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Clint Eastwood (making his very assured directorial debut) is a poetry-spouting stud-muffin DJ stalked by a maniacally amorous fan after a misguided one-night stand in this enjoyably schlocky, undeniably effective film about good intentions gone murderously wacky. Although many of the very '70s trappings presented here may ultimately be too dated to be taken seriously (including a very self-indulgent jazz number and a hilariously gooey seduction number between Eastwood and Donna Mills), the core premise of infatuation taken out of bounds remains uncomfortably plausible--and was influential enough to be appropriated by one of the biggest hits of the '80s. (Here's a hint--it starred Michael Douglas, Glenn Close, and a very unfortunate bunny rabbit). A well-staged and occasionally very frightening thriller worth watching for Jessica Walter's peerlessly unhinged performance alone. Frequent Eastwood collaborator Don Siegel (director of Dirty Harry, Coogan's Bluff, and The Beguiled, to name but a few) has a nice cameo as Murphy, the mustachioed, chess-playing bartender. --Andrew Wright ... Read more

Reviews (37)

Into The Mist
Play Misty For Me is Clint Eastwood's directorial debut and it is an entertaining thriller about obsession that is a precursor for films like Fatal Attraction. Mr. Eastwood plays against type as a DJ Dave Garver, who works at a jazz station in Carmel, CA (The town where Mr. Eastwood would become the real life mayor ). Mr. Eastwood is usually the strong, silent type who seeks revenge or is an enforcer. In this film, he is a sensitive ladies man, who reads poetry on the air and plays jazz music. He is also the victim. He has what he thinks is a one-night affair with Evelyn Draper played by Jessica Walter. Evelyn claims that there's no strings attached, but that turns out to be the farthest thing from the truth. She stalks Garver, showing up unannounced at his home, at a bar he frequents and in one instance tries to kill herself in his bathroom. In the meantime, Garver is trying to get back together with his former girlfriend Tobie played by a young Donna Mills. Evelyn trashes Garver's house and almost kills his housekeeper, Birdie (Clarice Taylor) and is taken away by the police and put into an asylum. Garver thinks it's over, but Evelyn gets out of the asylum and there is one last chilling scene involving scissors and a knife. Mr. Eastwood uses the natural beauty of the Monterey Peninsula to great effect in the film, with wide shots of the rolling surf and picturesque sunsets. There is one odd montage in the middle of the film which is like a music video set to Roberta Flack's "The First Time Ever I Saw Your Face", in which Tobie & Garver roam through the landscape and end up in a secluded pond. The use of the two year old song in the film actually propelled it to number one on the charts and made a star out of the relatively unknown Ms. Flack. There is also a scene from the Monterey Jazz Festival with actual performances by Johnny Otis and Cannonball Adderley. The actors all give credible performances. Even though Mr. Eastwood is playing the sensitive type, he still exudes his famous cool. Ms. Mills is luminous and she is just fragile enough to be a victim. Ms. Walter is perfect as Evelyn. She plays the part of a psychotic, unhinged, scornful woman just enough over the top to be scarily believable, but not too over the top to become cartoonish. The film is a strong debut for Mr. Eastwood as a director and despite some dated material, the film holds up as an effective thriller.

A One Night Stand Gone Wrong
"Play Misty for Me" was Clint Eastwood's debut film as a director. He shrewdly had old friend and colleague, veteran director Don Siegel, who directed him in his box office winner "Dirty Harry," along as a potential backup if needed, giving him a role as bartender of the haunt the actor frequents as male lead in the film. Eastwood's idea to film "Misty" in his hometown, scenic Carmel in Northern California's Monterey Peninsula, was an excellent choice. It gave cinematographer Bruce Surtees an opportunity to take advantage of the visual beauty of the area, which he does with abundance, making the film a scenic pleasure to watch. Eastwood, a noted jazz lover, also shrewdly takes advantage of filming opportunities at the annual Monterey Jazz Festival. Playing a disc jockey in the film, we see time frames based on the number of days to the upcoming festival, which Eastwood plugs frequently. Lots of excellent firsthand shots of the festival are seen, while certain artists are observed showcasing their musical talents.

As for the plot, the story line is credible, sharply on point. Eastwood meets Jessica Walters one night at Siegel's bar after he has finished doing his show. He walks her home, learning she is the faithful fan who keeps requesting the Errol Garner classic, "Misty." When she makes herself available, he hesitates, revealing he is hung up on someone, namely Donna Mills, then away pursuing her art career in Sausalito. Walters responds that there is nothing wrong with them making love with no attachments, after which Eastwood agrees to what he wrongly believes is a one night stand.

Eastwood is ultimately smothered by the persistent and mentally disturbed Walters, who surprises him by showing up unannounced at his home shortly after their sexual escapade with a bag of groceries in her arms, declaring her intention of fixing him dinner. He tries repeatedly and vainly to shake her, his romance with Mills being jeopardized in the process. He even loses an opportunity to develop a musical program concept for an interested producer, Irene Hervey, after Walters, wrongly believing she has interrupted a date, launches a savage verbal assault on the other woman when she finds them lunching at a local restaurant. Eventually a frenzied Walters attacks and hospitalizes Eastwood's cleaning lady, Clarice Taylor, with a knife, after which both are hospitalized, in Walters' case being involuntarily confined for her mental problems.

Just when Eastwood believes he is rid of Walters for good he receives a call from her. She reveals she is at San Francisco Airport awaiting boarding of a flight that will take her to Honolulu, where a job awaits her following her release from the mental facility. Eastwood declares there are no hard feelings on his part, asks how she is feeling, and wishes her well.

As he goes back to playing records, agreeing to play Walter's last request, her favorite tune, "Misty," Eastwood begins reflecting on the lines from the poem Walters recited for him before ending their call. It was from Edgar Allen Poe's "Annabel Lee." Mills has told him that her new roommate is named Annabel. When he calls Mills the phone is answered by Walters, who has tied up Eastwood's girlfriend. She tells Eastwood she is waiting for him. Eastwood puts on an old tape and leaves the studio for Mills' Carmel Highlands residence and a fatal showdown with Walters, who intends to kill them both in her fitful rage.

This brutally realistic film paved the way for later movies displaying stark sexual realism such as Michael Douglas' two triumphs, "Fatal Attraction" and "Basic Instinct." My only qualm is that the violence could have been toned down in the case of the knife attack on Clarice Taylor without losing any drama or story impact. All in all, however, this is a gem combining a strong story that moves briskly with the dramatically beautiful scenery of one of the world's most captivating areas.

Good debut directorial!
Play Misty meant the forst movie of this talented folm maker. This one is a tense psychological thriller which opened the inspiration sixteen years later to Fatal atraction, Jessica Walter (Nominated as best dramatic actress in 1971 for the Golden Globe), gives a surprisingly role as never before , as the outrageous lover who literally remains obsessed with Dave Garver (Clint)a nigttime disc jockey who loves the jazz and receives all kind of calls by phone.
His affair is obviously unexpected , but it will lead to several bitter headaches and disturbing situation.
Well thriller , and stills keeps its expressive force.

What Clint Eastwood called,"The original 'Fatal Attraction'"
I first saw "Play Misty for Me" in the theatre way back in the early 1970's.Remember it well.It was a triple feature at the drive-in when tickets were around two bucks.That's something you don't see anymore,triple features,drive-ins and movie tickets for two bucks.Saw it recently on home video and the picture has held up rather well.Clint Eastwood plays Dave Garver, a late night DJ at a Jazz radio station in Carmel,California,(remember he was elected mayor there in 1986 in which he served a two year term in office). Jessica Walter gives a terrific performance as Evelyn Draper who is a big fan of Garver's radio program..Donna Mills is also very appealing as Garver's girlfriend Toby.It features fine cinematography by Bruce Surtees and a good score by the late Dee Barton.In an interview in 1988,Eastwood referred to "Play Misty for Me" as the original 'Fatal Attraction'".This was shortly after that picture came out and became a big hit.(Glenn Close was nominated for Best Actress for her role.She didn't win but she should have though.)"Misty" was made 16 years earlier and I thought it was just as good.The DVD edition has some interesting extra features too.

