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Larry McMurtry's novel becomes a somewhat lumpy film as directed by James L. Brooks (As Good As It Gets). Nevertheless, it is entirely winning, with Shirley MacLaine and Debra Winger playing a combative mother and daughter who see each other through various ups and downs in love and loss, and most especially through a terminal illness endured by Winger's character. Jack Nicholson deservedly won an Oscar for his supporting role as a free-spirited astronaut who backs away from a romance with MacLaine and then returns in the clutch. As he always does, Brooks keeps things from getting too soapy with his intense concentration on the soulful evolution of his characters. --Tom Keogh ... Read more

Reviews (51)

Tears of Endearment
Fresh off the success of his television series TAXI, James L Brooks came to the big screen with his directorial debut: a comic film culminating in a main character succumbing to cancer. That certainly doesn't sound like the most promising comedy material but TERMS OF ENDEARMENT is a success in both comedy and drama. It is a very funny film that ends up a tearjerker without ever sacrificing the humor.

The mother and daughter act of Aurora (Shirley MacLaine) and Emma (Debra Winger) are at the heart of the story. The mother is consistently over-protective and disappointed in her daughter. Emma is one of the most compassionate human beings in the cinematic world. When Emma ups and marries the wrong guy (Jeff Daniels) there relationship becomes one of the phone lines. Even that doesn't squelch Aurora's power of her daughter. But when Aurora finally dates her free-spirited neighbor (Jack Nicholson), she softens as a human being and backs off of.

The film is quite clever with its characters and dialogue, often right from McMurtry's novel. Brooks works wonders with a dream cast that was often a nightmare. The audio commentary on the DVD offers a very open discussion of the Diva attitudes on the set. And Brooks exposes some other things as well but the commentary is often self-congratulatory. This is a great film in the style of BROADCAST NEWS and AS GOOD AS IT GETS.

Funny,sad,intense,just like real life.A classic.
I first saw "Terms of Endearment" in the theatre when it first came out at Christmas 1983 and thought it was an excellent picture. Then,saw it several years later on home video and I still think so. I even gave a copy of the video to my sister for a birthday present(along with some other of her favorite movies). A lot of the credit should go to James L. Brooks who was the writer and director.Mr. Brooks was a writer on "The Mary Tyler Moore Show" in the '70's and wrote the enjoyable movie "Starting Over" in 1979.

Shirley MacLaine stars as Aurora and Debra Winger is her daughter Emma and the story is about their relationship over many years.The two leads both gave fabulous performances. Ms.MacLaine won the Academy Award for Best Actress(her one and only win) and Ms. Winger was nominated.Jack Nicholson gave a very funny,likable performance as the former astronaut who lives next door to Aurora. Nicholson won the Academy Award for Best Supporting Actor for this role(a role that Burt Reynolds turned down due to a prior commitment.Reynolds regretted it later because the movie he turned the role down for turned out to be a flop).Actors John Lithgow and a then unknown Jeff Daniels also give good performances in supporting roles.

However, the real kudos go to James L.Brooks who won the Academy Award for Best Screenplay Adaptation(from the novel by Larry McMurtry)and for Best Director,very impressive since this was his directorial debut.And,it also won Best Picture of the year.The story has many funny moments,sad moments,and intense moments,just like in real life.Mr.Brooks went on to write and direct "Broadcast News" in 1987 and "As Good As It Gets" in 1997 which were both very good pictures also.There was a sequel to "Terms of Endearment" some 16 years later in 1996 called "The Evening Star" with Ms.MacLaine and Mr. Nicholson but with a different writer and director."The Evening Star" was no classic but "Terms of Endearment" truly is.

Somewhat cold, but still wonderful.
I saw this movie after I had seen Steel Magnolias, and to be honest it did not impress me as much as Steel Magnolias did. They are both classics in the film world, but I found Magnolias better and more heartwarming. Shirley Maclaine did a wonderful job acting in this film as the troubled mother of a sickly daughter. The movie comes together in the end but at some points the movie lacked that sense of heart and home that Steel Magnolias had. See it and make the judgment for yourself. I do reccomend it.

Tear-jerker
Shirley MacLaine and Debra Winger play mother and daughter who are alternately at love and war with each other as they go on the roller-coaster of life. On a routine visit to the pediatrician for one of her sons, Winger's doc is more interested in her swollen glands than he is in her son's ear ache - and the next thing we know, Winger's diagnosed with a terminal illness. The pathos is well played, and I challenge anyone to emerge dry-eyed from the scene in which she says good-bye to her sons, esp to the one who is so angry and uncommunicative.
Everyone comes thru in the end, including the lumpish ex-husband, and Jack Nicholson, playing a free-spirited astronaut who is MacLaine's love interest, deservedly won an Oscar for this performance.
Excellent book by McMurtry; great movie by James L. Brooks.

