, an animated feature of the "Camelot" scene and song done entirely in Lego...must be seen to be believed.

Finally, someone has made good use of the storage space on a DVD. ... Read more

Amazon.com essential video

Francis Ford Coppola took some of the deep background from the life of Mafia chief Vito Corleone--the patriarch of Mario Puzo's bestselling novel The Godfather--and built around it a stunning sequel to his Oscar-winning, 1972 hit film. Robert De Niro plays Vito as a young Sicilian immigrant in turn-of-the-century New York City's Little Italy. Coppola weaves in and out of the story of Vito's transformation into a powerful crime figure, contrasting that evolution against efforts by son Michael Corleone to spread the family's business into pre-Castro Cuba. As memorable as the first film is, The Godfather II is an amazingly intricate, symmetrical tragedy that touches upon several chapters of 20th-century history and makes a strong case that our destinies are written long before we're born. This was De Niro's first introduction to a lot of filmgoers, and he makes an enormous impression. But even with him and a number of truly brilliant actors (including maestro Lee Strasberg), this is ultimately Pacino's film and a masterful performance. --Tom Keogh ... Read more

Reviews (82)

I know it was you Fredo
Director Francis Ford Coppola does the impossible with this film. He creates an original piece better than its wonderful predecessor! After the phenomenal success of the GODFATHER, Coppola didn't have the studio watching every move he made like a hawk, and the results are a better, more diverse film. He lifted a concept he was saving for another movie, one where a father's story and his son's story are intermingled, comparing them both at the same age. Robert DeNiro won an Oscar for his mostly silent portrayal of the soft-spoken Italian, Vito Corleone, played by Marlon Brando in the first film. This was the first time in history that two people were both given an Oscar for portraying the same character. Running parallel with Vito's story is the continuing saga of Michael Corleone, Al Pacino returning to play the crime boss. His Michael has grown into a man bent on his own fate, battling hubris like a Shakespeare character. The production design and music are once again wonderful, Vito's past is a gorgeous pastiche of immigrants at the turn of the previous century, while Michael now rules an empire that extended into the sleazy world of gambling. Coppola uses some of the same tricks as the first film (If it ain't broke...). The result is a three-hour plus tragedy that is sure to make a hit with you. The first 2 films together make for interesting viewing. On occasion, they have even been needlessly presented chronologically. Followed by an unfortunate third film.

The apex of American film making
To call The Godfather 2 a sequal would be a travesty and an unfair conclusion on what a stunning achievement the film was. Not only is it the greatest sequal of all time (the only one to receive the best film oscar, at the expense of the brilliant Chinatown) but perhaps the greatest movie of all time.

It's an even more towering achievement than it's predecessor with Coppola now telling in parallel the rise of Vito Corleone from a seemingly harmless kid fleeing Sicily at the turn of the century to a fully fledged Mafia Don(now De Niro)in his twenties, contrasted with his son Michael carrying on the Sicilian legacy in 1950s New York.

The intricacy of the flashback sequences is suitably stunning as is the flawless design of both time periods, especially that of 1910s New York. The costume design and focus on detail are simply immaculate with De Niro delivering an electrifying portrayal of the young Vito(speaking Italian for much of his part) as he becomes a player with a gun wrapped under a towel and hoarsely imitates Brando at one stage "I'm gonna make him an offer he can't refuse."

Both won Oscars for their portrayal of Vito but i believe it is De Niro who excels more, not relying on the heavy makeup Brando was employed with for the first film but again proving his versatility of being a method actor and a natural gift of playing gangsters. However, it is often argued that Panino tops De Niro's peformance. He delivers a masterfully cold and distant performance as Michael, carrying on the family business after his father's death (much to his brother Fredo's disapproval).

He moves scrupulously and speaks with rivetting conviction as he attempts to protect his family from the corruption and threat of the era. While being corrupt himself, Michael is also a caring family figure, doing all he can to end this power struggle for the sake of protecting his children. At one stage his wife Kay Adams(Diane Keaton) threatens to take his children away from him but Pacino makes his feelings clear "You know that could never be possible. You know i would do anything in my power to stop that from happening."

The supporting cast are also great, with maestro Lee Strasberg, Robert Duvall also picking up Oscar nominations. At 3 hours and 20 minutes the movie doesn't seem overlong at all. It's an emotional powerful study in family loyalty, betrayal, corruption and greed and the apex of American filmaking. Movies don't come more accomplished or perfect than The Godfather 2. An oustanding piece of showmanship and one of the most important forms of art in any medium.

Even better than the first!
I watched this version first and I've always liked this movie more than the first because it ties up loose ends and it gives you a better understanding of who the family is, where they came from, the origin of the Corleone name (The family name is Andolini, the town he comes from is Corleone.), etc. I wished Richard Castellano was in this one (He wouldn't because of a contract dispute.). His replacements were classic. Michael V. Gazzo & Lee Strasberg give outstanding performances in their roles. This is an epic tale never to be forgotten.

A VERY AMAZING SEQUEL TO A VERY AMAZING MOVIE
THE STORY CONTINUES AS MICHAEL CORLEONE [AL PACINO] CONTINUES HIS DECEASED FATHER'S BUSINESS. THIS SEQUEL SUCCEEDS IN BEING WHAT MANY OTHER SEQUELS COULD NEVER BE, A GOOD MOVIE, MATTER OF FACT, AN OUTSTANDING MOVIE. ALONG WITH ITS PREDECESSOR, THIS IS ONE OF THE GREATEST MOVIES OF ALL TIME. THIS SEQUEL IS VERY AMAZING, AND I RECCOMEND ALL GANGSTER MOVIE BUFFS GET THIS AND ITS PREDECESSOR ON TAPE OR DVD AS SOON AS POSSIBLE. LIKE THE 1ST MOVIE, THIS WON SEVERAL OSCARS, INCLUDING BEST PICTURE.

great character study, great acting
I love this movie even more than Part I, because I love the way you can see Michael's character disintegrating over the course of the story. You watch him strip away all human connections in order to protect the "family." He finally asks his mother "Can you lose your family?" She doesn't understand the question, but of course Michael has lost his family, as well as his own soul. The paradox in this--killing your family in order to protect the "family"--is wonderful.
As in Part I, Diane Keaton is kind of a weak link--just not a credible Mafia wife. De Niro gives one of the greatest performances ever--channeling Brando. I also love the young versions of Don Corleone's sidekicks when they first go into business doing things like stealing rugs. And Robert Duvall has had to work very hard ever since to equal this performance.
The only disappointment is that we don't get to see Sonny (James Caan), since he was killed in Part I. His role was so wonderful that it's a pity Coppola couldn't work him into the flashbacks of Part II, except in the brief final scene. ... Read more

Amazon.com

Part mystery, part wartime polemic, Lifeboat finds director Alfred Hitchcock tackling a cinematic challenge that foreshadows the self-imposed handicaps of Rope and Rear Window. As with those subsequent features, Hitchcock confines his action and characters to a single set, in this instance the lone surviving lifeboat from an Allied freighter sunk by a German U-boat in the North Atlantic. A less confident, ingenious filmmaker might have opened up John Steinbeck's dialogue-driven character study beyond the battered boat and its cargo of survivors, but Hitchcock instead revels in his predicament to exploit the enforced intimacy between his characters.

