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For all of its conventional plotting about an obsessive-compulsive curmudgeon (Jack Nicholson) who improves his personality at the urging of his gay neighbor (Greg Kinnear) and a waitress (Helen Hunt) who inspires his best behavior, this is one of the sharpest Hollywood comedies of the 1990s. Nicholson could play his role in his sleep (the Oscar he won should have gone to Robert Duvall for The Apostle), but his mischievous persona is precisely necessary to give heart to his seemingly heartless character, who is of all things a successful romance novelist. As a single mom with a chronically asthmatic young son, Hunt gives the film its conscience and integrity (along with plenty of wry humor), and she also won an Oscar for her wonderful performance. Greg Kinnear had to settle for an Oscar nomination (while cowriter-director James L. Brooks was inexplicably snubbed by Oscar that year), but his work was also singled out in the film's near-unanimous chorus of critical praise. It's questionable whether a romance between Hunt and the much older Nicholson is entirely believable, but this movie's smart enough--and charmingly funny enough--to make it seem endearingly possible. --Jeff Shannon ... Read more

Reviews (226)

Jack, Melvin; Melvin, Jack
Perhaps the most overrated film of the 90s, "As Good As It Gets" is still a quality movie about a man who is mean and surly seemingly for no other reason than because he is supposed to be. Jack Nicholson plays the obsessive-compulsive romance novelist Melvin Udall. Melvin lives across the hall, in a nice New York apartment building, from gay artist Simon Bishop (Greg Kinnear). Melvin also develops a crush on single mom waitress Carol Connelly (Helen Hunt) who has a perpetually sick child named Spencer (Jesse James).

Melvin is moved to be human by the trials he witnesses Simon and Carol experiencing. While he is never able to be entirely decent, Melvin thaws a few degrees by the end of the film to the point where he can maintain a normal relationship with two people who he, by all appearances, should despise.

And they all lived happily ever after. Sorry I couldn't help throwing that in there.

"As Good As It Gets" does have its strong points; but, it is plagued by one enormous problem that has a tendency to afflict these types of films: its own sense of self-righteousness. The movie practically points an accusatory finger at the viewer as if to say, "You little people probably hate the kind of people you see in this film and we're going to show you why you're wrong".

This film is also harmed by the overacting of Helen Hunt. I never understood the Helen Hunt buzz that went crazy in the late 90s. She always seemed to be someone who was in the right place at the right time and was not much better than an above average actress.

Of course the true saving grace of the film is Nicholson. Melvin Udall is the Nicholson character who I think he most likely is when the cameras are turned off. Not the OCD aspect to Melvin but the relentless disgust for other people. This is not necessarily a bad trait in a movie star.

This film is very similar to another film starring Helen Hunt called "Pay It Forward". If you can get over the 'holier than thou' attitude of either film, they're not that bad.

A BEAUTIFUL MOVIE.
It seems like year after year after year I am consistently disappointed with the films and actors chosen for Academy Award nominations. I usually don't even bother to watch the awards show because it's very rare that there is anyone I really want to win. 1998 was one of those rare exceptions...and it was because of this movie.

There is something about Helen Hunt that fascinates me. Not only is she able to display believable emotions but more importantly she always comes across as someone whom the viewer truly, deeply cares about. I am not embarrassed to admit that I cried on more than one occasion during this film. It was at times heartbreaking to watch her character suffer through so many difficult situations.

"As Good As It Gets" features the talents of Helen Hunt, Jack Nicholson, Cuba Gooding Jr., Greg Kinnear and the underrated Shirley Knight. There is, of course, a plot to the film but it seems secondary to what this movie really is about...human interaction. Jack Nicholson plays Melvin, a completely neurotic person who won't step on cracks in the sidewalk and actually brings his own silverware to the only restaurant he'll eat at. Helen Hunt plays Carol, a waitress with whom Melvin becomes quite smitten with. Simon (Greg Kinnear) is a gay tenant in Melvin's building and Kevin (Cuba Gooding Jr.) is his lover.

Circumstances come about which send Melvin, Carol and Simon on a road trip to remember. I would usually go more into detail about the plot mechanics but they seem almost trivial in a movie of this caliber. The true enjoyment is watching some of the finest actors of our time doing what they do best. You really want to see these characters find true happiness. If you are one of the few people who have yet to see this film then please, please go out and rent it...or better yet, buy a copy. You'll be crying with Helen Hunt, laughing hysterically at Jack Nicholson's antics and will feel amazingly fulfilled when the beautiful ending rolls around. "As Good As It Gets" is a modern classic.

pretty boring........yup........boring........(snore)
I watched this movie twice. Both times it sucked. I thought maybe if I watched it a second time, I would have better luck, but no. The first time I wanted to watch this movie bc I thought it was about the dog (who I could spoil all day!!!!). I don't even think it played too much of a role in that movie. There are a couple things I liked about this movie. Jack Nicholson's acting was nothing less than supurb. The dog was the best thing in the movie. I also liked the one line of the movie (as said in the title) 'What if this as good as it gets?'it was a shock of realism there and i liked that. Also, I loved the gay guy. He was...eh.....kinda funny..... I had to sit through everything else. If all that u wanta see Jack Nicholson in 'one of his best preformances' than u should get this movie. If not, don't waste good money on it.

"Come on in, and try not to ruin everything by being you."
AS GOOD AS IT GETS is...
...a beautiful character study.
...an Oscar-garnering comedy of 1997.
...one of the greatest comedies of not only the 90s, but perhaps of all time.
...sharp, witty, and satirical with praise-worthy performances from all cast members.

Jack Nicolson plays Melvin Udall, a middle-aged writer with obsessive-compulsive disorder and a heart of stone (or what you may first think). Melvin is bigoted, cranky, moody, and often times outright nasty. His morning routine consists of things done in methodical order, immaculate routines. One of these rituals includes his daily breakfast at the local diner, served by the one and only waitress who will tolerate him and his odd demands.

Her name is Carol Connelly and she's a single mother to an asthmatic young son. Hospital bills, as well as life's other expenses, have skyrocketed. Carol is having difficulty making ends meet and struggles on a daily basis. She temporarily leaves work to take care of her child.

Therefore, Melvin can't eat his breakfast.

Greg Kinnear plays Simon Bishop, Melvin's out-and-proud gay neighbor. When he's brutally beaten and left for dead, his trusty little pup is left in Melvin's care, despite the fact that the two men despise each other. Melvin's new babysitting job, along with Carol's absence from the diner, means that life is changing - and for the worst, he believes. Melvin's ordered, hermetic world is falling apart due to these conflicts.

These three entirely different people form a friendship and are soon able to see "the sunny side" of life, so to speak, due to the weaving and intersecting of their lives with each other's.

AS GOOD AS IT GETS is an enlightening comedy that the majority of critics agreed with. It is not a typical screwball comedy; it is instead a thought-provoking, earnest look at the lives of 3 people who at first seem to face normal hardships and tribulations. But, as this film progresses, we find that the characters, played by each of the actors with such grace and such astounding skill, are anything but ordinary. This fine film deserved every bit of praise it received from the critics and audiences alike. I've watched it countless times and it never grows tedious or boring, even when I memorize the dialogue.