As a Male, I Dig This Movie
This film is categorized as a chick flick...but hey it made me cry too. I was a kid when I saw this film. My cat had just died, and guess what her name was? ...EMMA!!!!
Well when Emma died in the film I almost lost it..
Shirley MacLaine said working with Debra Winger was hard to do as Debra was very gassy... ... Read more

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One of the best romantic comedies of the 1990s, this box-office hit cemented writer-director Cameron Crowe's reputation as "the voice of a generation." Crowe could probably do without that label, but he's definitely in sync with the times with this savvy story about a sports agent (Tom Cruise) whose fall from grace motivates his quest for professional recovery, and the slow-dawning realization that he needs the love and respect of the single mom (Renée Zellweger in her breakthrough role) who has supported him through the worst of times. This is one of Cruise's best, most underrated performances, and in an Oscar-winning role, Cuba Gooding Jr. plays the football star who remains Jerry Maguire's only loyal client on a hard road to redemption and personal growth. If that sounds touchy-feely, it is only because Crowe has combined sharp entertainment with a depth of character that is rarely found in mainstream comedy. --Jeff Shannon ... Read more

Reviews (135)

Great
"Jerry Maguire" is a romance about the two main characters (Tom Cruise and Renee Zellweger), but it's also a very funny comedy about a sports agent trying to survive alone away from a large corporation.

Jerry is fired after writing a "memo" which displeases his boss. He is fired in a crowded place, followed by a scene where Jerry and his boss try to contact as many of their clients as possible to convince them to stay with one agent and not the other. Jerry leaves with a select few clients, some fish, and a brave secretary (Zellweger). They eventually begin dating after Jerry breaks up with his fiance.

"Jerry Maguire" is an intelligent romantic comedy, not really in the same sense that "Sleepless in Seatle" was a romantic comedy. They are completely different films, and "Jerry Maguire" is better and more intelligent for it. It deals not only with the fun of relationships, but with the hard times. There are a few twists to the plot that come unexpectedly and an ending that many probably will know without having seen this movie ("You complete me"). Cuba Gooding Jr. also delivers one of his best performances (both in the film and accepting the Best Supporting Actor award at the Oscars for this film - "Show me the money!") that has not been surpassed to date ("Instinct" and "Chill Factor" don't even come close).

This widescreen version presents the film in the original theatrical format the way it was meant to be seen. Yes, there are the black bars at the top and bottom of the screen, but you actually see more of the movie (the stuff that would be edited out for the standard format).

This is a great film worth watching many times.

Everybody loves Jerry !
Every once in a while, a movie comes along that lifts the spirits, gives you a smile, and makes going to the movies a great experience all over again.
Cameron Crowe, of "Say Anything" fame, succeeds in bringing to life an everyday man struggling with everyday problems of the everyday common man. This particular common man is a sports agent, a very successful and, of course, rich agent who has a stunningly attractive fiance, athletes who depend on him to make fortunes, and friends who admirably and openly tell him "I love you, Jerry!". Jerry Maguire is his name. And he is played brilliantly by the ever-so-loved Tom Cruise. Despite all the love around him, however, Jerry does one mistake. It comes in the form of a mission statement where he challenges the business and dares to open up and speak out. The friends at the firm give him an expiration date, "about two weeks!", and it's up to his one time protegee Jay Mohr to tell him that he's fired in one of the most classic moments in movie history, sitting in a restaurant surrounded by a crowd of people (the scene where Tom Cruise stares down at his glass of water after Mohr blurts out 'I'm here to let you go' is as real as reality goes). Jerry is left struggling and failing to keep his clients except for one, the obnoxious Football player Rod Tidwell (played even more brilliantly by Cuba Gooding Jnr) His fiance leaves him labeling him a 'loser' and he finds himself battling to survive with the loudmouthed client and a single mother secretary, who quits the firm for him, who is the only left admirer of his 'memo'!

Crowe, who writes and directs this movie, takes care of the characters' progress throughout the entirety of the movie. Jerry and the secretary (played by the sweet Renee Zellweger) slowly and passionately start to fall in love, and the relationship between Jerry and her only son grows from a goofy friendship into a father-son type of relation. But best of all is Jerry's one on one dialogue with Rod. Jerry can't stand the fact that he's stuck with Rod but faces the fact that he's his only hope left, and Rod still believes in Jerry and more or less becomes his right shoulder and gains him confidence. Like any other everyday man, Jerry still has people around telling him how great he is, even though he thinks very lowly of himself. This is the same theme throughout most of Crowes' films, especially "Say Anything" where John Cusack's character finds confidence through Lili Taylor.
The movie is funny. With serious drama flowing thoughout. And there are catch phrases that people everywhere quote, most commonly "show me the money!"

The DVD features two discs with loads of special features, deleted scenes, rehearsals, and the music video of Bruce Springsteen's 'Secret Garden'.