Indeed, we never actually see the doomed freighter--the smoking ship's funnel beneath the credits simply sinks beneath the waves, and we're plunged into the escalating tensions between those who gradually find their way to the boat, a band of eight English and American passengers and crew, plus a German sailor (Walter Slezak) rescued from the U-boat, itself destroyed by the freighter's deck gun. Heading the cast and inevitably commanding their and our attention is the cello-voiced Tallulah Bankhead as Connie Porter, a cynical, sophisticated writer whose priorities seem to be hanging onto her mink and keeping her lipstick fresh. Gradually, the others find Porter and her lifeboat, forming a temporary community that inevitably suggests a careful cross section of archetypes, from wealthy industrialist (Henry Hull) to ship's boiler men (John Hodiak and William Bendix).

Hitchcock juggles the interpersonal skirmishes between the boat's occupants with the mystery of their German prisoner, which itself becomes a meditation on the fine line between nationalism and morality, a line that Slezak walks delicately until his identity is resolved. Visually, Hitchcock transforms his back-lot set and its rear-projected cloudbanks into a desolate stretch of ocean, while capturing the horror of an amputation through an economical set of images culminating in an empty boot. --Sam Sutherland ... Read more

Reviews (22)

A Forgotten Film From The Master Of Suspense
Lifeboat where do i begin? well for starters i guess it would have to be that this is one of my all time favorite Films from Alfred Hitchcock. But to most people they have never heard of Lifeboat. Yeah it was one of his early works but one of his best. Most people when they think of Hitchcock they think of Psycho ans The Birds and Vertigo. But this is better than the birds. It has a human story and ever increasing the tension. In a by gone era of hollywood when movies were grand in spectical not budget.

Lifeboat is about a freighter that is heading to New York. But is sunk by a German U-boat and in the opening scenes there is Tallulah Bankhead in a lifeboat all by herself with all of her belongings. Then one by one they pick up more survivors the tension increasing when they pick up a crewman of the U-boat. Only Hitchcock would make his backlot movie with fake clouds seem so real and make a the ocean look vast and barren. He also manages to elict good performances from Bankhead,Walter Slezak, Canada Lee and others.

I would highly reccomend that you check out this film from the master of suspense. this is not to be missed of put of. It is very suspensful i mean would you come to expect less from Hitchcock.

SEE THIS MOVIE I BEG YOU.

Lesser Known Hitchcock
Lifeboat isn't as famous as some of Hitchcock's other films, but it deserves to be seen today. It's a chance to see Tallulah Bankhead, who if anything, had a very interesting screen presence. She was an original. It's also a chance to see a very human portrayal of an African American character (Canada Lee) at a time when Hollywood rarely did that. There is also a lot of commentary about the Germans and the war, which given the time when this film was made (during the war), makes it all the more fascinating. The performances are good (including a very young Hume Cronyn), and Hitchcock manages to keep the action moving despite having so limited a space in which to do so. If you like Alfred Hitchcock, this is one you should see.

BANKHEAD -- HITCHCOCK
Tallulah Bankhead was one of the 20th century's best actresses, taking over from Ethel Barrymore as the Toast of Broadway and the London stage. She made few films, and this is her best role. (For a very long time the joke was that Bankhead's stage roles were taken over by and became film hits for Bette Davis. Certainly that's true with Hellman's THE LITTLE FOXES.) Here, one has the opportunity to observe how an actress of supreme talent, handles a role in which everything is shown; in which practically nothing can be hidden. Every would-be actress ought to study not only what she does, but more importantly, what she doesn't do, for as a stage acress par excellence all through her younger years, some movie people thought her too big for the screen. Probably she wasn't, but simply needed a good director. Here, she got the best in the business, and the results show.

Hitchcock was fascinated with women, with actresses, and particularly beautiful ones. And, if Connie's beauty here, is not young, and fresh, it is nevertheless, compelling. She is like a thoroughbred mare among mules and cab nags in an auction pen of chance. She stands out because of her breeding. She has lines. Her costume? A white silk blouse, good nylons, a full-length mink coat, and a diamond bracelet. And, of course, that wonderful mane of hair.

If you study Hitchcock, it would make a wonderful double bill to see LIFEBOAT and STAGE FRIGHT close together. Here, he studies Bankhead; in STAGEFRIGHT he studies Dietrich; two fair-haired actresses of wildly differing personal style, but of exceptional power and interest. And, what they have in common and what both display in these two films, is their unusual, and unusually expressive voices. Bankhead was a famous radio actress for many years, as well as a stage star. Dietrich too was a radio actress, and all her life was a singer and recording artist. The trick in working with an artist with an exceptional voice, is to carefully trim and arrange the dialogue in such a way as best to show off the voice's characteristics.

Admirers of Lesbian Chic might want to imagine what Ann Sheridan, or Barbara Stanwick, Rosalind Russell, Ruth Hussey or Lizabeth Scott or any one of a number of others might have done with this "Contralto" role: You know, the wise-cracking, hard boiled newspaper dame. The role is a Type, very popular during the 30's, and with a lesser actress and a lesser director, we might have gotten a good movie out of the material, but not a black-and-white masterpiece, like this one. After all, what if CASABLANCA had been cast with Ronald Raegan and Heddy Lamarr?

You can watch this movie over and over. A director's tour de force, the trick, I think, is to watch for Hitchcock's cutting sequences; the way he manipulated the editing around the actors' speeches within the episodes. Extremely clever. So good, the seams are nearly invisible.

Its a great propaganda movie, but of an unusual kind; far subtler than most. Its a great Camp, or G/L movie, but again, far subtler than most. Its a great Murder movie too, etc., etc...

Great.
'Lifeboat' is a great film by the late Alfred Hitchcock. He is really truly a master of filmmaking and very few directors could make such a fantastic story from such a limited setting. Not many people know of the film, but one should definately check it out.

Hitchcock in a Tank?
A very nice ensemble cast delivers the claustrophobia in this
"Lifeboat"

Heather Angel and Henry Hull always seem to be least recognized in this drama although thw whole cast is seemless .

Bill Bendix could walways play comedy or drama with equal terms.
I think a Dick Cavett story on Bankhead and Chico Marx may be in order. " Chico said " I want to ... You" and Bankhead , always the wit said " and so you shall young man" !