AS GOOD AS IT GETS is one of those scarce treasures that finds the perfect and ideally comfortable balance between seriousness and humor. The realness of Melvin, Simon, and Carol is something almost undeniable. What can I say? I love it.

you should be made to touch my pubic hair
the part in the resteraunt where jack tells the adjacent table that they should be made to touch his pubic hair.........jack, baby, your beautiful ... Read more

Amazon.com essential video

The quintessential movie spoof that spawned an entire genre of parody films, the original Airplane! still holds up as one of the brightest comedic gems of the '80s, not to mention of cinema itself (it ranked in the top 5 of Entertainment Weekly's list of the 100 funniest movies ever made). The humor may be low and obvious at times, but the jokes keep coming at a rapid-fire clip and its targets--primarily the lesser lights of '70s cinema, from disco films to star-studded disaster epics--are more than worthy for send-up. If you've seen even one of the overblown Airport movies then you know the plot: the crew of a filled-to-capacity jetliner is wiped out and it's up to a plucky stewardess and a shell-shocked fighter pilot to land the plane. Robert Hays and Julie Hagerty are the heroes who have a history that includes a meet-cute à la Saturday Night Fever, a surf scene right out of From Here to Eternity, a Peace Corps trip to Africa to teach the natives the benefits of Tupperware and basketball, a war-ravaged recovery room with a G.I. who thinks he's Ethel Merman (a hilarious cameo)--and those are just the flashbacks! The jokes gleefully skirt the boundaries of bad taste (pilot Peter Graves to a juvenile cockpit visitor: "Joey, have you ever seen a grown man naked?"), with the high (low?) point being Hagerty's intimate involvement with the blow-up automatic pilot doll, but they'll have you rolling on the floor. The film launched the careers of collaborators Jim Abrahams (Big Business), David Zucker (Ruthless People), and Jerry Zucker (Ghost), as well as revitalized such B-movie actors as Lloyd Bridges, Peter Graves, Robert Stack, and Leslie Nielsen, who built a second career on films like this. A vital part of any video collection. --Mark Englehart ... Read more

Reviews (155)

An Overdose of Comedy
In the 1970's, Hollywood created an endless stream of disaster movies. Having found a "winning formula" they latched onto it and milked it for every penny producing disaster flick after disaster flick until it all became a joke onto itself. Enter Airplane. The result of a couple of guys who, seeing all these airplane disaster movies thought it had all gotten so ridiculous that the entire genre was a joke, a brilliant idea was born. Enter the era of the spoof.

Today we take spoofs for granted but back then the idea was brand new, and thats what makes Airplane such a brilliant masterpeice, it literally spawned a whole new genre of movies that is being copied this very day. Naked gun, or Scary movie would not exist today without Airplane, and yet, Airplane is funnier than every other spoof ever made even all these years later.

Put simply, this movie is non stop rapidfire comedy. It's saturday night live on qualudes. It's nonstop wisecracks and jokes and gags. If you like intelligent critical movies, run away...quickly. This is not your movie.
If however you enjoy pure slapstick a la three stooges, just pure bumbling humour. Totally idiotic side gags. This is your dream come true. This is more than likely the most hillarious movie ever made. It's become a classic like Gone with the wind or the godfather, but for Comedies, and with good reason. The jokes simply are nonstop beggining to end. Right from the opening scene with the Hare Krishna's at the airport until the autopilot waving goodbye in the end scene. The movie simply does not stop for even an instant. At certain points you literally have to stop laughing even if you think a joke is funny just to breath. Don't expect brilliant writting here, it's all slapstick but it REALLY is hillarious stuff. The guys who did this by the way have gone on to write many of hollywoods great comedic scenes and we can see their raw talent to great effect here, completely unrestrained. This is the granddaddy of the Spoof Genre. If you love slapstick, by all means, Get this movie. You won't regret it.

I AM serious, and don't call me Shirley!
The greatest movie spoof and funniest film of all time is on DVD! Directed by the Zucker Brothers, AIRPLANE is the king of all spoofs, putting lame attempts like SCARY MOVIE to shame. The relentless number of gags is the key here, with so many jokes it takes several viewings to catch them all. My favourite gags are the Saturday Night Fever disco mock, the mayhem jokes on the plane (crash postions etc), Stephen Stucker as Johnny ("The tower! Rapunzel!) and the very patient cab driver! And of course, one of the best lines, "Surely you can't be serious!" "I AM serious, and don't call me Shirley!" and "Joey, do you like movies about Gladiators?" Classic! The jokes come fast and frequently, providing enough weird humour to satisfy fans of this genre. Great fun. The DVD extras consist of a terrific Commenatary from the directors and a trailer. More extra stuff would be nice, but the commentary alone is worth it.

Outrageously funny!
God this movie is so incredibly hilarious! Few movies have such witty and original jokes as 1980's Airplane! does. This is one of the best comedy movies of all time and is strongly recommended for those struggling with depression or just want a good laugh.

A jetliner is bound for Chicago but when contaminated fish spreads illnesses on most of it's passengers and incapacitates both of it's pilots, it's up to a war veteran to fly and land the airliner and save the passengers before the illness claims their lives.

This movie is so incredibly funny and is highly recommended for comedy audiences. They sure don't make comedy movies like they used to.

Outrageous Comedy About 70's Disaster Films
Airplane was released in theatres in 1980 and was in production in 1979. Evidently, "Airplane" was a spoof of the 70's disaster film "Airport." This movie was an original concept in comedy at the time that made way for future spoof movies as the Scary Movie series in recent years and the Naked Gun movies in the 90's. Stars Robert Hays, Julia Hagerty, Leslie Nielsen and Peter Graves with a special appearance by Lakers player Kareem Abdul Jabaar. Leslie Nielsen would move on to doing other such comic films, particularily at home with the Nake Gun series and Spy Hard.

The movie was a comic farewell to the 70's, a milieu which this movie holds on to visually- disco music, including a scene ripped off from Saturday Night Fever in which Robert Hays and Julia Hagerty dance while two women fight each other at a disco/bar. The comedy is non-stop and everything is a gag or joke, written into the script. Highlights include an elderly white lady who can speak Jibe or black street slang, Ted and Elaine in an African village as part of a peace corps mission. Ted is teaching the native men how to play basketball while Elaine demonstrates Tupperware to the village women. The movie is cartoonish, over-the-top, silly but lots of fun. Look also for the film's sequel, released in 1982.

One of the all-time great comedies!
Airplane! is most definitely one of the ten greatest comedies of all time, and it's held up well over the past 24 years or so. Normally, this type of parody/slapstick comedy bores me to tears, but I think it's the dry delivery in Airplane! that makes everything work. A classic performance from Leslie Nielsen doesn't hurt, either. Even though this movie spoofed some of the biggest movies of its time period, the fact that Airplane! is remembered just as fondly (if not "fondlier") is testament to how great this film is. Anyone that enjoys comedies must A)Watch this movie, B)Own this movie, and C)Repeat lines from this movie as often as possible. ... Read more

Amazon.com

Get shot in the head and become a better person. This 1991 Mike Nichols(Wolf) film stars Harrison Ford as a big-shot cold-hearted lawyer who gets a bullet in his brain during a holdup. The film de-emphasizes the traumas of recovery to focus on the title character's personality change after the fact. The canny Ford gets to work from his full, familiar palette of arrogance to boyishness, and even builds Henry from top to bottom after the wounded fellow awakens with no memory. But this is a slow and unremarkable film from Nichols, its sentimentality eclipsing all else, most of all profound insight.--Tom Keogh ... Read more

Reviews (39)

In case you missed this movie...
This isn't one of Harrison Ford's bigger hits, but it should be, at least within the dramatic genre. Sure, he's Indiana Jones, and he's Han Solo, but outside of those series, Ford's movie choices have occasionally left this fan, at least, scratching her head (Sabrina? What were you thinking!?).

"Regarding Henry" is a rare little gem of a story, a simple film about a man whose life changes, believe it or not, for the better when he's shot and nearly killed by dint of being in the wrong place at the wrong time. Ford's Henry Turner takes us through a life he doesn't remember, including a daughter and a wife played by an impossibly young and fresh-faced Annette Bening.

Sure, it's a little sentimental. But it's a pretty simple story with a positive feel. Filmed on location in New York City, the Manhattan scenery is rather delightful as well.

It's not film noir, it's not a tour de force of characterization, and no, it's not Academy Award winning screenwriting. But it is a thoroughly enjoyable movie, one Ford doesn't have any reason to be ashamed of.

Sometimes the worst curse is your truest blessing
Despite being less well known, "Regarding Henry" is one of Harrison Ford's best works. The film demands a wide spectrum from this great actor and he delivers convincingly. For the most part, the other performers take their cue from Ford's "Henry" and render a near perfect glimpse of a life that could have been.

The tile character, Henry Turner, is introduced to us as a top-flight litigator for a large New York legal firm. He is well groomed, dressed in a designer suit and he is seen speaking sincerely to a jury about human desires and justice. Our opinion of him changes as soon as Henry leaves the court. He quickly makes a call to his interior designer to berate her for having the wrong table delivered to his palatial home. He is just another lawyer, after all.

It is hard to watch this movie at the start. Henry is one of those men we all love to hate. He is selfish, self centered, successful and confident. His daughter is frightened of him and his wife is a pale reflection of him. Luckily we are not forced to watch this Henry for very long. He makes the classic movie exit and "goes out for some cigarettes."