Some trivia for you,Steve McQueen considered the role of Dave but changed his mind.Eastwood made a long distance phone call to Roberta Flack to ask her permission to use her song "The First Time Ever I Saw Your Face" in the film.Shortly afterward the tune became one of the biggest selling hits of the 1970's.In the top fifty best selling songs of the entire decade according to "Casey Casem's American Top Forty Countdown".Unfortunately "Misty" was not a hit at the box-office.It was a hit with many critics though.The screenplay was written by the late Jo Heims.She was a secretary at Eastwood's production company Malpaso.It was co-written by the late Dean Riesner who co-wrote the screenplay for "Dirty Harry".Eastwood's friend and mentor and frequent Director Don Siegel has a cameo as Murphy the bartender.A few months later the two went on to make "Dirty Harry".And,"Play Misty For Me" was Clint Eastwood's directorial debut.And,a very impressive one indeed.A preview of things to come.

Buy "Misty for" Yourself
Not only was this a SCARY, disturbing thriller, it was beautifully crafted and very well cast. Even the musical score played a part in the film (hence part of the title - "Misty") and Roberta Flack's romantic ballad "First Time Ever I Saw Your Face". But with music aside, this movie did not have an ounce of predictability the way many thrillers have. Instead it presented originality, suspense, drama, and wonderful acting and directing all in one complete package. This movie even took at artistic view at the backdrop and scenery (set along the beautiful Monterey/Carmel, California coast). By incorparting all these elements made this film a true complete work of art. ... Read more

Reviews (5)

This tape is a collector's item.
This tape is more of a "must have" for Jerry Seinfeld fans or diehard SNL fans. For others, you may want to think twice before spending good money on this one. That is only because of the length, a mere 32 minutes (and that includes the video company's opening credits). The comedic skits and comedy bits are very good. I believe this originally aired in 1992, a couple of years BEFORE the TV show "Seinfeld" hit its prime. Jerry's fans will like this tape a lot. Especially the "Superman" sketch and the "game show" sketch (where the contestants answer questions, using Jerry's trademark delivery style). Again, if you're a fan of anything "Seinfeld," grab it while you can. It already seems like a collector's item to me. If you're an SNL fan, be aware that the only skits on this tape (except for the opening bit, before the monologue) are the ones in which Jerry appear. The episode's other skits are not included. For fans of both Seinfeld and SNL, definitely purchase it.

Highly enjoyable. Jerry at his Jerry-best.
This is a very enjoyable video if you are a Jerry Seinfeld fan. It starts with a sketch (4.10 minutes) with Phil Hartman playing Clinton and Dana Carvey playing Brown. They are talking about a political debate they are about to have.

Then comes Jerry Seinfeld's monologue (6.1 minutes), which consists of some material any fan will be familiar with because it is also covered in his book SEINLANGUAGE and in his stand up act I'M TELLING YOU FOR THE LAST TIME (available on VHS and DVD). My favorite part of this bit is when he talks about the water at the edge of the runway at La Guardia Airport. I know exactly what he is talking about; it is kind of freaky to be in a plane going down a runway that ends at a body of water. Jerry suggests that they put piranha in the water to make the experience even more pleasant.

"Stand Up and Win" (8.26 minutes) is the first sketch we see Jerry in. In this sketch, Jerry is the talk show host of a game that tests contestants' knowledge of commedian catch phrases. Jerry gives a question, and the guys have to answer with a "Jerry" response. Also in this sketch are: Dana Carvey, Rob Schneider, and Adam Sandler.

"Make You Think" (6.28 minutes) has Jerry as an exasperated high school teacher. His students are incredibly dense as he tries to teach them about World War II. I really enjoyed this sketch because one of my favorite SNL alumni is in it, Ellen Cleghorn. And Jerry makes a very good teacher, if only his students weren't so dumb (one student being Chris Rock, and another being an even-skinnier-than-usual David Spade).

Probably the best part of the video is "Superman" (4.32 minutes). In this sketch Jerry plays the man he will always be famous for wanting to be: The Man of Steel. Jerry as Superman is being interviewed on the radio by a radio personality played by Phil Hartman.

"Goodnight" (1.31 minutes) is just the standard "Thank you for watching, Goodnight" thing that all SNL hosts do after the show with the cast standing behind them. Apparenlty Annie Lennox was the musical guest that night, because she is in the crowd.

I'm not exactly sure what the original air date was, but it was obviously in the very early 90s - probably 1992 or 1993. And my only complaint is that I believe that they failed to include all sketches that made it into the original airing. .

Other than that, what Jerry fan could ask for more? The Patron Saint of Mr. Average playing Superman. This is why we love him.

A real classic - collector's item
If you can still get your hands on this one, do it. This features Jerry at his younger comedian days along with the talented crews at Saturday Night Live. See how his nothingness evolved into His Royal Nothingness.

Disappointing for a Seinfeld fan.
Except for the monologue, it had some pretty weak material, I thought

This is great, Seinfeld on SNL.
This video is awsome. Jerry does his act, and hosts the show. If you like SNL and Jerry this is the video to buy. In one part of the show Jerry is a teacher of a slow-witted class. Where he tries to teach history. After he gets a couple of stupid anweres he gives up on the class. Chris Farley also stars in this episode. The video is also very inexpensive. ... Read more

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Peter Sellers's third go-around as the prideful but bumbling Inspector Jacques Clouseau is funny enough, but this 1975 Blake Edwards revival of the Sellers-Clouseau connection is a little weak in comparison to predecessors The Pink Panther and A Shot in the Dark (both made in 1964). Costar Christopher Plummer actually gets some of the most interesting screen time as a retired cat burglar whom Clouseau accuses of getting back into the business. (If it sounds like there might be a To Catch a Thief vibe mixed in here, you're right.) Herbert Lom is hilarious as Clouseau's psychologically eroding boss, and Clouseau's ritualistic collisions with valet Cato (Burt Kwouk) are great examples of Edwards's delicious comic timing. --Tom Keogh ... Read more

Reviews (43)

Great movie, not-so-great DVD
Peter Sellers was one of the most gifted comic actors of the 1960s and 1970s; Inspector Clouseau was his most beloved role. Blake Edwards, the film's director and creator, was a master of both subtle humor and slapstick. For these reasons, The Return of the Pink Panther is a true classic for many of us. It's a movie that never fails to leave me in a great mood. However, as other reviewers have noted, there are some serious issues with the DVD. I purchased it (and am glad I did) because I didn't have a VHS copy of the film. To be honest, I don't know what advantage this particular DVD can offer versus a VHS, since there are no real extras here, and no choice between widescreen and full screen (and no anamorphic widescreen!). I sincerely hope that this film is reissued in the future, complete with outtakes and remastered sound, and treated with the respect it deserves.

More Important for what it accomplished
The best thing about this film is that it returned Peter Sellers to the role of Inspector Jacques Clouseau under Blake Edwards' direction after Alan Arkin's single portrayal in 1968's INSPECTOR CLOUSEAU directed by Bud Yorkin. More importantly it did not only return Sellers but it also instituted the Pink Panther and Sellers as Inspector Clouseau in a legitimate film series instead of just a few sporadic sequels and it launched a huge cinematic rebirth and phenomenon. Unfortunately this film seems to lack the magic of 1964's THE PINK PANTHER and the sophistication of A SHOT IN THE DARK. Christopher Plummer replaced David Niven as Sir Charles Lytton in this film. Plummer is good but it seems a shame since Niven reprised his role later in 1982's TRAIL OF THE PINK PANTHER and 1983's CURSE OF THE PINK PANTHER, which were made after Sellers' death (in 1980) in an attempt to revive the series without him. Catherine Schell as Claudine Litton lacked the charisma of earlier leading ladies Capucine and Elke Sommer. On the plus side, Sellers is brilliant as Clouseau as are Herbert Lom as Chief Inspector Charles Dreyfus and Burt Kwouk as Kato back and featured prominently in the rest of all the subsequent Pink Panther films. Much needed and returning is a score composed by Henry Mancini a very integral component of this series. THE RETURN OF THE PINK PANTHER has some very good comic sketches and a very good opening jewel heist but the script just doesn't seem to be a very cohesive force. However, better things were yet to come. As for the DVD, the quality is just average. For me, the picture quality is just too soft. The MGM prints of the other Pink Panther films on DVD are much crisper.

DA DUM DA DUM, DA DUM, DA DUM DA DUM DA DUM...
Has there ever been a more catchy theme than Mancini's "Pink Panther?" I can't think of any off hand, and in this third entry in the Clouseau series, the music and the animated panther are back in fine form.
Mainly a vehicle for the superb Peter Sellers, this sequel is tired in plot, and struggles for some of its laughs, but one cannot deny the superlative hijinks of Sellers as the impossibly inept Inspector Clouseau. He has so many brilliant moments, it's hard to think of them all, but Sellers is in top form. Christopher Plummer and Catherine Schell do okay, but Herbert Lom and Burt Kwouk as Dreyfuss and Kato are outstanding in their supporting roles. Lom's slow decline into mental illness is hilarious in its cartoonish way, and Kato's fights with Sellers are priceless.
It's an entertaining if inconsequential movie, but I had lots of fun watching it!!