Highly recommended!

I Love My Wife
I never get tired of Jerry Maquire. This film and Risky Business are my favorite Tom Cruise films. I prefer when Cruise doesn't know it all, has human fallibilities, but we all know that's impossible, not Mission Impossible. The truth is, Tom is one of the biggest movie stars ever and he's beautiful to look at for a short guy. How could anything go wrong in Mr. Perfect's world? That's why Jerry Maguire is so appealing. Even the handsome, fast talking charmer needs the help of his friends, his gal, and a Dale Carnegie enhancement course. Cuba Gooding Jr. has something Tom doesn't, a love for his wife that is nothing less than inspiring. On the other hand, Gooding has no love for his football fans. Tom can help him on the PR front, but then Renee Zellweger and her cute little son show loyalty. The grand finale, Jerry Maguire loves his wife. We all should love our wives. Amen brother.

GET PAST THE (NOW CLICHED) CATCH LINES...
And you find a film full of soul. JERRY MAGUIRE shows Tom Cruise as an actor, not a box office attraction. He works the central character into a likeable, tortured 30+ professional, looking not for redemption, but purpose more in the vein of (Maguire's) father ("My dad worked 38 years for the United Way," he laments. "When he retired, he said: 'I wish they would have given me a more comfortable chair'.") Cruise has his star turn polished by outstanding support (Rene Zellwegger, Bonnie Hunt and Jay Mohr, in a role you wouldn't wish on your worst enemy), the hyperness of Cuba Gooding, Jr. (who sings "What's Going On?" instead of one of his fathers classics) and Cameron Crowe's great script and direction. No sequel, please. Greatness can stand on its own.

A Feel Great Movie,
This picture was the best and really the last time that Cruise was at the top of his game as an actor. The material was great. Story of the fall and slow rise of a man who makes new friends, finds new love, and helps a sports athelete find both personal and professional success on the playing field. The casting was solid and it was a break out role for several actors who have gone on to do even bigger films. ... Read more

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Although indisputably a film by Woody Allen, Interiors is aboutas far from "a Woody Allen film" as you can get--and maybe more people could have seen what a fine film it is if they hadn't been expecting what Allen himself called "one of his earlier, funnier movies."An entirely serious, rather too self-consciously Bergmanesque drama about a divorcing elderly couple and their grown daughters, it is slow, meditative, and constructed with a brilliant, painterly eye.There is no music--a simple effect that Allen uses with extraordinary power. In fact, half the film is filled with silent faces staring out of windows, yet the mood is so engaging, hypnotic even, that you never feel the director is poking you in the ribs and saying, "somber atmosphere."Diane Keaton, released for once from the goofy ditz stereotype, shines as the "successful" daughter. Some of the dialogue is stilted, and it's hard to tell whether this is a deliberate effect or simply the way repressed upscale New Yorkers talk after too many years having their self-absorption sharpened on the therapist's couch. Fanatical, almost childish self-regard is the chief subject of Allen's comedy--it's remarkable that in this film he was able to remove the comedy but leave room for us to pity and care about these rather irritating people. --Richard Farr ... Read more

Reviews (30)

He knows women so well; too bad they hate him.
Woody Allen probably knew that Interiors would be panned by his most loyal fans, his most ardent critics (Pauline Kael), and even the always honorable motion picture industry. How he managed to ignore what might have been insurmountable difficulties for another is a feat of no small measure; how he managed to craft this dramatic gem is "an impossibility commensurate with two like snowflakes" (from Woody's Getting Even). Mary Beth Hurt shines as Joey, a passionate but ambivalent actress-photographer-copywriter, who cannot transcend her pressing responsibility as daughter to a delusional and depressed woman, Eve (Geraldine Page). She has two sisters (a theme to be further explored in Allen's later Hannah and her Sisters), one of whom is fairly irrelevant and indifferent to her life (the only underdeveloped character in the film), the TV actress Flynn. The other sister Renata (Diane Keaton) is a highly successful poet who has distanced herself from Joey while she deals with complex emotional issues stemming from an abusive, alcoholic husband (Richard Jordan) and her own artistic "paralysis." Woody weaves the stories together with dignity and grace, and Gordon Willis' superlative cinematography pays homage to Bergman's Sven Nyqvist (the beachwalking scene could be Persona in color) while infusing his own creative vision into each shot. Woody's comic flair is nonpareil, and his unique cinematic concept is timeless and powerful. With Interiors, Woody indelibly makes his mark as one of the finest dramatists of the 20th century as well.