What follows is a scene that is perfectly directed. Henry walks into a corner store demanding his brand of cigarettes, unaware that the other patron is robbing the owner. Henry does not become scared but before he can even attempt to control the situation, he is lying on the sidewalk with two bullets inside his body and the wail of approaching sirens in the background. This event is the cusp of Henry's life.

Annette Bening plays Henry's Wife, Sarah. She may not be in love with her husband anymore but she needs him. As her financial position becomes clear, she realizes she needs him very much. But she is not unaffected by it all. This is the man in her life, the father of her child, a good provider and protector. Seeing him lying motionless in a hospital bed, drooling and staring vacantly, is probably the most painful thing she has ever experienced. But there is some hope of recovery.

Henry's long rejuvenation at a specialty medical center is like a rebirth. He remembers nothing, coming into his new world without the power of speech or the ability to walk. His midwife/physiotherapist, Bradley, is wonderful. He is full of life, energy and enthusiasm. As Henry is taught to walk and speak and function, Bradely becomes the mainstay of his life. Sarah keeps her distance and Henry doesn't get to see his daughter, (Rachel), at all until the day he is deemed fit to go home, a scary separation from the only people he trusts.

But the Henry that returns to a home he barely remembers, is not the same man that left for cigarettes. He is a little shy, very calm, forgiving, gentle and above all, nice. His transformation is interpreted in different ways by different groups. The movie serves as an interesting depiction of how society views disabilities. His boss is patronizing, his daughter delighted, his mistress is distraught and for the longest time, Sarah doesn't know what to feel.

The ending may be predictable but in this case, it is the journey that we love. Most of us feel we have lost our innocence and that our honor has been a little tarnished by life's decisions. Henry takes us on a trip to see what might happen if we surrendered all the hard won prizes in our life and instead, chose to embrace life itself. This is a film that will make you feel. Some days, that's just what we need.

RITZ!
a great movie. even if you dont like drama i think you will like this one. its about harrison ford gets shot in the head and has to go to rehad to learn how to speak and work again so he can go home to his wife and kid. its not is most knowen movie but still a great one

Worth Seeing
I know this movie was not a big hit when it came out but it is really a good film. Harrison Ford is great as one of his most likeable characters that I have seen him portray. Henry, a corrupt lawyer who withholds evidence when his client is obviously guilty and a womanizer is seriously injured in a robbery. When he comes to, he has lost his memory and has to be re-taught just about everything. His teacher is a very virtuous man, who teaches Henry to enjoy the good things in life (Henry loves most of all Ritz crackers). Thus the mean, cheating Henry who forced his daughter to remain at a boarding school that she hates, is suddenly transformed into a kind man who cares about everybody's feelings.

Eventually, he figures out that the Henry he once was was a horrible person and he hopes never to go back to that life.

Annette Benning is great and beautiful as the wife that had an uncaring husband who all of a sudden loves her more than anything. She has to decide if she is ready to leave the life they led with other uncaring and obnoxious friends.

Priceless scenes, especially those involving Henry and his secretary!

AT LEAST THE FILM'S HEART IS IN THE RIGHT PLACE..
A hotshot, hyper-workaholic lawyer finds himself in the middle of an accidental shootout, loses his memory, and lo and behold, his world goes topsy turvy. Quite predictably, as is the case with pretty much every scene in this feel-good Oscar bait, the man turns over a new leaf, becomes a good father, a conscientious husband and a decent human being. Yawn.

The movie's slowly unfurling narrative and its high predictability levels could have made it a skippable fare, but Ford's rendition of amnesia is moving, and Annette Bening's performance is very impressive. An occasional saving grace is also the music, if you have an ear for that kind of stuff.

Recommended rental. ... Read more

Amazon.com essential video

Maybe "nobody's perfect," as one character in this masterpiece suggests. But some movies are perfect, and Some Like It Hot is one of them. In Chicago, during the Prohibition era, two skirt-chasing musicians, Joe and Jerry (Tony Curtis and Jack Lemmon), inadvertently witness the St. Valentine's Day Massacre. In order to escape the wrath of gangland chief Spats Colombo (George Raft), the boys, in drag, join an all-woman band headed for Florida. They vie for the attention of the lead singer, Sugar Kane (Marilyn Monroe), a much-disappointed songbird who warbles "I'm Through with Love" but remains vulnerable to yet another unreliable saxophone player. (When Curtis courts her without his dress, he adopts the voice of Cary Grant--a spot-on impersonation.) The script by director Billy Wilder and I.A.L. Diamond is beautifully measured; everything works, like a flawless clock. Aspiring screenwriters would be well advised to throw away the how-to books and simply study this film. The bulk of the slapstick is handled by an unhinged Lemmon and the razor-sharp Joe E. Brown, who plays a horny retiree smitten by Jerry's feminine charms. For all the gags, the film is also wonderfully romantic, as Wilder indulges in just the right amounts of moonlight and the lilting melody of "Park Avenue Fantasy." Some Like It Hot is so delightfully fizzy, it's hard to believe the shooting of the film was a headache, with an unhappy Monroe on her worst behavior. The results, however, are sublime. --Robert Horton ... Read more

Reviews (176)

COLD RECEPTION FOR A HOT WILDER CLASSIC
MGM continues to insult the intelligence of the DVD consumer with this 'special edition' of one of Billy Wilder's all time great romantic comedies. Jack Lemmon and Tony Curtis are witnesses to the Valentine's Day Massacre. To stay alive the boys shave their legs, dress in drag and join an all-girl's band fronted by sulty singing sensation, Sugar Cane (Marilyn Monroe). Featuring Monroe's inimitable renditions of "Running Wild" and "I Wanna Be Loved By You" this is a keeper in every respect.
Unfortunately MGM Home Entertainment has done a terrible job of remastering the print. Though the black and white picture exhibits exceptional contrast and clarity, the obtrusive inclusion of edge enhancement, artifacting, aliasing, fine detail shimmering and digital grit make for a really unattractive visual presentation. The sound has been remixed to 5.1, but the dated fidelity shines through. Still, the audio is presented at an acceptable listening level and without much distortion or echo.
Extras included a trip down memory lane with Tony Curtis that is overly long and really dragged down by Curtis' flamboyant hamming it up for the cameras. Oh well, I can't imagine too many people are asking him to shave his legs these days. Bottom line: If you absolutely must have the film I guess you could waste your money on this version. My hope is that someone at MGM will want to revisit this classic at a later date and with a more reputable transfer. Here's to hoping. Besides - nobody's perfect!

Still A Gem
"Some Like It Hot" is one of those great classics that has as much comedy in it as well as it does romance. It is the story of two musicians, Joe and Terry (Tony Curtis and Jack Lemmon), who intenvertidly stumble upon a mob squad hit (The St. Valentine's Day Massacre) and must flee from Chicago to Florida in hopes of getting away from the mobsters. Realizing that two female musicians are needed, Joe and Terry decide to dress in drag, board a bus filled with female musicians, and head to Florida. Of course, one of the leading ladies on board the bus, is the sexy Sugar Kane (Marilyn Monroe), who has guy problems and represents the rebel.

The film has such balance between the comic exploits of Curtis and Lemmon looking out for their backs and trying to pull off this whole female identity without getting caught, and the romantic parts, which involve Curtis' character trying to woo Sugar Kane. While Curtis is trying to make the moves on Sugar Kane, Lemmon's character is trying to escape the advances of a multi-millionare who continally attempts to make the moves on him/her.

There is plenty of double-meaning humor, slapstick humor and fun romance in this movie. It has a little of everything, and it is understandable why most still refer to this movie as a gem.

Transvestites, yipes!
This one shows up on Turner Classics every once in a while, but I hadn't focused till the other night. There's something creepy about dressing like a woman. Some burly men may have no qualms, but I find transvestites, ahh, uncomfortable. I know. It's me and there's nothing wrong with that. In Some Like It Hot, Tony Curtis and Jack Lemmon are cross-dressing to escape some killers. They're not very attractive as women, which allowed me to enjoy the sex identity farce. Farce in America means screwball comedy. If Monroe crawled into my Pullman berth to sleep, hmm -- Lemmon pops one no doubt, and I'm not sure it was in the script if you know what I mean. Then he's swarmed by bunches of scantily clad ladies and the fun escalates. Monroe wears two dresses that give an interesting illusion. What a bod.