Fair to middlin' sequel
The movie had a few humorous moments, but I found some of it tedious. Cato and Dreyfus are still a riot. though. Cato and Clouseau have their karate fights, culminating in Cato dressing as a Japanese waitress. Clouseau finally drives Dreyfus into the nuthouse after Dreyfuss repeatedly shoots himself with a cigarette lighter.

I still prefer "A Shot in the Dark" and think it is the best of the series. I did not care for the original "Pink Panther" as I found it unfunny.

Although the picture was not razor-sharp, it is not as bad as the one-star whiners would have you believe. With minimal extras, if you don't have high expectations, then the low-priced DVD may be worth your time.

Inspector Clouseau strikes again...

Peter Sellers is great as Inspector Clouseau, with his mispronunciations and bumbling, especially when teamed up with Chief Inspector Charles Dreyfus (Herbert Lom), who hates him.

The wonderful David Niven, of course, is gone from the series, but is replaced by Christopher Plummer as Sir Charles Lytton (The Phantom).

Both Lom and Sellers are a great comedy team and provide a laugh a minute, as they try to catch a jewel thief in Lugash.

I suggest you see the whole pink panther series.

Joseph (Joe) Pierre

... Read more

Amazon.com essential video

Filmed in the widescreen splendor of "Panavision Super 70" and blessed with the finest production values that Hollywood clout can buy, this tale of spunky Irish immigrants forgot one crucial ingredient: a decent screenplay. The film is entertaining enough, and director Ron Howard brings his technical proficiency to the simple plot, culminating in a dynamic, breathtaking depiction of the Oklahoma land rush of 1893. But the movie is really just a vacuous vehicle for married stars Tom Cruise and Nicole Kidman as (respectively) the poor tenant farmer and rich landlord's daughter who flee Ireland to be American pioneers. The scenery and the stars are never less than stunning, but Howard falls short of the mark in his attempt to match the epic sweep of films by David Lean. On the other hand, this movie is certainly never boring even if it rarely makes sense, and Lean's own Irish epic, Ryan's Daughter, is a snoozer by comparison. --Jeff Shannon ... Read more

Reviews (60)

Book of Days
Far and Away is such an incredible looking movie that your heart might end up hating your eyes for distracting yourself from the true beauty of the film.

This film is the story of Joesph and his hopes and dreams. His father is killed and he seeks to kill the man that took his land. Joseph meets up with Shannon, the wealthy daughter of the man responsible for taking Joseph's land, and she pays him to take her to America. Unfortunately they're robbed and we see the cold, harsh realities of foreigners trying to survive in America. Through prize fighting, Joseph begins to make a nice life for himself, while the spoiled Shannon ends up plucking chickens to make end's meat. Their trials and tribulations bring them together in one of the best love stories told, and the ending...well, lets just say that it's one of the most wonderful endings you'll find in a film.

Ron Howard has done an incredible job of bringing this film to life, and the performance of Tom Cruise is one of his best ever. Far and Away is a film that you have to see. You'll feel better about life after you have.

A real feel-good love story for the dreamer in us all.
What can I say about this film to begin my review? Three words. I LOVE it. I may be a little biased, but I love things set in Ireland, Scotland, and that area. I was hooked immediately on the beautiful scenery of Ireland's west coast, and my heart was immediately stirred by the rich and dramatic, yet at times very soft and tender music. Even more so when I read "Music By John Williams" in the opening credits. But I digress.

Music and scenery aside this movie still has much going for it, and it really shines. It's a love story yes, but it's beautiful. Others have mentioned the great chemistry between Tom Cruise and Nicole Kidman here, and they are right. I am not a big fan of Tom Cruise (Rain Man was excellent though) or Nicole Kidman, but they played very well off each other. This film follows, again as many have mentioned, the two lead characters as they make a harrowing journey from Ireland to Boston to Oklahoma in pursuit of their dreams. His is "I'll work my own land someday" hers is "I'm modern, and I'm going to a modern place" She wants to get away from her parents old-fashioned and "stuffy" way of living.

I hate to diss other films so I'll try not to do that here. I WILL say that I loved the love story in Far And Away because it works. And it works because it is given time to develop. Joseph and Shannon hate each others guts at first and make no secret of it, but they are drawn slowly together by the perils of their journey. It is touching to see their hatred for each other change from hatred to grudging respect, to affection, and finally grow all the way to genuine love. This works MUCH better than spending a day on a ship, and saying to yourself "Oh look, there's a pretty girl up on the next deck. Let's take her dancing, partying, teach her how to spit, how to stand on the back of a ship with her eyes shut and her arms outstretched. Then I'll draw a nude portrait of her, and then we'll go and have sex in the back of a car. All witihin a period of about three or four days." (Just for the record I loved Titanic too, but the "quickie" love story took away from the power of the film JUST a TAD because the love between Rose and Jack was not allowed to GROW and DEVELOP into itself as it is here in FAR AND AWAY. In TITANIC the love between Jack and Rose was just THERE. It was just: Boy meets girl. Girl meets boy. Boy loves girl. Girl loves boy. Badda-BING, Bada-BANG, Badda-BOOM)

I'm sorry, I'm digressing again, so I'll try to keep to the point and keep the rest of this short. In summary , to me this film is a great one, well done in every part of the package. LOVELY scenery is wedded to absolutely beautiful music as two great actors are supported by an assortment of loveable aqquaintances and a couple of dastardly villians (I'm counting Mike Kelly here too, see the film to know who he is and why I call him a villian). All this comes together in a beautiful love story that has the power to touch the heart, and the tear ducts, and make you realize the importance of holding onto and going after your dreams. I loved it, and so can you, if you have the courage to let this film touch your heart. If you do allow that, it will carress it. Peace, and God bless you. Always.

Do you have a craving for strawberry tart?
Watch this movie to find out where that line comes from.

In 1892-93, Tom Cruise is poor Joseph in Ireland and Nicole Kidman is rich Shannon from the same country. Their fake accents are collectively awful. Cruise sounds like a wannabe leprechaun.

Together they run off to America where they tell the landlord they are brother and sister so they can share the rent. Joseph becomes a boxer and wins big in the ring. Shannon decides to be a dancehall girl.

Although they profess to hate each other, you know where that storyline is going to end. It is, after all, Cruise and Kidman in their heyday.

I did like the homesteading scene at the end -- where people raced across the plains and made their claims to land. I hadn't known about that piece of history before. Nicely done, Ron Howard!

Too much edited from TV version
I was very disappointed to find so much missing from this movie on DVD. I have the TV version recorded and I know they left out quite a bit. This seems strange since DVDs are suppose to hold so much more information. I also saw the movie at the theater a couple of times,there are parts missing on the DVD that were in the theater version also. Don't buy the DVD if you enjoyed the TV version"with never before seen footage". I had expected the DVD to cover it all,but at least everything I saw at the theater.

Only because I can't give it zero
This well may have been the worst movie I've ever seen. I only watched it to the end to see if it could continue to deteriorate. Shockingly, it did. The storyline was terrible, the dialogue was worse. The best part (or worst, depending on how you look at these things) was the very end. Just when you think the film couldn't get more insipid, a horse rolls over Tom Cruise and, much to Nicole Kidman's chagrin, he dies. She starts crying and screaming over his dead body and, shades of Beauty and the Beast, his eyes suddenly pop open. Yes, he's been brought back to life by the strength of her love. What were these people thinking? If you are trying to find a movie to fill out your list of the ten most worthless films of all time, check this one out. If not, don't bother. ... Read more

Reviews (1484)

Great Action Film
"Gladiator" is a film that should suit all tastes. It is an expertly mounted and eye-filling event; the blood and gore, delivered in split-second imagery (allowing your head to fill in the rest) should satisfy the most blood-thirsty movie goer; and the story is a superb tale of good vs. evil, power vs. honor, and "Might for Right". I was reminded of "Camelot" many times during this film, especially by the almost unrecognizable appearance of Richard Harris as the wise and noble Marcus Aurelis. Joaquin Phoenix gives a bone-chilling performance as the evil and cowardly Commodus, who inherits the title of emperor upon his father's death. But the sole weight of this overwhelming piece rests on the shoulders of the magnificent Russell Crowe. If one doesn't believe in him, then one doesn't believe in this epic costume drama. Kudos to the rest of the cast as well, and hand over heart for the late Oliver Reed. But back to Crowe--he is an actor to contend with. His work in "Gladiator" is a tour de force performance; he very nearly sprays testosterone from the screen. It's what was exactly demanded from him in this role, and he exceeds expectations in that regard.