Not the best Allen film around, but still interesting!
Woody Allen follows in the steps on Ingmar Bergman in filming the falling apart of women and sisters. The sisters are all very much different from each other. Joey [played by Mary Beth Hurt in a performace that makes me want to gag.] is the sister who can not find herself, even though we're told she has so many talents. You just feel like smaking her and saying, "Hey, there's people who have it a lot rougher than you out in the world." The two best things about this film are Geraldine Page and Maureen Stapleton, who were both nominated for Oscars. Stapleton plays the fathers new love interest who isn't like by the whole family, but ends up winning them over. Page brilliantly plays the fragile and distraught mother who is on the verge of suicide. The ending scenes are unavoidable as the story progresses. A great film to watch if your a fan of Allen's or Bergman's. It's also a great film to watch if your a fan of Geraldine Pages.
5 1978 ACADEMY AWARD NOMINATIONS:
BEST ACTRESS-GERALDINE PAGE
BEST SUPPORTING ACTRESS-MAUREEN STAPLETON
BEST DIRECTOR-WOODY ALLEN
BEST ORIGINAL SCREENPLAY-WOODY ALLEN
BEST ART DIRECTION

visceral and subdued
This emotional film may appeal to refugees from nauseating and intelligence-insulting Hollywood tear-jerkers. The film exposes expression and suppression of emotion in the educated upper middle class family of origin. The emotional tension rises higher and breaks down more hysterically than in his films that address marriage and the sexual relationship.

Modern interiors gut-hardeningly frame the confrontations and evasions. The interiors on their own would make it worth watching.

A Film That Deserves A Place In Every Art Collection
Revisiting INTERIORS written and directed by Woody Allen in 1978 it becomes apparent that this is one of the most important American films made. In this time of video art and digital manipulation of images, both in real time and in fixed entities, INTERIORS exemplifies the finest in what film can achieve. Without manipulation of scenery, without (gratefully) a senses-asaulting musical score, without GIMMICKRY - here is a film of brilliant writing, stunningly and beautifully subtle sets and costumes, and acting of the first degree. The angst so present in our society's family relationships is gently observed and explored and the results are a paean of understated simplicity and pain. It is difficult to single out any of the outstanding cast as 'best' and that is yet another proof of ensemble acting and directing at a zenith. Yes, it is unimaginable to leave behind the characters created by Geraldine Page, H.G. Marshall, Diane Keaton, and Maureen Stapleton, but again this is an indicator of how well and cohesive the experience provided by this movie is.

I have never been a Woody Allen fan: I find his comedies overwrought, self-absorbed, and frustratingly tedious. Seeing INTERIORS on a DVD, in the quiet of home, has altered my respect for this man. A dazzingly brilliant, thoughtful, elegy of a film.

Allen's Bergman homage
Woody Allen threw the film world a curveball in 1978 when he released not only his first straight dramatic film, but also the first film he directed that he didn't appear in. Although the film confused and possibly enraged some fans, it holds up today as, in my opinion, one of his most strikingly daring films.

It's obvious to anyone watching "Interiors" that this is an homage to Allen's favorite director, the great Ingmar Bergman. The quiet, the seriousness, the dysfunction -- it's "Cries and Whispers" for the Manhattan intelligentsia. While the film obviously pays tribute to Bergman, it's no mere copy. It has a life and style of its own, mainly due to the performances.

The film deals with a wealthy, successful man (E.G. Marshall) who decides to separate from his unstable wife (Geraldine Page). The wife is thrown into depression and suicide attempts. Her three daughters are there to help, but can only do so much. Diane Keaton plays the stable, earthy Renata. Her husband is a failed writer and an alcoholic (played by Richard Jordan). Joey (Mary Beth Hurt) is the neurotic, stuffy, moody one who can't seem to find happiness in any profession she attempts. Her husband is played by Sam Waterston, and he's probably the one normal person in the whole film. The third daughter, Flynn, is played by Kristin Griffith as a TV-movie actress whose films are always panned by her family, both in and out of her presence. Maureen Stapleton plays the role of Pearl, the feisty woman Marshall begins dating soon after his separation. His children are surprised that he wants to remarry so soon, and Joey shows open contempt for his choice of a new wife.

This is not "Bananas," "Sleeper," or even "Annie Hall." This is Woody Allen showing the dark recesses of family dysfunction. Geraldine Page is simply outstanding as the mentally unstable middle-aged woman. The scene where she "prepares" for her first suicide attempt is extremely dark and sad. Her final "beach" scene is beautifully shot. The rest of the cast does a great job, but she is head and shoulders above the rest.

It's interesting to see Allen stretch out with this style of filmmaking, and I think it works very well. He has obviously studied Bergman's works carefully. This is no mere copy, it's a beautiful homage.