No pastry, no butter and no sugar

Director: Billy Wilder
Format: Black & White
Studio: Mgm/Ua Studios
Video Release Date: May 1, 2001

Cast:

Marilyn Monroe ... Sugar Kane Kowalczyk
Tony Curtis ... Joe (Josephine)/Junior
Jack Lemmon ... Jerry (Daphne)
George Raft ... Spats Colombo
Pat O'Brien ... Mulligan
Joe E. Brown ... Osgood Fielding III
Nehemiah Persoff ... Little Bonaparte
Joan Shawlee ... Sweet Sue
Billy Gray ... Sig Poliakoff
George E. Stone ... Toothpick Charlie
Dave Barry ... Beinstock
Mike Mazurki ... Spats' Henchman
Harry Wilson ... Spats' Henchman
Beverly Wills ... Dolores
Barbara Drew ... Nellie
Edward G. Robinson Jr. ... Johnny Paradise
Paul Frees ... Funeral Director/Josephine
Joe Gray ... Mobster at banquet
Harold 'Tommy' Hart ... Second Official
Ted Hook
John Indrisano ... Waiter
Tom Kennedy ... Bouncer
Fred Sherman ... Drunk
Tito Vuolo ... Mozzarella
Al Breneman ... Bellhop
Pat Comiskey ... Spats' henchman
Penny McGuiggan ... Band Member
Laurie Mitchell ... Mary Lou, Trumpet Player
Helen Perry ... Rosella
Sandra Warner ... Emily, Band Member
Grace Lee Whitney ... Band Member
Marian Collier ... Olga, Clarinet Player
Joan Fields ... Band Member
Mary Foley ... Band Member

The cops bust a "funeral" with a casket full of booze--and nothing else. Joe/Josephine (Tony Curtis) and Jerry/Daphne (Jack Lemmon), desperate for work as a bass fiddle player and saxophonist, take a spot as members of an all-girl band, in drag, for a Florida tour, and to get away from gangsters who know that they witnessed a gang war murder by Spats Colombo's (George Raft) gang. There they meet Sugar Kane Kowalczyk (Marilyn Monroe) who has a drinking problem.

The pair are attracting the notice not only of the mob, but also of suitors, including millionaire Osgood Fielding III (Joe E. Brown) and others, and Joe/Josephine falls for Sugar. This is a wacky movie which provides a lot of laughs, and brings out hidden a talent for comedy from Curtis. Billy Wilder did a great job.

Joseph (Joe) Pierre

Hot Comedy, Hot Action, Hot Actress, Hot Jazz, Hot Movie
too Hot to be true, Marilyn Monroe,Tony Curtis,Jack Lemmon star in one of the greatest and funniest comedy classics of all time. The 1959 farse about the two musicians Joe and Jerry, who disquise themselves as women under the names Josephine and Daphne to land jobs as the sax and bow fidle in an all girls jazz band.Where they meet gorgeous songbird Sugar Kane. Also where Daphne meets womanizer Osgood Fielding III.When Daphne is stuck with that "dirty old man" Joe(Curtis) borrows a cup of that sugar(Monroe)as the millionare of Sugar's dreams "Shell Oil Junior". If Your looking for a classic comedy this is a good one. It's AFI's number 1 laugh, or if you want more marilyn, you love her in this one and if your looking for more Curtis and Lemmon they're hysterical in this one. See this classic comedy and you'll get "the sweet end of the lolly pop". As Osgood said at the end "nobody's perfect" well thats true ,but Some like it Hot may be a perfect comedy and as Sugar sang "I'm through with love, well she's not through for long ,but We are not through with this movie, because we love this film so much and we all want to "borrow a cup of that sugar" every time we watch it, "ZOWIE" "Yeah real hot" ... Read more

Reviews (131)

Jennifer's The Graduate Review
The film The Graduate is a classic 1967 release that is directed by Mike Nichols and released by Embassy Pictures. The film earned $50 million in 1968, which is number one money maker in that time.
Director, Nichols, won the Academy Award for Best Director. The film was also nominated for 6 other Awards, Best Picture, Best Actor and Actress, and Best Supporting Actress. The soundtrack featuring songs by Simon and Garfunkel was gold in 1968 and "Mrs. Robinson" was number one on the charts for four weeks.
College grad (Dustin Hoffman) does what his parents and other people tell him to do including family friend Mrs. Robinson (Anne Bancroft) who tells him to have an affair with her. Then he falls in love with her daughter Eliane Robinson (Katherine Ross), and finally finds something he wants to do with his life.
I give this film 4 stars because I thought Dustin Hoffman did a good job. I thought that the music complimented the movie nicely as well. It was a good film.

always relevant no matter what year you graduated!
This movie put Dustin Hoffman on the map -- it is the tale of Ben (Hoffman) and his uncertainty about what to do with his post-collegiate future (despite his neighbor's advice that the future is in plastics.) At his graduation party, he meets up with longtime family friend Mrs. Robinson (Anne Bancroft) who proceeds to seduce him ("I think you're the most attractive of my parents' friends, Mrs. Robinson.") They have a secret affair for quite some time.

Then, Ben's parents think it would be nice if he dates Elaine, that nice Mrs. Robinson's daughter! They set up the date, paying no attention to Ben's wishes against it. He acts like a complete jerk during the date so Elaine won't like him, then ends up falling for her anyway. This ends up with him proposing to her later, even when she has decided to marry someone else. The wedding scene is dramatic, and has been parodied on everything from Wayne's World 2 to The Simpsons.

The writing is hilarious, and Hoffman's delivery is great - upon seeing Elaine's finacee approaching them, he gives the sarcastic praise: "He's a good walker!" I love Ben's mom's over-the-top scream of delight when Ben announces he is getting married -- though he hasn't actually asked Elaine yet. And in the scene at the zoo, when Ben is left alone watching Elaine walk off with her fiancee, the camera cuts from the actors to a pair of monkeys grooming each other, and then to a lonesome gorilla. (I think they were trying to be dramatic but I found it funny.)

The Simon & Garfunkel soundtrack is great, and the acting is superb. Ben's father is played by William Daniels, also known as the voice of KIT on the 80s show "Knight Rider" and Mr. Feeny on "Boy Meets World". Ben's landlord at a boarding house is Norma Fell, Three's Company's 'Mr. Roper' (does he always play a landlord?). A great film!

THE Coming of Age Movie
This one is fantastic and very relevant even now a days. Dustin Huffman's breakout film has wonderful performances by all of the actors, a great story, beautiful filmography and a fantastic sound track by Simon and Garfunkle.

Bad movie, no donut
I was 21 when this came out, it was pointless then and still is.
Hoffman was no actor and still is not.

A Beautifully Crafted Film
This movie is a classic example of how good films were even as recent as the 1960's. The plot itself is not so original (young man has an affair with older married woman), however the movie is done in such an artistic way that the affair itself is put in the backseat for most of the film. If this movie were to be remade today, it would have been very sexualy charged and raunchy will the majority of the content focusing on the actual affair itself. However because this movie was made during a time when true quality and craftsmanship was appreciated, the themes are delicate and subtle. It really makes you use your imagination and look deeper into the storyline, rather than just the obvious. The backdrop (Southern & Northern California), the wonderful musical score (Simon & Garfunkel) and great cast made this movie very worthwhile to see as well. If you enjoy movies made with thought and care behind it, you should definitely check this one out! ... Read more

Reviews (120)

Excellent Satire - Incredible Acting from Peter Sellers
This film came out in 1979 and seems to get better every year. It is the bizarre story of a blank slate of a gardner who literally has never been outside of the walls of a single house until he is in his 40s or 50s. The entire view of this man comes from watching television.

The basic story is quite simple. As Chance the gardner is forced to leave the house he has lived in as a child, he is hit by a limosine transporting the wife of a dying plutocrat. Taken to the home of the plutocrat, he eventually meets the rich and powerful of the land (the president included)and is taken to be an oracle of wisdom with his simple statements about gardening and the television he has watched. It is a great satire that just keeps getting better as we rely more and more on soundbites for our information.