Slezak on the other hand was always an actor who used his rubber face to great effect. Watch out for waves and few script flaws but stay dry ! ... Read more

Reviews (19)

One of my all-time favorites!
A breathtakingly beautiful film from the "Magic 3" - David Lean, Director, Freddie Young, Cinematographer, and Maurice Jarre, Music -- who also gave us Lawrence of Arabia and Dr. Zhivago. An ordinary enough story, but played beautifully by first rate actors, it moves right along and I became very involved in the fate of its characters. I wanted Sarah Miles to have her passionate love, but then again, I didn't want her good husband (Mitchum) to lose her, I wanted the British officer (Jones) not to be tortured and haunted, and I didn't want anyone hurting the lovable village idiot. (John Mills deserved the Oscar he got for this role!) The relationship between John Mills' and Sarah Miles' characters broke my heart. And I hated, hated with a capital H some of the others (I won't say who and spoil it for anyone). This is all to say that I was pretty much transfixed and transported by this movie from start to finish. And if there's any scene in any movie from the beginning of time that's more erotic than the one in her father's pub when Sarah Miles' character first meets the British lieutenant, I hope someone warns me; I don't think I could withstand it. I love my video of the movie, but I wish I could see it again on the big screen for the impact of the magnificent cinematography of the Irish coast. And of the pub.

A Haunting Masterpiece by Lean
I first saw this film when it came out, it haunted me for days. The score9 by Maurice Jarre) and the photography(Freddie Young won a most desevred Oscar for) is breathtaking and Sarah Miles is so beautiful she takes your breath away. Set in Ireland during World War I and the British occupation of Ireland. Rosy Ryan( Sarah Miles) sets her cap for the local school master played by the great Robert Mitchum. They marry and her life is not what she expects until a British Officer enters it while she is tending bar. The chap is played by Christopher Jones who was the Colin Farrell of his day. The scene in the pub when they meet is one of the most tender loving scenes ever filmed. The affair that follows brings heartache to all. The villagers in this small Irish town gives lynch mobs a bad name. The pleasure they exact from teasing the village idiot(played by John Mills and may I add with beauty and heart) and later taking their revenge on an innocent person they believed to be the traitor. I don't want to give away the ending ot the story but I just purchased it and watched it for the first time in thirty years and was reminded what a storyteller David Lean was. Candace Serviss

When oh when!
Each month I scan the "new" issues to see if the studio has issued this first rate movie onto DVD but to no avail! when one sees the amount of rubbishy films now being re-issued, it really makes me angry, I guess the reason being the fact that Ryans Daughter was panned in the States, but hay Yanks, how about we Brits? the film was well received over here and is still regulary screened on TV. Freddy Jone's photography should be reason enough but add Sarah Miles, Bob Mitchum, John Mills, where is the problem?

Take it From a First-Time Viewer: Pass This One By
The progress of David Lean's visual style is one of honest, thrilling emotion subsumed over the years by unnecessary, rote effect--an artistic hardening-of-the-arteries not entirely unlike the bloat of Wordsworth's later work.

Of his pictures which history will remember well, Lean delivered at least one masterpiece ("Oliver Twist," 1948), which dared to risk anachronism when it evoked the prison camps of WWII in its workhouse boys' scabby, balding heads--not to mention Alec Guinness's frightening Fagin ("What right have you to butcher me!?").

He made two other first-rate pictures: "Great Expectations" (1946), a rare triumph of literary abbreviation, & "The Bridge on the River Kwai" (1957), the most melancholy meditation on suffering I've ever seen--like a paragraph from Dostoyevsky or Solzhenitsyn played deftly out to feature length.

"Lawrence of Arabia" (1962) signalled, I think, the beginning of an elephantiasis in Lean's ambition--though it's been observed that "Lawrence's" minimalist compositions and love of "empty" screen-space may have primed audiences for later, more abstract adventures such as "2001: A Space Odyssey," and even "Apocalypse Now."

Lean's respectful eye for and fascination with natural landscapes, especially as they dwarf people, and the psychologic import of that domination of scale, was often on ostentatious and useful display in his early and middle years. Later, this titanic style of framing became expected of Lean--not least, repeated viewings attest, by the man himself. It's as if he became trapped by his repute for monumentality, which was rarely less appropriate than here.

"Ryan's Daughter," based on a parlor-scale melodrama by Robert Bolt, never has the chance to escape Lean's Olympian regard and withers on film like a bug caught in the projector gate. Never mind the performances, which are generally credible, nor the cinematography, which (in the only home video available, a wretched panned-&-scanned dub with horrible color balance) is typically assured work from Freddie Young.

"Ryan's Daughter" is a failure from a man with a fading vision, and uninstructive ... unless the lesson is to tailor style to substance at all costs.

my two cents
This SOOOOO needs to be on DVD!!!!! This beautiful little gem is one of those great movies that just keeps haunting my memory even after all these years....and considering all the crap hollywood churns and what they deem worthy to go on DVD this would be a welcome bit of fresh air to see this again and add to my library. ... Read more

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The Indiana Jones (Harrison Ford) adventure after Raiders of the Lost Ark is more violent than its predecessor, but also looser, more imaginative, and finally more satisfying. Still organized like a series of connected cliffhangers, the story (set 10 years before Raiders) involves Indy's attempted rescue of stolen children from a pagan cult. Director Steven Spielberg draws upon sundry cinematic influences, particularly Gunga Din, for an air of classic adventure, though one can also find traces of John Wayne movies in Jones's relationship with a woman (Kate Capshaw) who's come along for the bumpy ride. The film's opening bit, in which the antidote to a poison Jones has swallowed keeps bouncing around a nightclub just out of his reach, is a blast. --Tom Keogh ... Read more

Reviews (126)

Indiana Jones and the Temple of Doom
The second installment in the Indiana Jones, set 2 years before Raiders, finds Indy going after the Shonkara stones and trying to rescue children enslaved by the Thagee Cult. He is joined by young Short Round (Key He Quan) and nighclub vocalist Willie Scott, played very well by Kate Capshaw, the current Mrs.Spielberg. While Karen Allen's Marion Ravenwood was a two-fisted hellraiser, Scott is a pampered indoor brat, and in turn is brilliant, plus her character is quite funny also, as is Short Round. Amrish Puri is a chilling as the villainous cult leader.

Though Temple of Doom lacks Sallah, Marcus Brody, and the Nazis, it is an improvement over Raiders in more than a few ways. To start, Ford is even better as Indy for his character is tested more. Douglas Slocombe's photography is more effective, and John Williams' music score is even more diverse and genius. Temple of Doom is also more creative, emotionally effective, and imaginative. However, it lacks the spectacle of the first film and is far more controversial and violent.This is the movie that created the PG-13 rating.

Dennis Muren's stunning Oscar-winning visual effects match Richard Edlund's effects in Raiders, yet they are not as awe-inspiring or important to the story. Elliot Scott's production design is terrific, and the cult sequences are very intense. The stunts top the ones in Raiders and are really good. The most memorable sequences have to be the mine car chase, the creature feature dinner, the Shanghai nightclub opening, the duel at the cult platform, and the rope bridge finale, incredible. Though Temple of Doom isn't as good as Raiders or Last Crusade it is highly recommended and is one of the best adventure films ever made.

Indiana Jones and the Temple of Political Correctness
As stated many times, the second film of the Indiana Jones trilogy is (by far) the darkest of the series. While Raiders was an extremely fun viewing of Dr. Jones having a fistfight with the entire German army, and Last Crusade was a lighthearted quasi-Parsifal with Sean Connery, Temple of Doom is a tense, truly disturbing (at times) adventure that takes place in an underground pit just a few feet above hell. And it's my favorite of the Indy movies.