The picture quality is good but not excellent for a DVD transfer. And as with all of Allen's discs, there's really not much in the area of extras -- just a trailer. But this is definitely a film to check out. ... Read more

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Writer-director Woody Allen has produced yet another challenging and funny film, this time taking on the musical genre and bending it to his own unique vision. The result is one of the most charming films in recent years, as Allen assembles a typically sterling ensemble cast to evoke the romanticism of years past. This time, the large cast (including Alan Alda, Drew Barrymore, Goldie Hawn, Edward Norton, and Tim Roth) not only turn in funny and touching performances, but they sing the classic songs of the 1930s and 1940s themselves, and sing them very well. The plot centers on an extended family in New York and their various romantic entanglements, including Allen's pursuit of Julia Roberts through the streets of Paris and the canals of Venice. The musical numbers are the film's high point, displaying wonderful choreography ranging from a room full of dancing Groucho Marxes to a dancing couple in flight at the banks of the Seine. Everyone Says I Love You is a witty and entertaining fantasy, and a truly romantic escape. --Robert Lane ... Read more

Reviews (67)

Everyone, Including Me
In Woody Allen's film Everyone Says I Love You, one of the century's great filmmakers gets to make his own dream come true. Just take a listen to the soundtracks for Manhattan or Radio Days and you realize that all the Woodman's ever wanted to do was make a musical.

He's finally found a way. And by taking those timeless songs of Gershwin and Porter and placing them in the context of modern family life, Allen has created one of his most innovative comedies ever.

By its very nature, musicals showcase fabulous singers who are able to stop the world and belt out a tune. Not exactly in the realm of the possible. But by filling his scenery with non-singers, or actors who aren't known for their singing, Allen creates the possibility of song in everyday real life.

Take Holden (Edward Norton), for example. What he lacks in fashion sense, he makes up for in heart. When he goes to buy a rock for his lady love Skylar (Drew Barrymore), the jewelry store becomes a Gene Kelly musical, except Holden's no hoofer. He stumbles awkwardly through the dance number while the jewelry store employees play to the camera.

If it sounds fun, it is. But the two young lovebirds are but a minor diversion. Skylar's mom Steffi and husband Bob (Goldie Hawn and Alan Alda) are trying to keep their family together. Grandpa's gone daffy, their teenage son has up and joined the young Republican's (ick!), and Goldie's ex, Joe (Allen), is living in Paris and wooing an art historian (Julia Roberts).

Even the worst singing, that of Allen (a mouse squeak) and Roberts (can you say tone deaf?), works somehow. In Everyone Says I Love You the commonplace collides with the extraordinary in an alternate universe that's just this side of heaven.

Charming, Funny --- not what you expect from Woody Allen
When I first saw this movie advertised, I was puzzled as to what the concept was--- a musical comedy by WOODY ALLEN? I enjoy Woody Allen, but usually his movies are really crude and disgustingly sexual. But this film was a breath of fresh air. It was witty and funny--- but best of all the performances were wonderful. The concept of the movie is somewhat fuzzy, and the plot is uneventful, but that doesn't matter when you see the wonderful job Alan Alda, Goldie Hawn, Edward Norton and Drew Barrymore do to entertain you throughout the film. The camera movement is erratic at times...but the scenery of both New York, Venice, and Paris is dazzling. The music and the singing performances are--- uniquely done... but very endearing. You should watch this movie if you like simple, charming, witty and slow-paced films. Not a lot of thinking or intelligence is required to watch this movie, and thats the best part. This film is a no-brainer, and many will enjoy this wonderfully acted movie.

Careful what you ask for
I got this movie to satisfy my curiosity. The concept sounded interesting, and it boasted some normally bankable (or at least watchable) cast. Unfortunately, I did not care for the film. Oh, it was well made, and had fair acting, but it just failed to interest me. The songs were not very catchy tunes, like say, something from a "real" musical like "Fiddler on the Roof", "The King and I", or "My Fair Lady", etc. Drew Barrymore had a large part, but was in the lower range of acting, and her singing was dubbed. Natalie and Gaby were under used. Alan Alda and Goldie had decent voices, but again, weak songs.

I had a hard time swallowing Julia and Woody as a couple - though she did say she was crazy - did I miss something else? The most interesting part was seeing two MASH alumni in the same scene for about 10 seconds. For those who don't know why it was rated R, it is because of the rap lyrics. No other swearing or nudity.

I'm being generous with 3 stars. It seemed to be a personal experiment rather than a committed movie. Oh, well - curiosity satified. Waiting for "Take the Money and Run" to arrive.

I loved this movie, it made me laugh so hard...
It is a musical, and it is not a musical. There are songs in the movie, but it is not distracting from the movie, and the songs do not take up too much time. The movie is hallarious. The first time I saw this movie I was laughing for days. There is a scene where the girl is in the kitchen of her fathers house, heartbroken, singing a song about how she is "done with love". In the middle of the song it switches from the upper class white teenager and her tears to a black rapper who uses some of the same lyrics, but delevers it in a completely different manner. I had beer comming out of my nose I laughed so hard. This is a must see!