The best part of the film is Peter Sellers who plays this absolutely blank, innocent, and slow-witted person with complete aplomb. I remember an interview with Sellers when the movie came out, and he said it was a real struggle to develop an accent that had no roots at all -- a perfect blend of voices heard on television. He plays the movie absolutely straight, the comedy being how people react so seriously to his child-like comments. For example, in a television interview about the economy, people take his comments that "there is always growth in the spring" to mean an end to a recession when he is simply talking about his garden.

This is a unique film with lots and lots of subtle humor (no slapstick ala Clouseau). There are some very funny moments as people react to Peter Sellers, but the humor always comes back to how we choose to see the world. There is no deception of the part of the character of the gardner -- it is everybody else who plays the fool here.

This is a definitely a movie to own and to watch over and over. I know some people who have found it a bit slow, in that very little really happens -- it is almost a comedy of manners. It is a great memorial to Peter Sellers from one of his very last movies.

"I like to watch..."
Peter Sellers is wonderful as the simpleton gardener who in middle age finds himself in the real world for the first time and through a series of coincidences is hailed as a genius with all cures for mankind's problems. As a confidante to a wealthy philantropist, Chance the gardener is introduced to the President of the United States. Paraded through formal dinner parties, invited as talk show guest, and eventually investigated by the CIA, "Chance Gardener" becomes an unprecidented enigma .

A star-studded cast includes a beautiful Shirley MacLaine as the tycoon's wife who is very attracted to the "inexperienced" Chance. Melvyn Douglas took the Best Supproting Actor Oscar (his second) for his role as the dying philantrophist.

The slow moving yet poignant film offers many observations about people and how they are perceived by new acquintances. Peter Sellers' character benefited greatly from his handsome, classy attire when forced out of his home of many years. His simple speech would have been taken as foolish babble, had the man been dressed in rags.

There is a particularly moving scene near the end of the film, when Chance's benefactor is layed to rest. Seemingly disinterested in the ceremony, Chance wanders off, examining nearby plant life, to see what improvements need to be made. The DVD version offers a hilarious set of "bloopers", showing how Sellers can't get through the lines without laughing out loud.

"Being There" is certainly quite a departure from any standard comedy/drama. Not for everyone, but worth a chance!****

Two movies in one!
This is really two different movies. Most viewers will watch the DVD up until the credits start, hit the Stop and Eject buttons and will have seen one, admittedly excellent, story.

BUT... those lucky few who tend to watch the credits to the end...will get a mind-snapping shock! For there's one additional scene burried in the credits, a scene that changes the entire meaning of the movie - and will send you back to chapter 1 to watch the entire film all over again.

And you will then see the SECOND story.

It was THIS movie that has led me to sit in theaters until the end of the credits ever since!

I'm very hungry
My wife and I tend to quote lines from this wonderful movie, much like I do on the golf course with Caddy Shack lines. As Caddy Shack is to golf, Being There is to life: a delightful comedy but with meaning.

Brilliant and haunting.....
This film is like none I have ever seen before. In the past, when I thought of Peter Sellers (who plays lead character "Chance the Gardener"), my mind automatically went to Inspector Clouseau from the Pink Panther series. I thought of the bumbling, clumsy and silly detective in hot persuit of the pink panther jewel. What a terrific change of pace! I really got a sense of Peter Sellers' depth as an actor in this brilliant film. Sellers, Melvyn Douglas, and Shirley Maclaine were all strong leads in this story, along with a great supporting cast.

BEING THERE tells the story of Chance, the Gardener, a simple man who spends his entire life gardening in the backyard of his boss' house, until one day the old man passes away. When a couple of journalists come around to find out more about the former master of the house, Chance is the only one there. The house must close, and for the first time the man must make strides into the big, wide world. This world is like nothing he could have ever imagined outside of the house where he worked. One thing that keeps him tranquil and holds his attention is the television. As Chance says, "I like to watch." (this line is misinterpreted a few times during the course of the movie.) By chance, Chance meets up with Shirley Maclaine the wife of an elderly billionaire. This is just the beginning of an intriguing series of events where Chance--renamed Chauncey Gardner--the simple man who speaks of plants and their growth (the only real knowledge he has about the world) becomes central as wise sage in one of the most intriguing political ventures.

This film has moments of laugh-out-loud comedy, and serious elements as well. (The final scene is chilling.....that is all I am going to say......)
Check it out if you are in the mood for something completely different. In the words of Chauncy, this is definitely a film "I like to watch." ... Read more

Amazon.com

Julia Ormond faced one of the great challenges of her career when she tried to re-create Audrey Hepburn's title role in the 1995 remake of 1954'sSabrina. Happily, Ormond performed admirably, and while she may not have the same gamine charm of Hepburn, she makes the role her own. In fact, her transformation from mousy girl to sophisticated young woman is actually more dramatic in this updated version. The basic plot is the same--chauffeur's daughter falls in love with the son of the rich household, only to be wooed away by the older brother for business purposes--but it has been entertainingly modernized: The head of the Larrabee household is the strong matriarch (Nancy Marchand); Sabrina goes to Paris to work with a photographer instead of going to cooking school (although that means the wonderful "new egg" scene of the original had to be ditched); David's (Greg Kinnear) character has been toned down and made more sympathetic; and Humphrey Bogart's revolutionary plastic has become the flattest TV screen ever made. Lauren Holly does a fine job playing Elizabeth Tyson, David's fiancée. If you watch this for its own worth--instead of comparing it to the original--this will prove to be a terrific lighthearted romantic comedy.--Jenny Brown ... Read more

Reviews (93)

Julia Ormond shines in role played by Hepburn!
Being a huge Audrey Hepburn fan, I NEVER thought I would find the remake as entertaining as the original. But was I ever wrong!

Julia Ormond's transformation to the luminously beautiful "woman of the world" Sabrina, is every bit as believable as Hepburn's earlier transformation. Ormond's chemistry with Harrison Ford is far more believable and charming, as Linus tries to distract Sabrina from her obsessive fascination with his younger brother, David, now engaged to the daughter of a business associate.

Harrison Ford gives his portrayal of Linus the needed humanity that Bogart's portrayal lacked. Linus, in Ford's capable hands, revealed the weight of being the older, more responsible brother, in whom the family fortune rested. Yet, Linus yearned to fall in love, and until Sabrina's return from Paris, and their mock courtship, he didn't believe it could ever happen. I really believed he was falling in love with Ormond's Sabrina.

Ford's Linus seemed genuinely heartbroken when he admitted the truth about the Paris trip to Sabrina. He watched with dismay, as her heart broke, to realize he'd been playing her for a fool during their romance. That's why their reunion in Paris, at the end, was so satisfying!

Greg Kinear's David was also more humane and less calculating, than William Holden's in the original version. I felt David's anger at his brother's deceptive romance of Sabrina. And so his punching Linus was a more realistic response.

I highly recommend this movie to all romantics! It also makes a great date film. A great update of an earlier classic, this film may well become a classic in its own right.

Enjoyable, more meaningful/romantic version than original
If you look through the reviews for this version and those for the old B&W, you'll see that there is a little debate going on about which is better. Really, both films have their merits. The original was cute and unpretentious, presenting a fragile Audrey Hepburn in some fashionable clothing (including that absurd gown she dragged through the tennis court scene). But this recent version has the benefit of having a much more appealing hero. Harrison Ford, though he is awkward in romantic roles, is still a far better choice than the clumsy and unattractive Humphrey Bogart. Ford plays the lead, Linus Larrabee, the oldest of two brothers and the responsible (even greedy) one. Greg Kinnear gives a brilliant performance as the younger brother, David, a playboy with only women on his mind. Caught between the two is Sabrina, even more brilliantly played by Julia Ormond. Unlike Hepburn, who presented a shy and awkward Sabrina, Ormond plays the role with not just shyness or insecurity, but an underlying gentleness that fleshes out the character, making her very real and very appealing. Each scene, she delivers just the right amount of insecurity combined with the right amount of emotion, and each line is delivered perfectly. Yet you are never aware that she is acting. The interactions between Kinnear and Ormond have tremendous "chemistry", more so than those she has with Ford. But between Julia and Greg, or rather their characters, there is so much honesty and quite frankly such superb acting that what you are witnessing is not some celebrity actors playing themselves playing a role, but two true actors who make it all look natural. (I know, something Hollywood typically doesn't appreciate.) Their scenes bring a passion and a reality to the film that is rather inspiring -- I'd like to see these two paired again, this time as the lovers and not those who end up "just friends". The storyline is played gently, more for comedy than drama. This film owes a lot to its predecessor, but I have to vote that this is the better, more charming, more emotional and more natural version. The cast of supporting characters is marvelous and expert, including Nancy Marchand as the Larrabee matriarch, John Wood as Sabrina's sensible father, Angie Dickinson and Richard Crenna as the Tysons of Tyson Electronics and a billion dollar merger if David marries their daughter, a physician played by Lauren Holly. Dana Ivey is Mack, Linus' secretary, who has all the funny lines ("We were up to our arms in your underwear drawer. It was like touching the Shroud of Turin.")All the supporting cast do a wonderful job of, well, supporting the stars. The pace never lags, the fun and the drama don't stop. The DVD version has excellent sound and color picture. This is a good investment if you want to see a film that is adult, gently dramatic, clever, and pure pleasure.