Gladiator ROCKS!!!
I completely dug this film from beginning to end,and every aspect of it,from the breathtaking cinamatography,the expertly staged battle sequences,and exqusite set-design,to the stellar performances of a top-notch cast,rang true.The film starts with a stunning battle and doesen't let up from the time Maximus says"on my mark,unleash Hell". Do they ever.Russell Crowe is perfect in the lead role,as an expert warrior with a grieving soul and a deep sense of honor and loyalty.It's a true star-making turn,and he oozes rugged charisma from every pore.Equally impressive,but in the exact opposite way,is Juaquin Phoenix as the conniving,decadent,deeply evil Emperor.Also great support from Richard Harris and the late,great Oliver Reed.Director Ridley Scott uses his gift for composition and visual flair to great effect,giving each scene a painterly burnish and unforgettable depth,whether it's the after-life of Maximus' dreams,the bustling,grand sprawl of Rome,the rip-roaring battles of the Coluseum,or the sinister twinkle in the Emporer's eyes.At one point Maximus admonishes the bloodthirsty crowd:"Is this not what you wanted? Are you not entertained?" Indeed we are Russell,very much so.What a great film.

okay
this is a three star movie with a five star dvd. one of the biggest problems with the movie was the first battle. i was expecting braveheart quality but ended with a battle less entertaining than the one in dragonheart. the blurry camera and closeups made it impossible to tell what was happening. if you want to see a movie like this but better, see the last samurai or braveheart.

A Modern Classic of an Old Age
I seldom write reviews for anything, but for a movie like 'Gladiator' I'm willing to make an exception, and gosh if it's worth doing it!!
The movie, by far the best of the year 2000, is not only an award-winning production, but it is also one of the few that I personally enjoy watching again and again and again. Not because it is flawless (at times the storyline is quite predictable) but because it portrays life and death in the Roman Empire in such a way that it really bring those old buildings we all know since childhood (the Coliseum, the Forum, Via Appia, etc) back to life.
And yet it does so not at the expense of the story but through it, from the characters, to the script (they're so many quotables lines from Maximus and Commudus alone to make a CD)...in fact everything in the movie, from the battle in Germanica to the last fight at the Coliseum, is portrayed with realism plus an amazing score lacking in so many movies these days.
The movie of course is not to be seen as "history" in the academic sense but rather as an historical exercise, Holywood style, of one of the most facinating and complex periods of Western History. The attention to the detail is amazing, especially in the opening scene (the battle in Germanica) and the gladiatorial fights. Even most deleted scenes are great in the sense that they allow us to understand the characters a little bit more (Commudus' sword smashing of his father's marble bust is a most see), although they neither add nor take of the story. The casting is superb, with Russell Crow in the main role, Joaquin Phoenix as the Emperor Commudus, along with such legends as Oliver Reed as the freedman slaveholder and Richard Harris as the great Marcus Aurelius.
I'll recomend strongly that anyone who sees this movie shoudl do his/her homework and do a little of reading about Rome, both as a Republic and after, and the huge importance of the entertaining business in her late everyday life (an importance unreached until recent times).
Overall, a classic epic of an scope and ambition not seen since 'Ben Hur'; full of action, drama... and yes, more action.
As the Romans themselves said, Faber est quisque fortunae suae... each one is the architect of his own fortune. Feliciter!

Decent story, captivating effect
Ridley Scott's movie, "Gladiator" is one based on fiction of a General in the times of Marcus Aurelius. It tracks the life of a general who is effective in battle and is to rewarded by the emperor with the crown of Rome until it can be handed back to the senate. The movie won 5 oscars and is compared to Ben-Hur, which is ludicrous. For starters, Ben-Hur had William Wyler as the director who went to Gore Vidal to fix the screenplay. This movie will imaginative has so many historical inaccuracies, it is funny that it can be even thought to be in the same league.

Some of the actors did a decent job, these include Richard Harris as Marcus Aurelius and his daughter, Lucilla. I had problems with Russell Crowe's acting. He is unmistakably patrician, however, and physically very like Richard Burton, with Burton's battered face and gravel-voiced machismo. But Crowe's Maximus is no Mark Antony; there is no destructive love interest in the picture. Maximus is sweetly devoted to his late wife; though it turns out he once had a bit of an unbuckling thing going in his backstory for Commodus's lovely sister Lucilla (Connie Nielsen). I did not think that he deserved the best actor oscar. He has a very limited repertoire of actions and emotions. Crowe is no Tom Hanks or Geoffrey Rush in acting, he does not have depth and breadth of acting.

This movie cannot stand the test of time, it does not have great screenplay and historical integrity. It will gradually ebb away from the minds of the people. To stand out from the other movies, it has to have a new paradigm, either in acting or story or screenplay, none of which are depicted. Another one of those movies that do not deserve the best picture oscars. It is OK to watch this once. If you compare this director with Ang Lee, who did "Crouching Tiger, Hidden Dragon", "Eat, Drink, Man, Woman", and "Sense and Sensibility" you can see the difference in directing talent. See them and judge for yourself. ... Read more

Amazon.com

Though it seems like a one-joke premise, this spinoff of Al Franken's Saturday Night Live character, self-help nerd Stuart Smalley, actually has some substance. And, in fact, it offers a message that wouldn't be out of place at an Al-Anon meeting (although with the laughs). Stuart, fired from his cable TV self-help show, goes home to resolve a family crisis. Dad (Harris Yulin) is an abusive drunk, Mom (Shirley Knight) is an enabler, Sis is an over-eater, and Brother has a problem with his temper. The film turns serious, but Franken actually makes the drama interesting, using humor to leaven it. And he brings a certain sympathy and resolve to the lisping, cross-eyed Stuart. To be sure, it's not your typical SNL movie. --Marshall Fine ... Read more

Reviews (34)

ONE OF THE BEST MOVIES I HAVE EVER SEEN...
The first time I saw this movie was when it was in theatrical release, (which lasted about a week). I was in a movie theater in Times Square with a friend, and there were only two other people in the audience. Al Frankin has referred to this movie as a "disaster" because it was pulled from theaters after not even reaching one million dollars. Note to Al: THIS MOVIE IS NOT A FALIURE!

Every detail of this film, from the opening montage to the marvelous acting, (these are TOP NOTCH actors in this film), to the hilarious comedy to the story to the music...everything is hysterical. I only wish they had chosen a different title. Stuart does not save his family, he can only try. The movie should have been called "Stuart Smalley."

I was so astounded by how wonderful this movie was, yet practically no one saw it and Al Frankin calls it a disaster. I honestly, truely, unexagerratedly believe that this movie should have been up for several Oscars, including Best Director and for the supporting cast. The actor who plays the father was especially wonderful. I only hope that more people discover this movie.

When the movie was over in the theater, (I have since seen it again on video several times), the two other people in the audience came up the aisle and also expressed how good the movie was. I wish I could have direct addresses for director Harold Ramis and Al Frankin so that I could write to them and tell them how proud they should be of this movie.

He doesn't really save his family, but...
Sadly, a lot of folks have never heard of this little gem. It had a very short theatrical release but has been gaining a wider audience, largely among members of 12-step programs, through its various video releases.

To describe the story line of this very funny movie would be to sell it short, because the premise doesn't sound like it would lend itself to such a delightful comedy. But the film grabs one's attention from the very beginning with its montage of 50s and 60s family photographs during the opening credits. Are these possibly family photos of the lead actors at an earlier stage of life? When Vincent d'Onofrio's name is on the screen, the guy in the photo looks an awful lot like him. And then we're off and running, with Stuart telling us on his television show that he has just received a sweater that one Melissa D. knitted for him. Melissa is a recovering sex addict and knitting the sweater "gave her something to do with her hands."

From that point on, the pace only rarely slackens, as we are introduced to Stuart's various friends and nemeses, beginning with Roz Weinstock, very possibly the meanest and most sadistic boss since Captain Bligh, and deliciously played by Camille Saviola. Roz has fired Stuart for maligning her on the air, and she is only the first of a series of people Stuart manages to annoy as he lives out his affirmation of "I'm good enough, I'm smart enough and, doggone it, people like me." Perhaps not everyone likes him, certainly not the customer in the restaurant (an unbilled role, possibly director Harold Ramis?) who has to wait while Stuart explains his latest predicament to his best friend and Al-Anon sponsor Julia, wonderfully played by Laura San Giacomo.