ONE OF WOODYS BEST
EVERYONE SAYS I LOVE YOU. I can not believe I never saw this movie before. A musical comedy. It's now one of my favorite Woody pictures. Right up there with Love and Death, A Midsummer Nights Sex Comedy, Bloodhounds of Broadway, Manhattan and those other ones that I like. It was worth the price of admission just for the Hurray for Capt. Spaulding in FRENCH number ! Ooo LA LA . A party in Paris Xmas eve and EVERYONE as Groucho Marx. Woody Goldie Ed Drew ect... everyone EXCEPT for Allen Alda, how sweetly ironic that the man who did BAD Groucho imitations all thru MASH was sick in the hotel. NICE touch Woody. ... Read more

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Monty Python's Terry Gilliam (Fear and Loathing in Las Vegas) directs this wild, wild version of the stories of Baron Munchausen, pushing the limits of 1989 special effects technology to bring us such sights as a horse divided in half and running around in two parts, and a giant Robin Williams with his head flying off his shoulders. Basically, this is a treat for Gilliam fans, as the sustaining idea of the film runs out of steam, and manic energy alone keeps the momentum going. Casual viewers might find it tedious after awhile. There are nice parts for fellow Python Eric Idle, as well as Sting, Alison Steadman, and Uma Thurman as a dazzlingly beautiful Venus on a half-shell. Gilliam had greater artistic and commercial success with Brazil, The Fisher King, and 12 Monkeys. --Tom Keogh ... Read more

Reviews (69)

My Favorite Movie!
Terry Gilliam's mostly-ignored fantasy-adventure is without a doubt my favorite film to watch. The highly imaginative production (infamous for blasting past its budget limit, and for being underdistributed by Columbia) is an incredible film, a treat to watch again and again. A host of major British actors (including John Neville) team up with a menagerie of character players (Eric Idle, Jonathan Pryce) to create the exaggerated, fantastic adventures of the 18th-century cavalry officer Karl Heironymous Friedrich Baron von Munchausen as he flies to the moon in a hot air balloon, falls back to earth into an active volcano, and then gets swallowed by a giant sea monster, all in an attempt to defeat The Sultan. Families: some immoral innuendos, brief female nudity, and a frightening incarnation of Death may make this one unsuitable for some.

Not MY favorite of the trilogy
I seem to be definitely in the minority in these reviews, but I found THE ADVENTURES OF BARON MUNCHAUSEN the worst of Terry Gilliam's trilogy (the other two films being TIME BANDITS and BRAZIL which I love). It wasn't a bad movie; just not a great one. It seemed to drag in parts. The first half hour of the film especially takes far too long to get into the story. Still, even Gilliam at his worst is often a lot more fun than most of the fantasy-based films out there.

The visuals are spectacular and you can definitely see where the money went (I read that this was one of the most expensive films made at that time). Terry Gilliam has an incredible imagination and is able to translate his vision to the screen. I was convinced the Baron could fly holding a cannonball!

The actors seemed to have a good time making it. John Neville uses the proper restraint in his roll to make his character believable while in unbelievable situations. Uma Thurman is incredibly beautiful as Venus. Robin Williams and Eric Idle have a lot of fun in their roles.

Aside from the slow pace in parts, I also am disappointed in the lack of features on this DVD. Where's the onscreen commentary or the behind-the-scenes features? Terry Gilliam did such a great job on the TIME BANDITS and especially the Criterion Collection BRAZIL, I'm surprised that a film that he spent so much time and money into lacks these extras. Perhaps even Terry Gilliam doesn't like this film as much as his others?

The Baron Lives on
Anyone who can sit there and say thay never spun a tale or two in their lives has no imagination. The Baron is a man who has cheated life and death by being both hero and con man but still retaining a sense of "je ne sais quois" Robin Williams steals his cameo and plays it in his usual frantic way. Sarah Polly is wonderful as the child of innocence who looks up to the Baron and the rest of the cast is wonderful as well. Not a movie that should be missed especially by those who enjoy the mania that is Monty Python

Baron Munchausen
See the lovely Uma Thurman years before this "kill bill" nonsense!

Darn Good Movie
check it out. a great fantasy tale. ... Read more

Reviews (12)

Great early Nichols
Another great early Nichols. He was on one mean ... streak I tell ya. Virgina Wolf, the The Graduate, Catch 22, and then this film. Which is: Very well done, Very mature, extremely confident in it's telling, thought provoking, well acted, well written, etc.

Jack Nicholson and Art Garfunkle star as best buds in this story that follows their sexual encounters from college to middle age. That's really it. No other action takes place in this movie that doesn't have something to do with, yup, Carnal Knowledge. Good title too. Don't you think? Just grabs you.