My Favorite Movie, Bar None
This movie is wonderful. It takes an already-good plot and updates it -- an Ever After for our classic Cinderella story. The new Sabrina is more self-sufficient, worldly, and her relationship with Linus is much more mature than the variety of relationships portrayed in any movies from Hollywood's Golden Era. It's not that the first Sabrina isn't a wonderful classic, but while that one was classic for its fairy-tale quality, and cute scenes that could never be truly be duplicated, this one meets the demands of an audience who today, wants proof that these are actually two people in love. With Ormond's character, we, the audience, understand and participate in her transition from teenage infatuation to mature love. There are no petty emotional mind-games here, as are so common in Bogart-era romantic comedies.

In addition, the actors themselves add considerably to the movie's success. Kinnear's David matures as well, from playboy to partner, and it is easy to see that his relationship with his brother has played no small part in the formation of his playboy image. Additionally, many of his lines are priceless. Ormond delivers a few ringers as well, including my favorite, when she refers to Linus as "the only living heart donor."

And all this is without speaking of the music. The soundtrack is excellent. The score is classy for its infusion of jazz, yet made passionate by John Williams' unmistakable orchestration. Sting also contributes a haunting ballad. It all fits beautifully into the movie.

Everytime I watch the new Sabrina, it makes me cry. And I'm not the crying type. I highly recommend it -- not as a remake, but on its own merit.

Enjoy it without comparing it to the original
In addition to this movie I've also seen the older one starring Audrey Hepburn and Humphrey Bogart, and I found that both can be enjoyed almost as two different kinds of films. Though not without its moments of drama, the Bogart/Hepburn film was lighter, more sparkling and witty, but also a little more shallow. In that movie, I couldn't understand the attraction between Bogart and Hepburn; they never seem to connect across their age gap.

In this remake of Sabrina, Julia Ormond gives a performance that's more mature and has more depth. Once she goes to Paris and grows up, she truly grows up (unlike Hepburn, who is loveable but too childlike). The love that develops between her character and Harrison Ford's is more believable; the movie takes more time and trouble to develop a plausible relationship between the grown up chaffeur's daughter and the billionaire without a social life. In addition to that, it also has witty dialogue and funny moments, just like the original.

Genuinely terrible remake of movie classic
This is a simply awful remake of the 1950s original with Audrey Hepburn, Humphrey Bogart and William Holden. Their roles are reprised by Julia Ormond, Harrison Ford and Greg Kinnear.

Of the three leads, Greg Kinnear (David Larrabee) does the best job. I think he is a very underrated actor, especially after his excellent work in "As Good As It Gets". He even slightly resembles a young William Holden.

Harrison Ford does an adequate but uninspired job as Linus. Actually both Ford and Bogart were both too at least 20 years old to play Linus, who is supposed to be the older brother, not the father. This detracts a little from the romance, which is supposed to be May-September, not May-Decenber in character, but in the original film, Bogarts sheer charisma carried the day. Harrison Ford has many talents, but romance isn't one of them. He's a good performer in action flicks like "Raiders of the Lost Ark" but he just has no chemistry here.

The worst of the pack is Julia Ormond, an otherwise fine British actress ("Smilla's Sense of Snow"). She is everything wrong for Sabrina -- I can only think they picked her for her smooth voice and accent, which do superficially resemble Ms. Hepburn's. But Julia Ormond is too old to play Sabrina (she was in her thirties when it was filmed and Sabrina is supposed to be about 20!) and doesn't come across as an ingenue. She is just plain painful in the early scenes, where the costume/makeup people went into overtime making her a frump with mounds of frizzy hair. Later, she is "transformed" with a short haircut but unlike Audrey Hepburn -- one woman who was utterly enchanting and beautiful with very very short hair, a hard look to carry off -- Julia looks just awful. It's an unflattering cut and served only to make her look even more mature, rather than sophisticated and charming.

Much of the delightful, sparkling dialogue has been chopped out, towards what end I can't imagine. Also, instead of going to Paris and training as a chef (a very acceptable modern profession for a woman!), they have decided to make Sabrina a Vogue fashion photographer (despite no previous interest or background in photography OR fashion). Frankly, I think the writers were getting "Sabrina" mixed up with Audrey Hepburn's other great classic "Funny Face", where she plays a frump-become-fashion-model. There is no other believable explanation! This also ruins her Paris experience, which was handled so delightfully in the original. If that isn't bad enough, they have innocent little Sabrina having a love affair, a point which terribly muddles the whole idea that she is a naive virgin pining for David. OK, frankly, not many girls stay virgins that long these days, but Sabrina had a reason for doing so and the additional lover (who is quite attractive) really skews the storyline off course.

As a fashion buff, one of the great charms of the original film is the utterly exquisite, iconic fashions wore by Audrey Hepburn, who was not only one of the most beautiful actresses of her day but one of the most stylish women ever, period. (Both Edith Head and Herbert Givenchy designed her costumes.) Every outfit she wore in the original film is an absolute style classic. Some, like the dress she wears to the Larrabee's party after returning from Paris -- a white, strapless gown with black embroidery and a long swishy train -- are so absolutely breathtaking that the hairs on the back of your neck go up when you see her.

In contrast, the remake "Sabrina" has some of the lamest, plainest costumes I have ever seen. In the identical scene (the party), Sabrina wears a drab, dark green evening dress. Not that Julia Ormond isn't attractive, but there is nothing dramatic or stunning about her appearance that would make every head turn when she enters...it's even more lame when other characters, like Mrs. Larrabee (the late Nancy Marchand, in her last role) make comments about how ravishing she is.

Actually, while the filmmakers were "updating" Sabrina to be politically correct, I wonder why they didn't consider making Sabrina and her chaffeur father African American or Hispanic? Certainly that would reflect the reality in the 90s of what ethnic background servants to the very rich are likely to come from. (How often do you see a British chaffeur, really? Almost never! and why would Sabrina, who was raised in the US have a British accent anyways?) I think an interraccial romance would emphasize the cultural/economic differences between the Larrabees and the Fairchilds in a way that modern audiences could truly understand. BTW: I think Hallie Berry or Jennifer Lopez might have done very well in that kind of remake, and they each have a "star" quality that Ms.Ormond utterly lacks. Well, just my two cents.