From there, it is a constant back-and-forth for Stuart between Chicago, where he lives, and Minneapolis, ironically one of the chief centers of recovery programs, and the home of his very dysfunctional family. Stuart's beloved Aunt Paula has died, setting in motion an ever-muddier chain of events that eventually teach Stuart in a big way that the only one he really has the power to change is himself. Nevertheless, the ever-optimistic Stuart continues to offer his gifts to others, some of which are eventually picked up and appreciated.

Just as the setting goes back and forth from Chicago to Minneapolis, so the time frame goes back and forth from the present to the past through black-and-white flashbacks, some happy, some less so. These give us some idea of how Stuart has come to be the way he is today, and of the ghosts that he has to grapple with while living out his affirmation.

The film does take a rather serious turn near the end, but Al Franken as Stuart Smalley helps to keep the tone somewhat light during this section. And, as in real life, not all the loose ends ever get neatly tied up, but Stuart has nevertheless made his impact, as we see in a very heartwarming ending.

While most of the actors in the film are not household names, a number of them are quite experienced and turn in some memorable performances. Harris Yulin, Shirley Knight, Lesley Boone and Vincent d'Onofrio are all good as Stuart's family members, the men in particular. There are also a number of memorable cameos, particularly Julia Sweeney as the constantly apologizing Mea C., and Walter Olkewicz and Jeremy Roberts as the Skoag brothers who try to force the teetotaling Stuart to drink beer at a bar.

The music is fun also, beginning with the codependent song that is played during the opening credits. And it was great to hear Ethel Merman blasting her way through "Everything's Coming Up Roses," during one of the scenes where Stuart is trying to pull himself up by his bootstraps.

This picture has some of the funniest lines I have ever heard in any film. My particular favorite is Stuart's brother Donnie's attempt to define for him what an "easement" is, despite the fact that he obviously doesn't have the slightest notion. But many will like even better Stuart's comment to his sister about the pound cake. While there is plenty here for audiences in general to laugh at, there are also a number of jokes that are targeted toward members of 12-step programs, and especially those programs geared toward helping friends and family members of those addicted to alcohol and drugs. It's obvious from the writing that these are topics near and dear to screenwriter Franken's heart.

So, I recommend this movie with just the caveat that you will find it funnier and closer to home if you have some familiarity with the programs that the film gently pokes fun at. And even if you don't, after seeing the film you may still wind up with a new approach to life.

Great Great Movie
I absolutely love this movie! I watch it everytime I am frustrated with my family and always end up feeling a little bit better. Other than making us laugh, this movie teaches us that at some point it's ok to separate ourselves from our family's problems and that we have to accept that we can't fix everything for everyone that we care about. I was happily surprised that this movie contained more than obvious humor, it actually has heart!!

If you've ever been a member of a 12-Step Program...
If you're ever been or are now a member of a 12-Step Program you'll find this movie wildly entertaining. Sadly, the humor so evident in this film is so common amongst many familes struggling with relatives of addictions. Key words here are : affirmations, 12-Step, intervention, codependency, and many others to mention here.

A Jewel of a Movie
It's sad when I mention scenes in this movie at work and I get a "huh?" Very few people has bothered to see this movie and I think they're missing something. I found it poignant, funny and subtle. It it has some of the best one-liners and a rather sad but well written ending. Any grown-up out there (belonging to a dysfunctional family) still trying to stay with the concept of "family holiday gathering" should do what Stuart ultimately did in the end. ... Read more

Reviews (882)

Scott gets the look, as usual
[This review speaks mainly to the film, not the 3-disc special edition release]

Black Hawk Down is a tough movie to qualify. It's visually amazing--this is some of the best combat I've seen in a movie. It's thrilling, it's realistic, it's exciting. I wouldn't exactly call this an anti-war film because it depicts war as the ultimate thrill, a real game of real bullets and blood. Yes, it's hell, but with Ridley Scott directing it looks like a very, very good video game.

I don't know why this movie was made. There is no political leaning, there is very little context. It's a blow by blow account of what happened when over 100 Army Ranger and Delta Force soldiers were stuck in a hostile part of Mogadishu, Somalia in late 1993. The enemy, as to be expected from a Jerry Bruckheimer film, is given no identity. They are throngs of Africans, many of them kids, firing round after round and coming like swarms of bees even as they get cut down by the superior US firepower.

The problem is that the movie goes to very impressive lengths to play out this story. The production is huge--the battle scenes, the city scenes (filmed in some bombed-out-looking part of Morocco apparently), the gunplay, etc. This is an expensive film, and I have to wonder why the money and resources go into something like this if there is nothing to say. Then it becomes pure entertainment, which is all the film turns out to be. That's fine, but again, once in a while it would be nice to inject some intelligence into a project that obviously commanded so many other resources and considerations.

Why was America in Somalia? Granted, that is not the concern of the film, but some kind of context for the war, the rebels, the aims of the mission, the pov of Somalis who were killing to negotiate, as one Somali says in the only behind-the-scenes bit in the film, would have put the film over the edge and actually made the audience ::gasp:: think about why America fights where it does.

There's also the obligatory war film clichés that are just hard to stomach when we know that these are real soldiers being trivialized for the popcorn crowd. Tom Sizemore, as a veteran and tough-as-nails McKnight, goes back into the fray to rescue more men and walks calmly through the street as bullets ricochet around him, like Robert Duvall in Apocalypse Now. Modern movie special effects can simulate rockets blowing people apart, literally, and leg wounds being operated on with someone's bare hands, muscle and sinew and all. It is typical of Hollywood today: they have limitless resources, but those resources (being able to shoot a film as visually and technically impressive as this) serve a story that could use a bit more tweaking and humanization. But the filmmakers are
not interested in that angle.

It would be nice to know why Mogadishu is hell on earth, with hordes of enemies tearing people out of helicopters and raining rockets on American soldiers. Yes, the soldiers were brave, they were highly trained, but the mission was a disaster, and it does the real story a disservice to portray it as just another chapter in American gung ho-ism. Also, the single most memorable bit of that real story was the body of an Army Ranger being dragged through the streets by an angry mob that spit on him, and much worse. That was a disturbing bit of footage for Americans to watch. Would that have been more tasteless than showing an RPG rocket stuck in someone's side? Massive, gaping wounds? Missing legs? Why clean up real events and their aftermath for the sake of a night out at the movies? Maybe they should put their mouths where the money is.

Make no mistake--I couldn't turn this film off. It's exciting; it made me want to play Ghost Recon or one of those games. It also made me want to find out more about this grim chapter in President Clinton's tenure as Commander in Chief, even though it was his predecessor who landed troops there when he was a lame duck. Somalia was an embarrassment, an event that told America we were no longer willing to sacrifice men--18 as compared to over 1,000 Somalis killed in battle--in some foreign wasteland. The film is not enlightening in that regard. It's exciting, it's Jerry Bruckheimer, folks. Watch it and decide for yourself.

It looks like they went to very impressive lengths to put this out on DVD, as expected with a production like this. Definitely worthwhile to pick up, as multiple commentaries, deleted scenes, and other goodies sweeten the deal.

A Special Operation
It's about time! Sony Pictures finally got around to releasing a deluxe edition DVD of director Ridley Scott's magnificent fact-based war thriller "Black Hawk Down". Fortunately, it's well worth the wait; sporting three discs with every concievable extra feature, it could well be the best DVD package I've ever seen.

Possibly the finest of all pure war pictures and unquestionably the best movie ever made about the Special Forces, "Black Hawk Down" recounts the fierce battle that ensued in Somalia on October 3, 1993 during a mission by the Army's Rangers and elite Delta Force operators to capture two lieutenants of a repulsive warlord.

The film presents a raw, vivid dramatization of the fight, with graphic depictions of violent death on both sides. The difference is that Scott, unlike many of his contemporaries, mostly manages to steer clear of sentimentality, preachiness and jingoism (no small feat when you're making a war movie). Understanding the need for occasional breaks in what is essentially a two-hour-long battle scene, Scott also injects a little comic relief in the form of three lost Rangers and some other great little moments (my favorite is the part where Sgt. Eversmann, played with surprising vigor by Josh Hartnett, has to pause in the middle of battle to pull a scalding-hot spent shell casing from inside his uniform; little details like that are cinematic gold).