Like Catch 22, which I just saw, this movie is all about great framing and long one takes. Even though this movie takes place almost completely inside and is very much like a play, it is very cinematic. Nichols always has the camera in the right place, or at least an interesting place. The structure of the film is also so interesting. It just pops around from sexaul encounter to sexual encounter. And it addresses the whole spectrum...: first love, to marriage, to adultery, to apathy, to..well, it covers a lot. And though it tends to focus mainly on the negative, which can be a little bleak, it sure is real.

At times it can be a little slow and a little tedious (you sort of feel Nichols getting a little TOO into some of these long takes), but this remains a very good, intelligent, unflinching movie. Check it out.

B, B+

This film tells the truth. Controversial at its time.
This film tells the truth. Not such an old film, the mature adult situations are still happening today even in this decade. Very controversial film of its time. Almost was not released and could not be shown on Network TV at all. Finally in the mid-1980's it was finally allowed to be shown on the then-independent KTLA Channel 5 Los Angeles tv station. Hard-hitting drama about two male roomates. One man (played by Art Gurfunkel as "Sandy") is more sensitive to woman while the other man played by Jack Nicholson feels so macho he must have more than tweleve women a year. When Art falls in love with Candice Bergen (she plays a virgin) it starts as a good friendship until Jack Nicholson buds in. He secretly makes a phone call to her without Art knowing. Jack dates Candice and she loses her virginity by the macho man who can get any woman he wants anywhere, anyway. (So why, Candice?) When Jack talks about his "girlfriend", Art dos not know it's the same woman he loves. When Candice decides to break it off with Jack, Jack becomes a cad and thinks he can break it off first. Well, Jack now has to keep his mouth shut whenever Art and Candice are in the same room together with him. Jack finally comes to the realization that he is getting older and can't get as many woman as he used to. He feels bad when he sees Candice and Art together (metal break-through finally!) Then, the sizzling Ann-Margret enters the picture. Who becomes the more mature man? Who is given LOVE, not just LUST & LEAVE. Some men will find this film a bit hard to swallow. Some women who see this film will say "AMEN!" by the end of it. There is a lesson to be learned here. Get the message of the film. Carol Kane and Rita Moreno are also in the cast. No special features on this DVD. Wide-Screen and Full-Screen available on either side of DVD.

Coming to the screens of film schools everywhere...
What I found so impressive about this in the early 70's is a mystery--unless it's Ann-Margret's statuesque figure. Most of the dialog is better suited for writer Jules Feiffer's stylish cartoon characters. Even Jack Nicholson can't keep this tub afloat, although it's fun to see mannerisms and intonations which were used to perfection only 3 years later in the incomparable "Chinatown."

Hard to believe this film is more than 30 yrs old
Carnal Knowledge spans 30 years in the lives of two college friends, guys played by Jack Nicholson (you won't believe how young he looks) and Art Garfunkel (yes, one and the same). Jack Nicholson plays a tax lawyer with the hots for women who are, shall we say, well-endowed. Garfunkel plays the more temperate guy, a doctor who has quiet affairs. As they go from youth to middle age, the movie, revolutionary at the time and wonderfully directed by Mike Nichols, follows their paths, examining how their attitudes toward women and sex are a reflection of their life values. It's not a pretty picture, and despite the titillation of the title, it's not even particularly sexy. But it's worth seeing, even if only for the way in which it is viewed as a pioneer film of the early 70s, a time in which long-held Hollywood traditions were giving way to more adult-style movies.

Excellent
Mike Nichols was on a roll after "The Graduate" and "Who's Afraid of Virginia Woolf?" "Carnal Knowledge" is his most intimate film, and one of the most daring of the 1970s. Its frankness in dealing with young men's sexual psychology has not lost its edge after thirty years. On top of it all, it gives us Nicholson's first truly great performance. The early scenes between him and Garfunkel are fresh and sincere. Spanning some three decades of their friendship, we see how their attitudes towards sex, and women in general, shape their lives. Both actors do a fine job of communicating the gravity of those years, and the most devastating scene is the one where Jack delivers a long and furious tirade at Ann-Margret. "I don't want a job, I want you," she says, to which he replies, "I'm taken...by me!" Brutally honest, yes, but because we've seen what comes before, it's perfectly logical. These men are still affected by the innocence of their younger years, but that innocence is violently clashing with their adult understanding (or lack thereof)--the understanding that the personality is in perpetual motion, and that it becomes difficult to keep up. The movie is often bleak in its settings and its subject matter, but the characters are very real--they challenge you to challenge them. Their dysfunctions may enlighten you, and there is nothing bleak about being enlightened. Oh, and Ann-Margret achieves bombshell status with this movie, playing a woman who at first seems to be the answer to all of Nicholson's fantasies. "Bye Bye Birdie" it ain't. ... Read more