At any rate, this is a lifeless, tired and completely unnecessary remake. Do yourself a BIG favor and rent the original with Hepburn and Bogart and try to forget that this bloated remake was ever made. ... Read more

Amazon.com essential video

Complex to the point of being pleasingly convoluted, this Sydney Pollack film (from a terrific script by Robert Towne and Leonard and Paul Schrader) is an intriguing blend of Western and Asian sensibilities. Mitchum, in one of his best roles of the 1970s, is drawn to the Orient by an army buddy (Brian Keith), whose daughter has been kidnapped. But when he gets to Japan, Mitchum finds that her kidnappers are the shadowy Yakuza, the Japanese Mafia--an organization that is as vicious as it is tradition-bound. He must call on friends he made after World War II for favors and finds himself unintentionally trampling on issues of honor, even as he battles for his life and that of the girl he is seeking. Surprisingly heartfelt and deliciously exciting, the film features a sorrowful performance by Mitchum and a stoically touching one by Ken Takakura. And what great samurai swordplay! --Marshall Fine ... Read more

Reviews (10)

Robert Mitchum at his best
This movie is one of the best action films to be made in the seventies and late sixties. It stays away from the anti-establishment preachiness so popular during that time and goes for classic hard-boiled action. And, as noted by others ,also explores the concepts of honor and friendship. During this time period several of Hollywood's older leading men who had been real studs in the forties and early fifties (Mitchum, Holden, Brian Keith, John Wayne) were turning out some superior action movies with intelligent scripts. The Yakuza is no exception. Here you have two wildly different cultures meeting, clashing, but also finding much in common. Two strong and principled men working together, even though at first they dislike one another, both always having to work at staying true to their principles while dealing with the world and those who are not so ethical. Some might find the message that violence and vengence have a place in the scheme of things and can actually be cleansing to be disturbing, but this story is about two warriors(essentially). The warrior strives for perfection in many things, but pacifiscm isn't one of those. When one is betrayed by a friend,or one's blood is betrayed then retribution must be dealt to the betrayer and sometimes honor can only be restored by cutting off one's finger. To a Western viewer much of this is inconceivable - we're all to enlightened anymore, but I found this movie to have a ring of truth to it. Though when I recently watched it with my wife she found it to be somewhat grotesque. She loves the Lethal Weapon movies - which have as much substance to them as cotton candy. This movie is a much more solid piece of filmaking in which the violence has a place. I found it to be restrained and not gratuitous. It dosen't frolic in death and mayhem for it's own sake. But having said that the action pieces are fantastic. I also own Black Rain which is an okay action flick, but once you watch The Yakuza you'll see it for what it is - a pale imitation. Watch this movie if you get the chance. you won't regret it.

Not a martial arts movie: worth watching!
The Yakuza is certainly worth watching as both film noir and a look at post-war Japan. Mitchum and Ken, classic "tough guys" representing disparate cultures, form an unlikely "buddy team" in what is ultimately an exploration of differences in the Western and Japanese view of life and it's responsibilities. Great writing by Paul Schrader with Robert Towne doing the script doctoring.

A DVD version is now imperative!
This is the landmark film saga of the "tough guy" gangster with a heart of gold, both Japanese and American. In many ways and at many levels it represents an achievement decades ahead of it's time. Quentin Tarantino has obviously been inspired by this film for many of the key scenes of "Kill Bill: Part One", and as such has paid it great homage. It would seem quite likely that the creators of "The Yakuza" had some level of cooperation with actual Japanese organized crime syndicates during it's filming (it has that sense of realism, and the "extras" just look too good), and a behind the scenes account would likely prove fascinating.

A man always pays his debts . . .
Well, if this film doesn't put hair on your chest, nothing will.

Look up 'film noir' in the dictionary and there should be a picture of Robert Mitchum in The Yakuza, alongside Bogie in The Maltese Falcon. It's that good of a film.

The theme is about honor, or "giri." The last bastion of manhood in an relativistic world ambivalent towards heroism, unsure about any values, moral or otherwise, and gone to hell.

Against this background, you may be a tad on the shady side of the law, but do you keep faith with your friends?
For that matter, would you risk taking a bullet for someone you personally loathe but whom you "owe" because he's saved the life of your wife and child?

The plot begins when Mitchum is approached by an old army buddy that he hasn't heard from in decades, save for the annual obligatory Christmas card. His daughter's been kidnapped by Japanese mobsters and he needs his help.

As to Mitchum, his character is established in one line.
"You've been successful?"
Mitchum: "That depends on how you figure those things."

True enough. He has no family, no friends, no one even remotely close. The film noir loner, now in his sixties.

He goes back to Japan, links up with the only woman he ever loved, and the one enemy who can help him gain entry into the dark world of the Yakuza; an ultra-traditionalist latter-day Samurai ( Tanaka Ken ) who "owes" Mitchum.

One small problem, he's no longer a Yakuza. He's been out of the mob for years. When Mitchum finds out this unpleasant bit of inforation and blurts out "I can't ask you to do that!" Tanaka Ken quietly replies: "You already have."

The aged warriors go to it again. A great story of love and betrayal. Acted in a style of understated whispers between flashing katanas that bring the house down.

PUT IT ON DVD PLEASE!...
I have never seen this particular version of the video. I have the original one that came out and guard it jealously! What I cannot understand is why this movie has never been released on DVD!... There are so many underlying themes throughout this movie besides that of the main plot of betrayal by old Army buddies and the honor gained through the loyalty of newly formed friendship between Mitchum and Ken. I've often wondered if I would experience the same feelings Mitchum experienced coming back to Tokyo, if I went back to Saigon and saw those I knew back when I was in Nam. What a feeling to see how much things had changed and yet remained the same. There are many deep themes explored in this movie. Definitely one of Sidney Pollack's more under rated, yet finer films for nuance!... I highly recommend this movie to anyone who wants more than swords and blood. ... Read more

Reviews (2)

Riveting at times, drags at others
A good storyline and relationship between suicidal caller Bancroft and student volunteer Poitier. Views like a timeline of a crisis call. Crisis hotline worker has no idea how to help this woman, who due to a situation which unfolds in flashback, is compelled to kill herself with downers. The reason behind this is interesting but not explored enough. I could have done without the behind-the-scenes interludes at the police station, the phone company, etc. And there is one freaky dance sequence which is totally out of step with the drama going on, but is crazily reflective of the times. "Wait! Let's watusi right here in the middle of this couple's meltdown!"

Bancroft and Poitier give solid performances, but I felt the pairing of some far-out 60s cliches with the story of a couple's troubled marriage was awkward. It wanted to appeal to too many demographics at once.

Still, a snapshot of mid-60s filmmaking with the delectable Bancroft (before she became Mrs. Robinson) is always well worth seeing.

EXCELLENT MOVIE
A SLENDER THREAD is a super movie to watch alone. Not a lot of action - just intense drama. Have watched it many times.911 operators would like this movie. It shows a crisis line in action. ... Read more

Amazon.com

James Stewart was really too old in 1957 to reenact Charles Lindbergh's historic 1927 solo flight across the Atlantic in this movie, but he had no lack of enthusiasm for his role as Lindbergh. Billy Wilder directs this largely engrossing account of Lindbergh's deed, and comes up with some inventive ways (not all of them successful) of dramatizing the pilot's dangerous journey to Paris, which lasted 33-1/2 hours. Stewart is very good in the role, bringing his advanced technique from the extraordinary number of great films he made with brilliant directors (Hitchcock, Anthony Mann) in the 1950s. --Tom Keogh ... Read more

Reviews (19)

A 5 star movie? 10 stars would be more correct
Yellow Airplane book and video review: After my 10th time watching this movie, it still kept the entire family on the edge of our seats. Jimmy Stewart does a great job portraying Charles Lindburg in the worlds first trans Alantic flight. This is a movie which is an important historical document covering the flight of the Spirit of St. Louis, a significant event in the history of aviation. I have one question, however, has this plane ever been flown after its Atlantic crossing? send me email. C. Jeff Dyrek

Inside Lindbergh's Flight
The Spirit of St. Louis is a largely entertaining look at an important moment in history. I have two issues with the film. First of all, there are too many flashbacks that interrupt the story, although I understand their purpose of keeping the movie interesting through some of the uninteresting parts of his flight. Also, Stewart is too old for the role, but being the great actor that he is, he still pulls it off convincingly. This isn't the kind of film I would expect from director Billy Wilder, but he manages to create tension during the flight that surprised me since I knew how it would end! The film also gives the viewer a good idea of some of the technical aspects that went into creating Lindbergh's successful attempt, and the viewer also gets a good feel for what it must have been like to be inside the plane. Although not a perfect film, The Spirit of St. Louis entertains and informs, and I enjoyed it.

A DVD Release Is Needed
The Spirit of St. Louis was a box-office disappointment. That will never change. But what may change is the opinions of critics and the public on how this film should be viewed. It has all of the makings of a successful film: a great director in Billy Wilder, a legend in Jimmy Stewart, and it's based on the autobiography of an American hero in Charles Lindbergh.

No matter what ticket sales were like, it is a well-done film. One cannot deny the fact that Stewart was not the correct age to play Lindbergh, but it doesn't really take anything away from the film. Lindbergh always seemed to be more wise than his age would suggest anyhow.

The VHS version is fine, and until the DVD version is released (if ever) this is the only way to go.