Harrison Ford is brilliant in the role that he was born to play. Although the character of Indy is shrouded in macho trappings, this IS set in the thirties. So, I don't find the supposed "sexism" to be all that off-putting. Ford's considerable acting skills are greatly tested by Temple. There's a scene where Indy is being tortured by members of the evil Thuggee cult, and the viewer is absolutely disturbed by the scene. A lesser actor would have made this an exercise of pure camp.

Kate Capshaw is, quite frankly, a little annoying as Willie Scott. I don't think it's necessarily Capshaw's fault; her character could have been played by Audrey Hepburn and still would have been irritating. Willie, as remarked by some reviewers, screams her head off during most of the movie. Eventually, you kind of hope the bugs or the lava will finish her off. Still, some scenes with the character work. The opening sequence and Willie's behavior at the palace are charming.

Ke Huy Quan is pretty good as Short Round, Indy's temporary sidekick. Again, it's the character that is a bit distracting, not the actor. Ke Huy Quan is delightful in the poker scene with Indy in the jungle and is much more of a help than Willie could ever be, but some of the scenes of Short Round kicking the poop out of the cult members are a little laughable.

Amrish Puri is wonderful as the awfully evil Mola Ram. This guy makes Belloq look like Maurice Chevalier with such an intensely evil leer and rather septic heart operation procedures. Roshan Seth is also brilliant as the devious prime minister. Both of these fine actors are also in the wonderful movie "Gandhi."

Philip Stone's character is something of a Col. Blimp, yet a very well acted Col. Blimp. I'm sure he probably listens to Elgar while sipping his tea in his bath. The rest of the supporting cast are also excellent: Lao Che and the Indian holy men are very enjoyable, if a bit one-dimensional.

The accusations of the film being racist are, in my opinion, a little silly. Yes, Hinduism is much more tolerant of a religion than Christianity could ever hope to be. As far as I know, there wasn't ever a Kali cult that performed human sacrifices, and it can be easily and convincingly argued that British rule in India was mostly malign. However, stating that all of the Indians in the film are portrayed as weak or devious is like stating that all the Germans in the other two films are portayed as cruel and militaristic. I can understand a person's sensitivity to such things, but since it's an Indy movie, naturally Indy is going to be portrayed as the wonderful savior while everyone else is reduced to being either dependent on him or actively trying to dispatch him. In my opinion, problems do arise when people (typically Americans) see movies like this and take them as real history. For instance, many Americans who have seen Braveheart now consider themselves experts on Scottish history. Occasionally, when I eat Indian food (which is delicious), I hear some bozo talking about eating monkey's brains, as was also stated by another reviewer. I can understand a person of Indian heritage being very irritated by such behavior, but I don't think it's entirely fair to blame the filmmakers for the behavior of some of the more stupid people who watch their movies. Hopefully, in the next Indiana Jones film, Indy will take on the scariest religious cult yet: America's religious Right. I can think of a certain self-righteous someone who could use a few good punches.

To me, this is the best of the series
The opening is my favorite in all movies. My next favorite is the opening for Men In Black. I became a fan of Kate Capshaw when I saw her in this movie. She shows three times the personality of the female leads in Raiders of the Lost Arch and The Last Crusade. She made the movie a standout to me. I enjoy Short Round too. I believe that there is plenty of character development in this movie, and character development in a movie is extremely to me. I honestly don't understand some other reviewer's complaints.

Too Dark,Too Violent,and Too Pointless!!!!!!!!!!!!!!!!!!
By far,The temple of Doom is the weakest in the trilogy of Indiana Jones.It focuses too much on action that there is hardly any room for character development or,more importanly,plot.Overall,watch it if you liked yhe first film.Otherwise,skip it and watch the third film instead. Note:there are two things to note: one,this film is set before Raiders of the Lost Ark,making this a prequel and two:if you have children younger than thirteen,DON'T let them watch this one.This has very graphic violence.The PG rating is a joke!!!!!!!!

Not nearly as good as 'Raiders' or 'Last Crusade'
Watch this movie if you want to pass an afternoon with a bland movie. Kate Capshaw is a great actress but her character was very annoying. Karen Black's strong female lead in 'Raiders' is by far the better of the female leads from the trilogy. ... Read more

Reviews (200)

One of the best classic horror films of all time.
My opinion of this movie, The Birds, is that it is a masterpiece of it's own time. This was a great piece of classic horror; Alfred Hitchcock did a fantastic job. The special effects were very believeable, especially for coming from the early sixties. I still haven't figured out how they got all of those birds to attack, or if half of them were fake. Also, Hitchcock did a great job of showing blood and gore when it was qppropriate, like when Jessica Tandy as Lydia Brenner finds Lonny Chapman as Deke Carter with his eyes pecked out. The movie did, however, lack music so this made it kind of drag along. Music would have paced the movie, and also added suspense and other effects. Tippi Hedren as Melanie Daniels was a bad actress. She showed no real emotion and always seemed to be worried about her appearance instead of her acting. I really noticed this in the bedroom scene, when she was being attacked, and she didn't even scream. Rod Taylor, who played the role of Mitch Brenner, was a great actor. He seemed real and Believable. He showed emotion in every scene, and his overall performance was pleasant. Jessica Tandy is great in all the films she is in, and this one was no exception. As Lydia Brenner, she did a great job of acting rude and mean to Melanie Daniels through out the whole movie. I was, however, very annoyed with the young actress that played Cathy Brenner. She was a horrible actress with over-elaborate emotional breakouts, and when she cried after she was attacked, it was so annoying, I thought my ears were bleeding. The ending to the film was very bland. There should have been more closure to the whole situation instead of just making you wonder what happened to them. The Birds is nothing like modern day horror films. It takes a more believeable line to horror than most modern day films. Modern horror consists mostly of the supernatural or total carnage. Although I would still put The Birds into a category with any modern day horror flicks, I still believe that it is definitely classic horror.