The first disc has the film along with three outstanding audio commentaries: one from Scott and producer Jerry Bruckheimer; one from screenwriter Ken Nolan and Mark Bowden, author of the original book; and, most interestingly, another by four actual veterans of the battle, who expand on true elements of the story and comment on some of the film's technical innacuracies ("This scene is really cool - too bad it never really happened").

Disc two features a 150-minute "making of" featurette that explores just about every facett of the production, including technical accuracy, CGI effects and footage of the actors at Ranger boot camp.

Disc three has two absorbing documentaries about the battle from the History Channel and PBS's "Frontline". There's also a feature that allows you to watch the fast-roping insertion scene from multiple camera angles and some Q & A sessions with the filmmakers and actors. There's a nice moment in one of these sessions in which Jason Issacs, who plays the aptly named Capt. Steele, comments on how "BHD" actually made him a better person: "After knowing what these soldiers went through, you feel a bit embarrassed complaining about the size of your trailer."

"Black Hawk Down", simply by virtue of its adherence to telling the story as it happened (as much as is possible, at least, within the confines of a 2 1/2 hour movie), is much more military-friendly than many of the artsy war pictures that depict soldiers as victims or, even worse, as psychopaths. It's also a far cry from the simplistic "super soldier" flicks of the 1980s that stressed a comic book mentality over respect for what real American warriors have endured over the centuries. "Black Hawk Down" is a profoundly patriotic movie, but its patriotism is more subtle, mature and real. The only American flags you really see are patches sewn onto the right shoulder of the troops' uniforms. The flag is backwards, so that the stars are closer to the soldier's heart.

A True Horror Film
It just doesn't get any better than this. I've seen this film 4 times & it never ceases to astound me. The acting is exceptional, Ridley Scott is directing here at the peak of his powers & Pietro Scalia should have received an Oscar for the outstanding editing job. The film itself functions more like a rocket ride than just a war film. The word visceral comes to mind. Violent? Frightening? Absolutely! But to demonstrate the true impact of war, for the soldiers & for us, there is no alternative. I noticed a fellow customer said this film is better than SAVING PRIVATE RYAN; am I the only one who noticed the huge hole in that film's storyline? Move over THREE KINGS, FULL METAL JACKET, THE THIN RED LINE...BLACK HAWK DOWN may just be the greatest war film ever made. Why? Because a war film isn't just bullets & the terrible death of comrades. Ridley Scott has shown us the true horror. I know it will haunt my dreams......

Great War Movie
I recently bought the DVD for this movie and I have to say that I'm blown away by the movie about the operation to capture Adid in Mogadishu, Somalia in October '93. This movie is very accurate in showing the realities of combat and I think that this is a movie that will really convey to people what it's like to fight and die not only for their country, but for each other.

I highly recommend this movie to anyone who wants to know about what it's like in the heat of combat and the courage and fortitude of our soliders.

Best Film of Post-WW2 Combat
Prior to "Black Hawk Down", "Apocalypse Down" was hands down my favorite non-World War II war movie. Time and distance works wonders, and Ridley Scott proves he can film modern combat, like sci-fi ("Alien") with the best of them.

This is a post Private Ryan film, which means that the street combat scenes are jumpy, erratic, and extremely violent. But like Spielberg, Scott does not lose sight of character development, particularly Harnett's character who becomes marooned with his "stick" of Rangers overnight in the centre of Mogadishu surrounded by thousands of screeming, RPG-toting Somalis who can use cell phones to mobilize and direct their forces. The movie builds like "Alien", to the point where it becomes incomprehensible that anyone is going to get out alive. The movie does not take sides when commanders sacrifice four or five soldiers to save one - it just happens.

Some reviewers have referred to the book as a "novel" - it is not. This battle really happened, but once we left Somalia (or were pushed out, depending on your point of view) it got quietly shunted aside as a bad sideshow until Mark Bowden wrote his book of the same title, which is a MUST read for people who loved the movie (it goes into greater detail of the Ranger culture and background politics). Lots of lessons abound for our current escapade into Mesopotamia.

Sizemore, who is also in "Private Ryan", is by leaps and bounds the best hard-nosed NCO anywhere. Ewan McGregor, who has had to suffer through Lucas' recent disasters, gets to demonstrate his versatility. Harnett is terrific.

No review should pass up the incredible sound, which demands a 5.1 system and heavy on the subwoofer. The soundtrack (with the exception of the vaguely Celtic ooh-ahhs at the end) is the best I recall of any war movie. ... Read more

Amazon.com essential video

Emma Thompson scores a double bull's-eye with this marvelous adaptation of Jane Austen's novel. Not only does Thompson turn in a strong (and gently humorous) performance as one of the Dashwood sisters--the one with "sense"--she also wrote the witty, wise screenplay. Austen's tale of 19th-century manners and morals provides a large cast with a feast of possibilities, notably Kate Winslet, in her pre-Titanic flowering, as Thompson's deeply romantic sister. Winslet attracts the wooing of shy Alan Rickman (a nice change of pace from his bad-guy roles) and dashing Greg Wise, while Thompson must endure an incredibly roundabout courtship with Hugh Grant, here in fine and funny form. All of this is doled out with the usual eye-filling English countryside and handsome costumes, yet the film always seems to be about the careful interior lives of its characters. The director, an inspired choice, is Taiwan-born Ang Lee, who brings the same exquisite taste and discreet touch he displayed in his previous Asian films (such as Eat Drink Man Woman). Thompson's script won an Oscar, and 1995 was a fine year for Jane Austen all around: Persuasion was made into an excellent picture, and Emma became the spritzy high school comedy Clueless. --Robert Horton ... Read more

Reviews (225)

English Romance At Its Finest
Jane Austen is a fine writer, but her wordiness tends to drain the life from many of her characters. Thankfully, Emma Thompson recognized the limitations of the novel and adapted her screenplay accordingly, enhancing the humor of the original story and adding more drama to make the film more enchanting. A cast was then chosen, made up of very talented thespians, including Miss Thompson herself. Add to that splendid English landscapes, excellent directing, and superb cinematography, and what emerges is a modern masterpiece.

This is not a movie for action fans; it is far too cerebral and requires a serious attention span. For those who enjoy a good love story well told, this is it. The characters are three-dimensional and their dilemmas full of human drama, bound as they are by the morals and manners of the times. Three sisters and their mother are left virtually penniless by the stricture against females inheriting property then in place in English law. The half-brother to the Dashwood women receives it all, but his selfish wife talks him out of helping his stepmother and half-sisters. It is up to the two older girls---sensible Eleanor and passionate Marianne---to seek their fortunes in romance while lacking a dowry to help them.

Eleanor finds her soulmate in shy, retiring Edward Ferrars, brother of the selfish sister-in-law. Her budding romance is shelved when his sister makes it clear that Eleanor is "unsuitable" for Edward. The sisters and their mother then go to stay in a cottage owned by a kindly relative, Sir John, and his mother-in-law, the irrepressible Mrs. Jennings. The old woman is a confirmed gossip and matchmaker, bound to see one of the two sisters hitched up to Colonel Brandon, the most eligible bachelor in the area.

Brandon first sees Marianne singing a melancholy song and is incurably smitten. She in turn loses her heart to a dashing young man named Willoughby, who is her ideal of a Victorian-era gentleman, complete with a pocket book of sonnets. Brandon, who loves her more than his own happiness, steps aside and even encourages their relationship, despite his dislike for the handsome rogue.

Things take an unexpected turn for the worse for both sisters---Willoughby drops Marianne and flees to London with no explanation and Eleanor discovers that Edward is engaged to a shallow young woman named Lucy Steele. The ensuing twists and turns in the plot make this film both agonizing and entertaining to watch. Mercifully, everyone winds up happy at the end with the right person as a spouse.

The whole film is solidly done, but it is the acting that really shines. Thompson is perfect for the role of the calmer sister, while Winslett is brilliant as the mercurial Marianne. Grant is endearing as the gentle Edward; Rickman finally gets to display his considerable ability to act the part of a very good and unselfish man. The rest of the cast keeps pace with the leads, and Hugh Laurie is indescribably funny as the sarcastic Mr. Palmer. One very beautiful aspect of this movie, along with the tendency to get drawn into the story, is the haunting and evocative musical score.

All in all, this is a wonderful example of a film genre that is so often overlooked in today's world---period romance. More movies like this one desperately need to be produced. Buy this one today because it's a gem.