THE SPIRIT OF BILLY WILDER
When I read about the passing away of "The Great Billy Wilder" last year, I was deeply saddened and as soon as I went home I watched one of his finest films THE SPIRIT OF ST.LOUIS. It reminded me of the first time I watched this film several years ago and how impressed I was with everything about the film. I became an immediate fan of Billy Wilder and over the years I've watched all his classic and not so classic films. I'm happy to say even his not so classic films were better than some of the "so called classic films" that idiotic critics love to praise. He was adept at Suspense, Drama and Comedy. Tell me who else past or present can boast of such versatile talent.
I think all young people should be made to see this stunning film not only for inspiration but about learning to believe in themselves to achieve their fondest dreams. Billy Wilder was the greatest film director of his time and I wish all students of Film and Drama and all movie lovers get to see and enjoy this beautiful film. I promise you it will remain in your mind for a long long time.
Billy Wilder loved to entertain the masses and he truly had the midas touch in eliciting the finest performances from his Actors, if you don't believe me just see his films and judge for yourself.
Long live Billy Wilder the "Emperor of Film Directors" through the medium of films.

Stuck in the hangar
Jack Warner confessed that he was startled when this movie flopped at the box office. Two talents as huge as James Stewart and Billy Wilder should have been proof against that. But as the Amazon review suggests, when he made this movie James Stewart was literally twice as old as Lindbergh was at the time of his flight, and completely misses the youthful exuberance and daring that fueled the project in the first place. Viewers would be far better off reading Lindbergh's memoir of the same title, a book which cries out for a movie remake. ... Read more

Reviews (28)

More atmosphere than shocks
"Hey, ya wanna see something REALLY scary?" Well, watch another movie. However, Twilight Zone: the Movie was one of my favorite movies of my college years. I enjoyed the original series, but was never a fanatic. What captivated me about this movie, in particular the 3rd and 4th segments, was the atmosphere established by the filmmakers. The first segment with Vic Morrow is undoubtedly the weakest...there were obviously some script changes necessary due to his tragic death, and what we're left with is a predictable, trite, and even cruel story of a bigot who spouts a few angry words at the beginning then pays for it a thousand-fold. It's like watching someone being slowly tortured to learn a lesson then executed at the end just to make SURE he learned his lesson. The second segment is syrupy, but has the wonderful Scatman Crothers and some amusing moments with the old folks turning into kids. The third segment was my favorite. I always thought some of those old cartoons from the thirties were very creepy in their surreal quality, and watching this segment is like watching someone's nightmare of those old cartoons gone berserk. Of interest is the doomed sister, Ethel, who later on became the voice of Bart Simpson...she really DID get stuck in Cartoonland! And the fourth segment is pretty wonderful too, due to a comic twist on the horror provided by the script and John Lithgow's performance. Towering above the entire movie, though, is Jerry Goldsmith's score...one of his best and one of my three favorite film scores of all time. It truly adds to the eerieness of the first, third and fourth segments and while the second section pours on the schmaltzy strings, on its own it makes a GREAT listen with a memorable theme.

Tribute Classic
OK, there are some flaws in this movie but overall it can only be considered a modern classic. From the aged nursing home to the racial biggot sequence suspense reigns giving pure entertainment. Why this has not been transferred to DVD is beyond comprehension. As a cinema movie it is one i have never forgotten, the type of movie that remains embedded for twilight zone lovers. You can imagine my disappointment when continually searching for it on DVD. My fingers remain crossed !

I Love Creedence (ClearWater Revival)
After 20 plus years, TWILIGHT ZONE:THE MOVIE has attained somewhat of a cult following and has maintained a level that it is not too outdated, but did not do the original tv series justice. The movie will be remembered mostly because actor Vic Morrow (tv's COMBAT) was killed during filming along with two children. The first segment KKK is an original entry, directed by John Landis and starring Vic Morrow. It is not too inventive and very predictable. Morrow has made a career of playing baddies from BLACKBOARD JUNGLE to THE BAD NEWS BEARS so he was perfectly cast as the bigot who gets caught in a time warp to experience the suffering of the two groups he hates the most (blacks and jews). There is a segment where he is supposedly in Vietnam which doesn't go anywhere (because the scenes that were to be part of this sequence is where he got killed) but the producers stuck it in anyway. The next segment KICK THE CAN is directed by Spielberg who was continuing his period of working with children carried over from his film E.T. (and would culminate to his work on HOOK). This is a typical Spielberg directed sequence with a standout performance of Scatman Crothers as the instigator who entices the residences of an old folks home to think young again. The third segment ITS A GOOD LIFE is probably the most bizarre taking the original story to a more light-hearted approach. A boy who has the power to make anything he wishes come true while holding his family and townspeople at bay (in terror) was much more scarier and serious in the original tv episode. Director Joe Dante's take on it is more of a cartoon with a surprisingly upbeat and happy ending compared to the original's very downbeat ending. Bill Mumy (tv's LOST IN SPACE fame)who played the boy in the original tv episode makes a cameo appearance in the beginning of the sequence, but the cast (Kevin McCarthy,William Schallert,Lonna Schwab,Nancy Cartwright{voice of tv's Bart Simpson}) who plays the boy's terrorized family is the best part of the sequence along with lead Kathleen Quinlan. Finally, the last (and probably the best) segment, NIGHTMARE AT 20,000 FEET is pretty close to the original tv episode compared to the other two segments. John Lithgow's performance as the frightened passenger who sees a gremlin on the wing of a plane which disappears when he tries to get others to look out the window is equal to that of William Shatner's performance from the original tv episode. The prologue with Dan Aykroyd and Albert Brooks is amusing if not prdictable and the movie as stated still holds up despite its faults. Note: Look for a young John Larroquette in a brief appearance in the first segmnet (KKK).

I wonder why this has been forgotten?
It really is a sad thing how critics and those who have viewed this find this film a lost cause or a pathetic outdated mess. Now the film is about 20 years old but it is still very good and fun to watch. People just constantly knock the film saying it's bits are weak and don't compare to the original series now that may be true but the film that it turned out to be it is worth laughing at and enjoying. You are not supposed to get scared by this film you are really supposed to laugh your butt off I find that kick the can story hilarious a little touching but come on "Fresh Young Minds" you just don't take words like that seriously. How about the story with Anthony O.K the special effects are a bit dated but who cares? that bit is so hysterical because the plot is trying to be serious but it just does not work instead you just end up laughing at how the people who Anthony has taken to his home are forced to sit around and watch Cartoons all day! The last story is probably the most thrilling of the four (That's probably why they saved it for last) because watching John Lithgow hysterical on that airplane with those people is just classic cinema in my opinion. You of course have your first story with Vic Morrow where the disaster happened O.K that bit is a little dark and distrurbing but the whole film is one big laugh after another what about when Dan Aykroyd and Albert Brooks are just driving down a road and singing dumb songs are bored out of there minds because there song "Let the Midnight Special" tape broke. If you want to see something really scary as Dan Aykroyd puts it in the film or just want to laugh your butt off at crazy cinema you'll like Twilght Zone The Movie.

lpcb
I think that this was a cleaver movie because it had 4 differendt shows in it, I espeacally liked the last 2 shows....
-Casey ... Read more

Amazon.com essential video

By far the best adaptation of a John Grisham bestseller, this smart, fast-paced 1993 film--directed by Sydney Pollack (Out of Africa)--offers up the dilemma of a young lawyer whose life is turned upside down when he takes a job at a Southern law firm owned by the mob. Mitch McDeere (Tom Cruise), having just graduated from Harvard Law, is besieged with offers but takes a job, too good to be true, with a small Memphis firm. He and his wife, Abby (Jeanne Tripplehorn), are sucked in by the seemingly close-knit, collegial nature of the firm's partners and the expensive perks that come with the job. His mentor, Avery (Gene Hackman), teaches him the ropes, but Mitch and Abby begin to sense there's something wrong with this idyllic life. When a couple of associates turn up dead, Mitch begins to investigate the history of the firm; and when the FBI asks him to spy on the firm for them, Mitch realizes his life will never be the same and that, if discovered, he, his wife, and his long-lost brother will be in mortal danger. Mitch must use all his talents as a lawyer to outsmart the firm, the FBI, and the mob in order to reclaim control over his life. A very entertaining thriller that engages the audience at a breakneck pace while not taking itself too seriously. It also features some fine writing and strong performances from a large cast of exceptional actors. --Robert Lane ... Read more

Reviews (50)