A nightmare comes to life - thanks to Hitchcock!
Although Alfred Hitchcock is widely regarded as the greatest director of suspense and "thriller" movies in Hollywood's long history, in his direction of "The Birds" (1963), he outdoes himself. Even more than "Psycho", which started the modern "slice-and-dice" genre of horror movies, "The Birds" is a truly disturbing and surreal experience - a nightmare which comes to life on film. In my opinion "The Birds" is unlike any other Hitchcock film - it actually comes closer to movies such as "The Sixth Sense" or even "The Matrix" in the way it takes the "real world" we are all familiar and comfortable with and turns it into something that will cause you to lose sleep at night. The film's plot is deceptively simple: Melanie Daniels (Tippi Hedren), a rich and rather spoiled young woman, meets Mitch Brenner (Rod Taylor), a handsome and rather mysterious man, in a pet store in San Francisco. She is intrigued enough to follow him to his home in Bodega Bay, a charming but isolated small fishing town on the northern California coast. There she meets the local schoolteacher, Annie Hayworth (Suzanne Pleshette), who once had a brief affair with Mitch. Annie takes an immediate dislike to Melanie and her interest in Annie's old boyfriend. Eventually Melanie meets Mitch's mother (Jessica Tandy), a high-strung and suspicious woman who leans upon her son for emotional support and stability. However, this soap-opera style plotline is simply the background for the REAL story in the movie: as the film progresses the birds in Bodega Bay and the surrounding countryside begin to act strangely - they suddenly attack humans for no apparent reason, and start gathering in large and ominous groups on power lines and rooftops. Eventually the birds become murderous - they kill a local farmer by crashing through his bedroom window and hacking out his eyes. Then they attack the schoolchildren and the townspeople in yet another of Hitchcock's famous film sequences. As the frightened and baffled townsfolk are hemmed into their homes and stores like "birds in a cage", they blame Melanie for bringing this terror into their once-peaceful little town. The film's famous climax occurs at the home of Mitch and his mother, as a massive flock of birds attacks the home at night and tries to get inside to kill our heroes. To make this film even more disturbing and bizzare, Hitchcock decided not to have a musical score, and there is no music whatsoever - only the terrifying screeching of the birds as they attack. What makes this film work is how Hitchcock deftly takes "everyday", normal things - such as sitting on a park bench and smoking a cigarette, and turns it into something bizarre, surreal, and truly frightening. Although some critics have refused to label this film as one of Hitchcock's best, it does rank as one of the scariest thrillers of all time. Beware of "The Birds"! (But you'll love the movie).

Beware THE BIRDS!!!
The Birds is one of my favorite Alfred Hitchcock films. Perhaps that has a lot to do with the beautiful Tippi Hedren, who shines in everything she does. The gorgeous scenery, adorable costumes, and lavish colors also add to the surreal atmosphere, which quickly gets disrupted by a flock of killer birds. Like many firsts Hitchcock introduced with his films, this is the first "nature run amock" film, just like Psycho was the first "slasher" film. This Psycho follow-up was yet another ground-breaking addition to the horror genre and further revealed the master director's darker obsessions.

Like Hitchcock's fabulous Rebecca and mediocre Jamaica Inn, this is based on a story by the extremely talented Daphne Du Maurier, but Hitchcock was left with the task of fleshing out the short story into a feature film. He did one hell of a job. Hitchcock and screenwriter Evan Hunter borrowed only the title and basic conceit of Daphne du Maurier's 1952 short story, "The Birds." Du Maurier's tale, conventional and utterly humorless, is a Cold War parable that uses the unexplained bird attacks as an apocalyptic metaphor for nature thrown out of balance by technology and warfare. It's told from the perspective of Nat Hocken, a disabled war veteran and farmhand living in a cottage with his family in the British Isles.

The film version is set in Bodega Bay and follows bored, spoiled socialite Melanie Daniels (Hedren) as she romantically pursues dashing lawyer Mitch Brenner (Rod Taylor). Tension soon develops among Melanie, schoolteacher Annie Hayworth, Mitch's former flame (Suzanne Pleshette), and Mitch's domineering mother (Jessica Tandy). The emotional interplay is interrupted (and reflected) by the sudden and unexplained attack of thousands of birds on the area.

Hailed as one of Hitchcock's masterpieces by some and despised by others, THE BIRDS is certainly among the director's more complex and fascinating works. Volumes have been written about the film, with each writer picking it apart scene by scene in order to prove his or her particular critical theory--mostly of the psychoanalytic variety. Be that as it may, even those who grow impatient with the slow build-up or occasional dramatic lapses cannot deny the terrifying power of many of the film's haunting images: the bird point-of-view shot of Bodega Bay, the birds slowly gathering on the playground monkey bars, the attack on the children's birthday party, Melanie trapped in the attic, and the final ambiguous shot of the defeated humans leaving Bodega Bay while the thousands of triumphant birds gathered on the ground watch them go.

Eerie, scary, and suspenseful, this is a great film and classic Hitchcock, which highlights his genius. There is no sound track to cue the audience in as to when to be scared. And what other filmmaker could take the simple sound of wings fluttering in a house and turn it into the sheer sound of terror?

Hitchcook can make anything scary.
Hitchcook can make anything scary, and this movie is profff, I don't no how fake birds can be scary but they are, in this film anyway.

It all starts with an opener that's more like 2 people trying to play a joke on eatchother, and ends with a tailhanger ending, paked with scares and creeps this is a must see.

Tense thriller is a winner
This eerie Hitchcock thriller doesn't have a shower scene but is has its fair share of suspense, dread and anticipation as to when the birds will attack. Filmed in color and without the accompaniment of music, the movie builds steadily towards tense and dangerous moments when hundreds of blackbirds swoop down on the human populace and scratch, peck and claw them to shreds without rhyme or reason. Even a lone seagull gets in its licks on Melanie Daniels who has followed Mitch Brenner to Bodega Bay to close in on the handsome fellow. The film has several attacks in which adults and school children are ravaged, and the air assaults are frightening to watch. The dangerous birds' unexplained sheer destructive force is displayed in the attack in a bedroom where the unfortunate Ms. Daniels is trapped, and their determination to destroy every human in their path is awful to behold. The movie's special effects are first-rate, and the gloomy, overcast skies of the Northern California coast add to the depressed mood of the film. The characters all seemed detached and distant from each other and although Ms. Daniels tries very hard to connect with Mr. Brenner, the romance angle is never developed. ... Read more

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If there was a universal collective, albeit repressed, dream, it would probably be to become a successful singer. People would take that singing in the car, singing in the shower, and even singing in the rain, and have it be their life's love and work. The Thing Called Love uses this popular aspiration as its setting and examines the lives of four young people hoping to make it in the country music universe.At the center is earnest Miranda Presley--no relation--(Samantha Mathis), the pretty but untalented Linda Lue (Sandra Bullock), the intense and talented James (River Phoenix), and the sweet and prolific Kyle (Dermont Mulroney). Popular country stars make appearances:K.T. Oslin (as Lucy, the owner of the Bluebell, where open-mike auditions are held), Jimmie Dale Gilmore, Katy Moffatt, Jo-El Sonnier, Pam Tillis, Kevin Welch, and even Trisha Yearwood. The film's not merely focused on the rich musical milieu and its talented cast. It also carefully examines the dynamic between friends who are also competitors, as well as a realistic love triangle between the leads. The Thing Called Love is primarily knownas one of River Phoenix's last performances, but even if curiosity alone brings audiences to the movie, they'll soon be drawn into the fresh tale of four young people pursuing their dreams. --N.F. Mendoza ... Read more

Reviews (30)

NASHVILLE, HERE I AM....
Nasville, TN is a city with more musical talent per capita than anywhere else on earth. And if that's not enough, the buses drop off a fresh new load for the grinder every day. This excellent movie is about 4 of these young, country music wannabees, discovering the real price that must be paid if Nashville's gonna let them stay around for more than a brief visit. River Phoenix plays James, a most believable, very talented musician who is beginning to be noticed, and who probably has the chops and determination to make it. Samantha Mathis is a jewel as Miranda, the epitome of the one who can never quit, even when they think they already have. Young versions of Sandra Bullock and Dermont Mulroney provide serious and comedic counterpoint and love rivals for James and Miranda, whose relationship seems to constantly ask, is love or career success more important, or is the appearance of love itself just a career success. This movie wins on several levels, and appeals even if country music is not your favorite musical genre.