JANE AUSTEN'S TIMELESS CLASSIC COMES TO LIFE
This film is so beautifully realized, in its scope and execution, that I have nothing but praise for both screenwriter/actress - Emma Thompson and director Ang Lee. Based on the novel by Jane Austen, the film follows the exploits of Mary-Anne (Kate Winslet) and Eleanor (Thompson) Dashwood; two angelic sisters determined to find romance amidst the sublime grandeur of the English countryside. Also stars Hugh Grant and Alan Rickman.
Columbia's transfer is, on the whole, gorgeous. Colors are well represented and fine detail is rendered accurately. Contrast levels are subtle, as they should be and dark scenes are accurately represented with only a slight loss of fine detail to speak of. Unfortunately, there are several scenes that exhibit pixelization that breaks apart background information. There is also the inclusion of some minor edge enhancement that, while not terribly obtrusive, is nevertheless present. This special edition includes a wonderful featurette and Emma Thompson's witty acceptance speech at the Golden Globes - a real treat. FINAL WORD: There's no costume drama of the 90's more poignantly captured. A British legend becomes an American Movie Classic. Get this one!

A classic based on a classic
It seems that for a few years, Hollywood couldn't turn out Austen movies fast enough. This is the only English production of the bunch, and it is wonderful.

The casting is perfect. I thought it very silly that Emma Thompson was going to be the 19 year old Eleanor, and since she produced the movie I thought that was just silly vanity. But she is actually perfect as the too-sensible-for-her-own-good Eleanor. Kate Winslet is great as flaky Marianne. Even little Margaret (Austen's only fully-realized child character) is great as the spunky pre-teen. I remember when the movie came out one reviewer said that Hugh Grant's character "looks like he's forgotten to take the coat hanger out of his clothing" and that is so true... but he's so good as the clueless cad.

The film is beautifully shot, with great sets and scenery. It's a little hard for a modern person to understand why the Dashwoods were so upset to have to move to such a charming cottage! Historical perspective is maintained in the movie, though.

It is also very well written, with my very favourite line in any movie appearing (though I've read the book twice looking for it). Truly words to live by, Mrs. Dashwood tells blabbermouth Margaret that if she can't think of anything appropriate to say, "please keep your conversation to the roads and the weather!" Advice that has never failed me yet :-)

Great commentaries (contains spoilers)
When I first heard this film was being made and that Emma Thompson and Hugh Grant were going to be in it, I thought, "Yes! Hugh Grant as Willoughby and Emma Thompson as the unpleasant sister-in-law!" But no. However, the commentaries explain the casting and then it made more sense. By the way, Kate Winslet is perfect and Alan Rickman gets the girl.

Very Good Indeed!
This is a wonderful movie with a wonderful cast and beautiful script. I don't really know what else to say except that I absolutely adore this film. Alan Rickman is superb as Colonel Brandon, I fall in love with him over and over again each time I watch this movie. He's wonderful, as is Hugh Grant as Edward Ferrars. Both characters are so likeable and real, they fit perfectly with their characters and make each viewing as enjoyable as the last. Kate Winslet, as well, is one of my favorite actresses. She fits so well in period pieces like this one.

This film is great whether or not you've read the book. It's good all on it's own. My only complaint is that I cannot picture Eleanor as only 19. While I've always pictured her well above her years, I have a difficult time accepting her age in the film. This is overlooked by Emma Thompson's brilliant portrayal of her. ... Read more

Reviews (1047)

Spider-man spins a complex web of humanity in characters
An excursion to Columbia University science lab transforms the bespectacled Peter Parker (Tobey Maguire) with miraculous vision, sculpted body after a genetically-altered spider bits him. He possesses agility in leaping from skyscrapers and can spin webs from his wrist. Henceforth he assumes the identity Spider-man to combat evil manifested in the form of the Green Goblin (Willem Dafoe), a Species-look-alike perpetrator that terrrorizes the city with a glider that drops bombs.

Spider-Man embodies the heroics created by Stan Lee and Steve Ditko who had graced the popular Marvel Comics to become an comic icon as a crime-buster - and now the film further increases the fanaticism. It is a US 140 million blockbuster and gaudy with sleek costumes and galvanizing stunts. It is digitally-enhanced F/X to capture panoramic swings in its most realistic and The Times Square action-sequence is one of the most dazzling in cinematic history.

Yet the superhero adventure fails to surprise because of its conventional storyline of good-vs-evil. The self-discovery and mutation renders so much punch that the second-half falls relatively lack-lustre. Fortunately Spider-Man spins a complex web of humanity and empathy for the characters - and Tobey Maguire as the lead is the emotional core who captivates with his vulnerability in handling his growth traumas, doubts and fears. No less sterling is Willem Dafoe who is all hysterics and maniacal in his split personality inherited from the aftermath of a blundered experiment. Kirsten Dunst as his love-interest Mary Jane, James Franco as his buddy and even his uncle Ben played by Cliff Robertson show surprising dimensions.

Spider-Man is thus an evocative tale of a hero struggling with his adolescence, betrayal and murder. And Sam Raimi displays the same sensitivity here with his eariler works like Darkman with his flawed avenger. He directs it with eye-popping visuals like Army of Darkness and the comic hero resonates in its true-self. Its brooding hero is what makes Spider-Man a nifty web - and Maguire has definitely triumphed the cynics with his soulful spin.

Spinning A Worthy Web
Spider-Man is an entertaining film that is a great summertime, popcorn movie. The film explores the origins of the transformation of Peter Parker from nerdy high school student to the web slinging superhero Spider-Man. Tobey Maguire is quite good in the title role. He plays the character with the right amount of torment as an outcast who has been put down all his life, but injects pride, joy and happiness into the Peter from his newly bestowed powers. Kirtsen Dunst is Peter's next door neighbor, Mary Jane Watson. Ms. Dunst is not given much to work worth in the character, she is the requisite love interest, damsel in distress but she is appealing in the role. Willem Dafoe is plays the Green Goblin who is the villain in the film. The Goblin's alter ego is Norman Osborne who is the rich father of Harry (James Franco), Peter's best friend and roommate. Mr. Dafoe is perfectly cast as the Goblin and he handles the character's schizophrenic outbursts with creepy aplomb. Mr. Franco plays Harry sullenly and he appears as if he is moping through the picture. J.K. Simmons plays Daily Bugle editor J. Jonah Jameson as a pushy, demanding blowhard who listens only to himself with hilarious results. People have criticized the fighting and action scenes, but they are really no better or worse than most current action films. There are some Matrix like sequences with the slow motion, but these scenes actually help show Spider-Man's spider senses that allow him to anticipate and react quickly to danger. The film was a box office smash and we should expect to see numerous sequels that will hopefully be as appealing as the first installment.

ETMR - Spiderman
1. Humanity: What events in the film drove Peter Parker to adopting his vigilante attitude toward crime?

2. Implications: How is Spiderman's understanding of "with great power comes great responsibility" an example of contemporary American thought? Think specifically about the nature of evil and the propensity toward intense individual classification when one's existence becomes threatened.

3. Evolution: Spiderman was a hero born out of the 60s, springing from both the dangers of genetic manipulation and the problems of substance abuse (in the form of Oscorp Chemicals). Raimi makes little mention of the chemical abuse in the story, and paints it in a much simpler picture of the probable evil in man's soul and the strange world of pseudoscience. Therefore, it is obvious that in many ways, the film departs from its traditional conditioning while remaining loyal to the original personalities of the characters. In which ways is Spiderman the hero shown to be a creation of the contemporary age, versus a creation of the 60s, in the film?

4. Realism: America has a long history, not only in comics but in legendary history, of people who take the law into their own hands. If a being like Spiderman existed, could he survive in our real world, or is he only a dream?

5. Stageplay: Spiderman is classicly a cynic, an individual thinker, an avid contemporarian (someone "in" the times), a man of passions (versus someone who could care less), an irreligious jokester and a man who is not sure of his destiny, but lives to succeed. Do you feel Maguire fulfills this role? Some critics say he is too much of a "boy" to fill Spiderman's shoes, while others claim it is his boyishness that charms us into belief. What do you think?

Spiderman
This was a good movie with lots of great special effects and action sequences. If you like superhero-type movies you'll really enjoy this family oriented movie. I would recommend this movie.

Spiderman, Spiderman, watch this movie when you can
This movie has exceeded my expectataions of it far beyond my belief. Probably because I went in thinking that it would suck. I'm just not into this kind of stuff. Of course, I'm a closet "Batman" fan so I guess it does say something. Anyway, I really enjoyed this movie. The cinematography was awesome! From all the camera dynamics following Spidey's twists and flips, you really felt that you were flying through the air with him. The cinematography also had a warm, upbeat feeling to it. It was one of the main reasons the movie kept my eyes glued to the screen.