My Absolute Favorite
If you already love country music you will adore this film; if you don't love country music, you just might when this film is through. I fell into the latter category when I first watched it after hearing it starred River Phoenix. Of course it also has some fabulous acting by Samantha Mathis, a younger Sandra Bullock ("Speed") and Dermont Mulroney ("My Best Friend's Wedding"). Unlike some of their other older works, this one is fantastic.

The story takes us into the lives of these four young people trying to make it big in country music, trying to find love and trying to find themselves along the way. You'll get caught up in their crazy antics, love triangle and doing anything (breaking into celebrity's car, lying...) to make it in country music.

A funny and heartwarming movie, this is the most warnout tape in my collection.

Fluff with heart
As a lonely teenager I was so obsessed with this movie that I made tapes of the songs and listened to them over and over.

Sure it's a fluffy little movie, and probably one of Pheonix's greatest flops, but it's fluff with heart. Samantha Mathis is the tough-talking New Yorker determined to make it in the country music capital of the world. She doesn't take any BS but she's strangely attracted to Pheonix's country boy with a drawl.

This is also one Sandra Bullock's early efforts, before the bus that propelled her to fame in Speed. Believe it or not she's supposed to be the plain Jane to Mathis' lead. The chemistry between the two of them is cute, and we also get an early Dermot Mulroney as the sweet cowboy. Plus it's loaded with cameos of country music stars - most of whom I didn't recognise then and still don't, but they're there, I swear.

There's lots of schmaltzy country music and tons of cliches (club owner with a heart of gold, bad boy with a heart of gold, cynical New Yorker with a heart of gold... you get the picture.)

But still, it's an interesting little movie and strays from the formula or most romantic comedies (it's not just happily ever after.) It might even convert you to liking country - I know I developed a taste for some of the classic stuff after this flick.

Plus it was River Pheonix's last picture before his death, which almost makes it worthwhile for cultural value alone. While some might argue that this wasn't Pheonix's most memorable movie I would totally disagree.

If you're heartbroken, down on your luck or are living out any other cliche that might be featured in a country music song, this is definitely worth checking out.

Want it on DVD!!
This movie includes every element of growing up, bitter and sweet, and is one of my favorites. I really want it on DVD, especially for the scenes where Phoenix is really singing. I am totally smitten with his sweet voice though not a country music fan at all.

Fantastic Movie!!
This movie is really good, I mean the talent is excellent and you know sometimes watching this show is hard knowing that this is practically the last movie that River was known for!! but hearing all the actors really sing in the movie was also really cool, I just wish the soundtrack would have included their own recordings of the songs but it didn't!! I definately recommend this movie to any country music lover, romantic or even just a River lover!! ... Read more

Reviews (275)

One Super DVD
Faster than a speeding bullet. More powerful than a locomotive. Able to leap the tallest building in a single bound. The world's greatest superhero has finally arrived on DVD with "Superman: The Movie" Special Edition. The film focuses on the young survivor of the doomed world of Krypton. After crash-landing on earth, the young alien is adopted by a caring farm couple and grows up with amazing superhuman abilities. Moving to Metropolis, he uses his incredible powers to protect the people and fight injustice. "Superman- the Movie" is probably the best superhero movie to date. The story is quite entertaining but does lose some strength during the second half though it still manages to preserve its entertainment value. The film contains some great performance by Christopher Reeve, Gene Hackman, Margot Kidder and Marlon Brando as Jor-El. The cast also includes Jackie Cooper, Terence Stamp and Ned Beatty. From daring rescues to superhuman feats of strength, the film contains some impressive action sequence and terrific visual effects.

The DVD honors the Man of Steel like it should. The comic book film is presented in 2.35:1 anamorphic widescreen format. The DVD contains a sharp video transfer and a fine 5.1 Dolby Digital sound with great surround effects. This amazing DVD features an audio commentary with director Richard Donner and consultant Tom Mankiewicz, additional footage including an extended sequence inside Lex Luther's underground gauntlet, behind-the-scenes documentaries, theatrical trailers, deleted scenes and DVD-ROM extras. With such a striking DVD presentation, "Superman" earns an "A".

Super features, super options, JUST PLAIN SUPER!
I enjoyed the Superman DVD. 25 years after this movie came out and seeing it so many times on TV with pan and scan, the newly remastered print blows everything out of the water. The music only option works for the title sequence and hearing the extra tracks on Side B adds to the genius that was John Williams soundtrack.

The audio is remastered and put on a surround sound system instead of the setup I have at home would shake your house to the core. The extra scenes were a good touch as well. Behind the scenes added the great touch of mystique that was Superman. Having Marc McClure host the BTS stuff added a bit of credibility.

Until Spider-Man last year and Batman in 1989, this was the film on which Superheroes were judged. The Hulk disappointed and Daredevil and X-2 were moderate hits.

Superman still stands the test of time, no matter what your views.

Spider-Man has kind of surpassed it...
Well now that we have seen the two Spider-Man movies, I tend to belive that they are now the standards by which other comic book films (both Marvel and DC) will have to live up to now. In a way, Superman is now kind of the odd film out. It works better as an origin story in how Clarke Kent becomes Superman and Chris Reeve's effective perfomance in the title role still works, In the comics, Lex Luthor has always been a one dimensional cartoon character, the only time that he was an effective villian was when Gene Hackman played him in this movie. The final scenes of Superman turning the Earth backward to save lois lane, are what they are. It might be a bit far fetched to put in a movie, but that does not stop audiences from enjoying it. and it doesn't stop me from watching it over and over again.

Born on Krypton, raised by the Kents on Earth, Becomes Hero
The Man of Steel flys into the spectactular motion picture, Based The DC Comic and also appearing in Action Comics, Christopher Reeve stars as Clark Kent.Reporter in Metropolis,Illnois for the newspaper the Daily Planet,And trouble emerges Clark Kent flys to the rescue as Superman, a blue suited red caped powerful wonder. He takes on Lex Luthor played Gene Hackman and falls for Lois Lane played Margot Kidder and Marlon Brand as the Krytonian father of Superman Jor EL. This Film is a Great Superhero movie and great film all around, probably the most imaginative thing the Man of Steel has been in. Superman began as the comic, then a radio show, several 1950s B movies, TV show and in 1978 the true Superman ovie. Superman is imaginative in everthing because hes an imaginative character. A pop culture icon on screen and in everthing else. the Special Effects are incredible, This a Super high flying ride. You Want a good superhero movie before Batman and Spider-Man this is it. If it wasn't for this classic we would'nt have superhero movies like Spider-Man 1&2,Batman,Hulk and X-Men 1&2. Thank Hollywood for making a great superhero film that lauched other superhero films. A thrilling Film of one of the greatest heroes of the 20th century, The Man of Steel, SUPERMAN.

Release Superman into our 21st century!
Very bad film.
They released Spiderman into the 21st century, why not Superman?
I've always found him to be the most appealing comic book character. He is sure for an amazing performance.
RELEASE HIM INTO OUR CENTURY! ... Read more

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The satirical sensibilities of writer Peter Shaffer and director Milos Forman (One Flew over the Cuckoo's Nest) were ideally matched in this Oscar-winning movie adaptation of Shaffer's hit play about the rivalry between two composers in the court of Austrian Emperor Joseph II--official royal composer Antonio Salieri (F. Murray Abraham), and the younger but superior prodigy Wolfgang Amadeus Mozart (Tom Hulce). The conceit is absolutely delicious: Salieri secretly loathes Mozart's crude and bratty personality, but is astounded by the beauty of his music. That's the heart of Salieri's torment--although he's in a unique position to recognize and cultivate both Mozart's talent and career, he's also consumed with envy and insecurity in the face of such genius. That such magnificent music should come from such a vulgar little creature strikes Salieri as one of God's cruelest jokes, and it drives him insane. Amadeus creates peculiar and delightful contrasts between the impeccably re-created details of its lavish period setting and the jarring (but humorously refreshing and unstuffy) modern tone of its dialogue and performances--all of which serve to remind us that these were people before they became enshrined in historical and artistic legend. Jeffrey Jones, best-known as Ferris Bueller's principal, is particularly wonderful as the bumbling emperor (with the voice of a modern midlevel businessman). The film's eight Oscars include statuettes for Best Director Forman, Best Actor Abraham (Hulce was also nominated), Best Screenplay, and Best Picture. --Jim Emerson ... Read more

Reviews (363)

Rock Me Amadeus
Milos Forman's Amadeus is a hugely entertaining adaptation of Peter Shaffer's play. The movie is told in flashback style from the memory of Antonio Salieri. Salieri was a successful and popular composer who was a rival of Mozart's. History has speculated on the death of Mozart and some people are of the opinion that Salieri had a hand in his death (possibly even murdered him). The film explores this angle of the legend. Salieri is consumed by his jealousy and hatred of the infantile Mozart. Mozart is a musical genius, but a wild spending and is always looking for the next good time. His operas are utterly brilliant, but are unsuccessful. He is in constant debt. Salieri concocts a plan for Mozart to compose a requiem. This work is actually planned as Mozart's own requiem. Mozart is shown as slowly going mad and at the end of the film, Salieri helps him by writing the musical score down for a very weak Mozart. The morning after Mozart and Salieri work together, Mozart is found dead and we are left speculating whether he died through natural causes or if Salieri did something to him. F. Murray Abrham is absolutely amazing as Salieri. He brings across the jealousy and hatred, but doesn't make Salieri a fiend. He has major respect for Mozart's musical talents, but doesn't understand why God would give them to such an obvious heathen. Tom Hulce is equally as good as Mozart. He plays him with a reckless abandon and in an over the top fashion that is perfectly suited for the role. The film took home the 1984 Best Picture Oscar, Mr. Forman won Best Director and Mr. Abrham beat out Mr. Hulce for Best Actor. This was a case where a tie would have been more than appropriate. The new director's cut adds 20 minutes of footage, but the real standout is the remastered sound. The Dolby 5.1 version brings alive the sounds of Mozart in brilliant detail.

Memorable cinematic achievement gets a new look
I was way too young to have seen AMADEUS in its original cinematic release (unfortunately), but it's not hard to see why it not only took home the Best Picture Oscar, but caused a rebirth of "Mozart mania". The story, although fictionalized, is an intriguing one. Salieri, the pious man who prayed to God to be given sublime musical talent, has to face the fact that God has given it to Mozart, who is exuberant, childish, and bawdy. Salieri's subsequent jealousy drives the entire movie. You can see his character becoming more and more consumed by his extremely negative feelings. The character of Mozart, on the other hand, is fun, even though the real Mozart wasn't really that over-the-top. I might add, however, that the distinguishing giggle is actually historically accurate. Listen to the commentary on the DVD and Peter Shaffer himself even mentions something to that effect. Although it was delightful to see the film in its entirety, I could see why some of the scenes were deleted. They simply weren't that strong or they distracted the viewer from the main focus. The only real complaint I had was that there weren't more extras. It does have the commentary, the original trailer, and the short featurette which consists of various people looking back at making the film, but I would have liked to have seen an actual "making of" documentary from around the time the film was being made. Overall, though, a worthy addition to any movie collection.

a mythical, fabulous portrait of genius
Peter Shaffer wrote the "Amadeus" screenplay based on his play, which is a quirky, fanciful vision of Mozart and Salieri, and how God gave Mozart the gift of musical genius despite his character flaws, but bypassed Salieri, who tried to strike a deal with the Almighty, vowing pious devotion, if He would only grant him brilliance and fame.
F. Murray Abraham is marvelous portraying Salieri's pride and envy, and having to suffer the indignity of mediocrity; the part garnered him a Best Actor Oscar and a Golden Globe, among other awards, and as Mozart, Tom Hulce is stupendous, with his high pitched raucous giggle, fluffy wigs, and energetic appeal.
Others in the cast of note are Elizabeth Berridge, excellent as Mozart's wife Constanza, and Roy Dotrice as his stern father Leopold.

The biggest star of the film however, is the music...the glorious sounds of Mozart's operas, and his magnificent Requiem. Many of my favorite scenes are depicted, from the ballet music from "The Marriage of Figaro", to "Don Giovanni a cenar teco", as well as portions of "The Marriage of Figaro", "The Magic Flute", and much more.
Some of the great voices heard are Samuel Ramey (Figaro), Richard Stilwell (Count Almaviva / Don Giovanni), June Anderson (Queen of the Night), Brian Kay (Papageno) and Gillian Fisher (Papagena), though the parts on screen are played by actors, and not those singing.

Twyla Tharp's choreography is fresh and exhilarating, Miroslav Ondricek's cinematography is exquisite, and Milos Forman's direction imaginative and well paced.
As well as Best Actor, the Academy bestowed Oscars for Best Adapted Screenplay, Best Picture, Best Director, Best Adapted Screenplay, Best Art Direction/Set Decoration, Best Costume Design, Best Makeup, Best Sound, all well deserved.
Total running time is 160 minutes.

As close to "perfect' as a movie can get
When I saw this movie in its original release in 1984, it was only due to the fact that I was dragged to the theatre. (A movie about Mozart -- BORING!!) I have never been so quick to change my mind. From the opening moments, hearing F. Murray Abraham shout out the word "MOZART" I was hooked, and my eyes never waivered from the screen. I anxiously awaited the release of this Director's Cut, due primarly to the extras that were purported to be included. The extras more than deliver on their promise.

Not only did I get the joy of watching once again one of the best movies to have ever been released -- to remember how enthralled I was by the performances of Tom Hulce, F. Murray Abraham and Elizabeth Berridge (unfortunately, most reviewers tend to exclude her contribution to this movie, but her performance as Constanza, Mozart's wife, is as powerful as the others) -- but the extras (behind the scenes, the commentaries) added to my delight.