The second reason is, of course, the actors. From Tobey Maguire's clumsy but lovable Peter Parker to Kirstin Dunst's beautiful Mary Jane Watson to Willem Dafoe's deliciously evil Green Goblin, the actors most definitely made the movie. The producers certainly picked the right people to handle the characters.

The only downside to this movie was that the opening credits were too long and too boring. ... Read more

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This 1967 film took home lots of Oscars for its fascinating drama about a Philadelphia detective (Sidney Poitier) who assists a redneck Southern sheriff (Rod Steiger) in solving a murder. A study in racism that ebbs a bit through the collective and shared need between a black man and a white man who don't want to be working together, the film continues to strike a chord today. Steiger is a mass of snarling danger, Poitier a bundle of nerves covered in class. Norman Jewison (Moonstruck) directs with a keen feeling for the cultural and social atmosphere of the setting. --Tom Keogh ... Read more

Reviews (34)

Explosive Mystery-Drama
In The Heat Of The Night is an explosively powerful murder mystery that at the time of its release in 1967 was quite controversial. It deals with a black detective, Virgil Tibbs (Sidney Poitier) going to a small southern town to investigate a murder. At first he meets the usually hatred and racism from the local cops led by the gruff and racist sheriff, Bill Gillespie (Rod Steiger) He is arrested and accused of the murder, but when discovered innocent, he goes on to solve the mystery and gain the respect of the sheriff. Both Mr. Poitier and Mr. Steiger are brilliant in the film. Although they do sometimes plays things over the top, the acting fits the mood. The actors make a fine team and they push one another to excellence. The supporting cast is quite strong with Lee Grant, Warren Oates and William Schallert and Norman Jewison guides the movie with his deft hand. Haskell Wexler's cinematography is sharp and Quincy Jones' soundtrack is right on. The film went on to win the Best Picture Oscar and Mr. Steiger took home the Best Actor prize.

Cinema's all-time best detective thriller.
Between the dark film noir of "The Maltese Falcon" and the creepy gorefests inspired by "The Silence of the Lambs," the detective film wasn't exactly a vital film genre. But at least one entry into the genre made a major impact during those years, and that was 1967's "In the Heat of the Night." Since it was released, much has been made of the movie's status as a powerful story of race relations during the time of segregation, but the fact is, these elements are somewhat secondary to its brilliant character studies and expertly-handled mystery investigation. This is THE detective film, and quite possibly THE police film as well.

The film begins with Bill Gillespie (Rod Steiger) -- sheriff of the small town of Sparta, Mississippi -- investigating the scene where a powerful businessman has been murdered. Gillespie's deputies arrest a traveller named Virgil Tibbs (Sidney Poitier) for the murder simply on the grounds that he is black, but he turns out to be a homicide detective from Philadelphia who was just passing through. After being cleared, Tibbs is anxious to leave Sparta, but Gillespie -- in need of such an expert -- convinces him to stay and help solve the case. And from there, we have our movie.

Besides the story, the main thing "In the Heat of the Night" has going for it are the performances of its lead actors. It would have been incredibly easy to portray Tibbs as a noble black crusader, forced by his innate nobility to offer his help in the face of hatred (Poitier had played this type of good-natured gentleman in many of his other films). It would have been even easier for Gillespie to come off as a mindless racist redneck. Neither description comes anywhere close to describing the characters in this film. Virgil Tibbs is arrogant and aloof when we first meet him. He's no hero; he's a real human being who reacts to the way the Sparta police have treated him in the understandable manner of trying to get out of town as quickly as possible. He doesn't want to help them, and even when he's forced to, he lets his prejudices against Southern whites cloud his investigation (Tibbs spends the majority of the film believing one of the victim's business rivals -- a detestable racist -- to be the murderer, only to be proven wrong).

If Poitier's portrayal of Tibbs as a realistic human being rather than a flawless screen hero is admirable, then Rod Steiger's handling of the Sheriff Gillespie character is downright masterful. Bill Gillespie does not like or trust African-Americans, and he makes no secret of this. And yet the filmmakers didn't fall into a cliche trap and take care to show that even though Gillespie is a bigot, he's also a good cop. Unlike certain similar characters (and even some of his deputies in this film), Gillespie doesn't allow his prejudices to stand in the way of his investigation (a character flaw that, oddly enough, Tibbs gives in to while Gillespie does not). This is no "Bull Connor" character; this is a man who knows his job, and does it well. Tibbs and Gillespie begin the movie as two prejudiced men who begrudgingly admit to needing each other's help due to the circumstances (Gillespie's lack of a homicide expert; Tibbs' being forced to remain in an unfamiliar and hostile environment), and end it with a powerful respect for one another.

"In the Heat of the Night" won Best Picture at the 1968 Academy Awards (the first detective film to do so), and Steiger took home the Best Actor award for his career-best portrayal of Gillespie. (Because this, "Guess Who's Coming to Dinner," and "To Sir, With Love" were all released in the same year, Poitier was unable to consolidate enough votes for any one film and thus failed to be nominated; Norman Jewison lost Best Director to "The Graduate"'s Mike Nichols.) That perfectly sums up this film's legacy: a brilliant film with two powerful lead performances, and an all-time classic of the detective genre.

Just About as Good as a Movie Gets
In 1967 Poitier made this movie and Look Who's Coming to Dinner. Both were extremely well received and this won academy awards for best picture and best actor. Poitier's career slid downhill from here almost immediately. That his status as The Greatest Black Actor Ever hasn't diminished nearly 40 years later is a testament to his excellence and influence in the late 50's and the 60's up until '67. The movie is nearly perfect. Rod Steiger gives the performance of his career. Poitier is excellent, of course. The story is good but the movie is really about the racial tensions and two men forced to work together despite their desire not to be in the same room together. Also at hand is a backward and archaic South being slowly dragged kicking and screaming into postwar 20th century.

TENSIONS FLAIR IN THE HEAT OF THIS NIGHT!
"In The Heat of the Night" is the racially charged melodrama that made Sidney Poitier a star. Poitier is Det. Virgil Tibbs, an out of state detective assigned to investigate a racially motivated crime in the deep South. Tibbs' initial congenial good nature immediate brand him a push over by both his fellow officers and the populous. But Tibbs is a man of conviction. He immediately runs into interference from Police Chief Bill Gillespie (Rod Steiger), a bigoted and pompous law man who begins to change his ways when it turns out that Virgil's hunch on the case might just turn out to be true. Both the central performances of Poitier and Steiger, and the unlikely bond and ultimate friendship that ensue, are electrifying reasons to revisit this powerful drama of the 1960s. Lee Grant, Beah Richards and Warren Oates costar. In the late 80s "In The Heat of the Night" became a prime time television series starring Caroll O'Connor. But by then much of the tempestuous and confrontational aspects of its subplot had been removed.

MGM/UA gives us a non-anamorphic widescreen DVD. Colors are severely dated with a lot of fading present throughout the print. Age related artifacts are everywhere and sometimes distract. Black levels are often weak. Pixelization is primarily responsible for an unstable image. The audio is mono and badly dated as well, strident and poorly balanced. There are no extras.

STEIGER AND POITIER AT THEIR HEIGHTS OF POWER
In 1967, Sidney Poitier again stirred the red-necks with "In the Heat of the Night", where he plays Virgil Tibbs, a competent Philadelphia cop stuck overnight in a Mississippi town. It must be 110 degrees at night. The white boys sweat like stuck pigs while Virgil is as cool as a cucumber in a Savoy Row suit. The sheriff, Rod Steiger, is discomfited by circumstances in which Tibbs is "lent" to him to solve a murder that happens to occur when he is there. In working together, layer after layer of characterization is stripped away in marvelous fashion, through the skill of director Norman Jewison (who tells everybody he is not a Jew, he is Methodist), until understanding between the two men become a metaphor for the healing of a divided America. Very good stuff.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

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Ron Howard's 1989 hit, written by fellow family men Lowell Ganz and Babaloo Mandel (Splash, A League of Their Own), is an original comedy about contemporary life and the eternal responsibilities of raising children. Steve Martin has never been better than as a dedicated husband and father trying (and inevitably failing, as do most of us) to balance the demands of his kids and his job. The actor, like his character, throws himself into the part quite touchingly, never more so than in a scene where a hired clown fails to show up at a children