I truly find it hard to put into words how wonderful this movie is. I have spent the last 20 years telling people "Trust me, just watch it, and you will understand what I am talking about." It is more than just a grand journey through the worlds of these two men (yes, granted, told from a "movie" point-of-view). The entire package, from the scenery, the costumes, the story and THE MUSIC, THE MUSIC, THE MUSIC!!! shows you how a movie should and can be produced. Even if you can't stand classical music, you will adore the wonder that is Mozart.

Please -- I'm begging you -- WATCH THIS MOVIE. You will NOT be disappointed!!!

Love it, warts and all
I loved "Amadeus" the first time I saw it and every time thereafter, on tape, DVD and now in this DVD package. It is a very great film, exceptionally worthy of its Oscars, and the role of a lifetime for Tom Hulse. The operatic and musical scenes in this film succeed on a scale never seen before. The finale of "Don Giovanni" is better in this movie than in the two live performances I've seen and the performance Herbert von Karajan led that was shown on PBS in 1990. The direction, acting, script and locations are all sumptuous. It apparently does not follow the play on which it is based, but artistic difference is the basis of enjoyment. Having said all this, I would caution viewers not to judge the real-life Mozart by the portrayal of Hulse in this film. The real Mozart, I have read, was a prudish workaholic that would never go out drinking with his buddies. He also played by the rules of the day and adored Salieri, respecting his role as the musical director in Vienna. Still, it's fair to set history aside in a work of art this fine. Anyone that likes great music or great movies will enjoy this. ... Read more

Amazon.com essential video

Robin Williams stars as an English teacher who doesn't fit into the conservative prep school where he teaches, but whose charisma and love of poetry inspires several boys to revive a secret society with a bohemian bent. The script is well meaning but a little trite, though director Peter Weir (The Truman Show) adds layers of emotional depth in scenes of conflict between the kids and adults. (A subplot involving one father's terrible pressure on his son--played by Robert Sean Leonard--to drop his interest in theater reaches heartbreaking proportions.) Williams is given plenty of latitude to work in his brand of improvisational humor, though it is all well-woven into his character's style of instruction. --Tom Keogh ... Read more

Reviews (255)

Dead Poet Society
The title of the film is "Dead Poet Society" It mainly takes place in preparatory school,in the East Coast of the U.S.A.One of the main character is John Keating played by Robin Williams.He is an English teacher.Other main characters are Neil,Todd,Knox and Charlie. Mr Keating moved to Welton Academy. He said "Carpe Diem"(in English,Seize The Day") The boys made the club,Dead Poets Society. They read poetry in cave in the evening. Neil wanted to act in a play,but his father forced him study,so he couldn't obey the order,and at the end of the film,certain tragedy happen...Knox fell in love with Chris who had already her boyfriend.But he got a chance to watch the play with her.Charlie didn't obey shool rules,and the headmaster expelled him.

We particularly likeed the last scene because the students opposed Mr.Nolan,and stood up on their desks in the last scene.It gave us deep impression. We like Charlie.He was daredevil but he always had his will and did as he liked.

The main massage is Seize The Day means to be active and live fully.The themes of this film are education,friendship,freedom and relationship with parents.

The film made us courageous by Mr.Keating's words. We were moved by the last scene.We learned many things.When you become tired of your school life,teacher or friend,We recommend you to see this film.

We learned to Seize The Day.

Question life. Oppose mass-thinking. Carpe Diem
"Live life to the fullest. Leave your mark during the very short term you exist. There's so much to explore, and so much to be. Look at life from all aspects."

I'm normally not a Robin Williams fan, but after having seen this movie, I feel almost obliged to rent/buy a few other movies starring him. Williams simply excels in this movie, along with Robert Sean Leonard (Swing Kids (Which, if you never saw it is a MUST-SEE)) and Ethan Hawk (Gattaca (See this one too!)).

At a private boy's school, a new english teacher, John Keating (Williams) is introduced. His form of teaching completely opposes everything the high-class school stands for (ripping pages out of books, standing on desks, and developing one's own walk). Naturally, the school's administration is less-than-happy with it, but the students love it.

They find out Keating was once part of a secret society: The Dead Poets Society". They quickly form their own, and learn to appreciate the great masters from there. English made from something boring into something great.

Between the lines, the viewer is asked to think out of the box. Don't accept what you're being offered; question it. Why would you settle for anything less than you yourself desire?

You hold the key. Unlock the world today...

Super!! Echt ganz toll!!
Robin Williams takes his 1st stap at a dramtic role with fairly positive results. It's an suggestion to one's inteligence to see these film. More over to see Robin Williams( Mr. Keating) like a doctor in English, when he teaches his class. He doesn't teach normaly. He makes his own thing. I think it is good what he make. This is a film that really does challenge us to live, and move us to seize the moment. The story and the setting of this movie are amazing. I like the atmosphere in the school. It is dark and mysterious like Harry Potter in the castle. The Film have a lot of features. A little bit of romance, action and mystery.
Briefly said: very good film

Dead Poets Society
Dead Poets Society is about a group of boys at Welton Acadamy, a boarding school for boys. The guideline of the school is based on: tradition, honour, excellene and perfection. Everything changed when the English teacher John Keating arrived. He is against the stiffed and one-sided visibility of the school and inspirid the boys to seize the day and to make most of their lives. The resurrecting of the Dead Poets Society, a club where John Keating was in at student, brings about that the boys defy the school, their parents and their present view of life.
In my opinion the film is very dramatically and tangent. On a very impressive way it shows how difficult it is to be faithful to yourself and to stand up for one's beflief. It's marvelous how it is demonstrated that pressure doesn't help to find who you really are. Through the different but also classic characters of the movie you can realize that every individual reacts on a different way to influences. Thereby it shows that everybody needs support and enough freedom to follow his own dreams and to find his own way of living.

CARPE DIEM - SEEZE THE DAY
"Dead Poets Society" was shown in my German English lesson as a teaching device for transcendentalism.

Though I do not believe wholeheartedly in the ideas of transcendentalism, I found "Dead Poets Society" to be one of the most moving films that I have ever seen. As a student, I know what it is like to feel pressure to academically succeed, and through my classmates, I have seen the strain that pressure can put on a parent-child relationship.

"Dead Poets Society" logs the effect of one inspiring teacher on upon a group of boys that have never been given the chance to think for themselves.

One boy, Neal, realizes his dreams to be more than becoming a doctor, but also an actor. His struggle with his father brings him to drastic measures, but he is an admirable character for overcoming his ability to overcome his fear of standing up to his father. Other boys experience trouble and triumph with authority, love, and fear. Their stories are classic, but also portrayed beautifully.

Robin Williams plays Mr. John Keating, the English teacher that inspires the boys of Wellton Academy to think on their own and to seize the day. They re-initiate the Dead Poets Society, a group that Keating was in as a student at Wellton. Through their club, the boys discover the magic of poetry and the power of words. Keating uses famous quotes from Whitman, Thoreau, and other classical thinkers to motivate his students. His charisma and optimistic view of life is uplifting and leaves one inspired for days. Perhaps his outstanding performance is best portrayed in his line, "Life is a play and you may contribute one verse. What will it be?"

The film is well acted and revives memories of one's first experience in standing up for