Amazon.com

One of Woody Allen's best films of the '90s, Bullets over Broadway stars John Cusack as a virtual Woody surrogate, a neurotic, Jazz Age writer whose new play sounds wooden and unrealistic to a low-level mobster (Chazz Palminteri) assigned to watch over his boss's actress-girlfriend (Jennifer Tilly). When the hood starts contributing better story ideas and dialogue than what the official playwright can conjure, questions (not unlike those of Amadeus) about the price we pay to make art at the expense of other responsibilities are intriguingly raised. Palminteri gives a very interesting performance as the enforcer waking up to the desperate (and almost feminine) demands of his own creative psyche, and Dianne Wiest (who won an Oscar), Tracey Ullman, Jim Broadbent, and Jennifer Tilly are very funny together playing the ensemble cast of Cusack's play. --Tom Keogh ... Read more

Reviews (26)

Don't speak, just laugh!
Oh Woody, Woody, Woody. When he is funny, he is one of the best comic writers around, and in this movie his writing is hilarious. What other auteur in the cinema today can poke fun at those little idiosyncracies that we all see in ourselves, and get away with it?
Our hero, in a rare departure is not played by Woody Allen but rather, John Cusack, who gives a subtle performance, rather than the over-the-top pisstake by Kenneth Branagh in "Celebrity". He is trying to get his latest play staged, and can only do so by accepting money from the Mob and having a mobster's girlfriend, with no talent, take one of his lead roles. The humour that ensues centres around each of the plays characters, from the fading diva played by Dianne Wiest to the compulsive eater played by the magnificent Jim Broadbent, as they prepare for the play's debut on Broadway. All the performances are spot on and the only criticism comes in the ham-fisted fashion that the film concludes with a mobsters shootout and its all too happy ending.
Nevertheless this is well worth watching to hear great comic lines and the splendid cast who deliver them.

Pure hilarity
As a die hard Woody Allen fan, I can honestly state that this is one of his best efforts. The characters are so incredibly good (dare I say delicious?) and the actors who bring them to life are equally exquisite. From Dianne Wiest ("Don't speak...Don't speak") to Jennifer Tilly ("Hey, Venus, where's that hooch?") to Chaz Palmentieri("You don't write the way people talk")to John Cusack ("I think I'll go now and get the psychiatric help I need"). The rest of the cast is equally marvelous, especially Tracey Ullman. She really is nothing short of brilliant in everything she does. This movie is just a delight throughout. It is truly droll and clever, never once loosing it's intelligence. The attention to detail is admirable, so much so that the film seemingly leaps out at you from the screen. I've seen this film more times than I care to mention and each time I find myself enjoying it more. Only Woody Allen could have devised such an ironic plot twist. He is, without question, the O. Henry of the cinema. One final note: No one, and I mean no one, can make New York seem more fabulous and intoxicating than Mr. Allen. All his films are love letters to this the greatest of American cities. This is to the person who accused Woody Allen of preaching through the Rob Reiner character: Give me a major break. He was spoofing the tendency of some over-indulgent artists to dramatize and take himself too seriously. Sometimes a cigar, my friend, is just a cigar. Don't read so much into things. It can sometimes get you into trouble.

Funny, funny, funny!!
And funny. Great casting, great script, funny dialogue and good directing. The wonderful thing about this whole flick -- Woody Allen decided NOT to be in it. One of his better decisions he's made in years. (Thanks for giving us a break and breather from your repeatible and stale roles Woody!) Don't miss this little-known gem.

Were they trying to make a movie that makes no sense?
I'm not stupid, but this movie made no sense whatsoever. I didn't understand one bit of the boring, mindless conversations, characters, their purpose, etc. And a plot..? Don't even ask. This "sophisticated" comedy (where they got comedy I'll never know as this wasn't the least bit funny) was dull, shallow entertainment. The theme I got out of this movie was "You're not always who you think you are." A theme that could have easily been told in half the time it took this long, dragged out film. Don't believe what the critics say about this. Siskel and Ebert rated it two thumbs up but what do they know? They gave Gosford Park (warning: stay away) the same rating (Actually, that last one was Ebert and Roeper, but they're basically the same). Take my advice and rent something that wasn't directed by Woody Allen. Every one of his movies I've had the nerve to sit through entirely (without falling asleep or turning it off), have been a complete waste of my time. I kept waiting for the ending thinking (and hoping) it would make the movie. It didn't. Those who enjoyed this movie obviously classify it as a work of art much like Shakespeare: boring, but a masterpiece nonetheless. The only reason to watch this movie (by renting it, NOT buying it) is to see the always brilliant Diane Weist in her Oscar-winning performance.

decent
this movie was enjoyable, but not the best woody allen i've seen. ... Read more

Reviews (100)

The Best Steven King Movie Ever
One of the best psychological thrillers ever made, "Misery" is a tride and true adaption of the classic Steven King bestseller, white - knuckle tale filled with suspense that only someone as brilliant as King himself could ever provide

Paul Sheldon (played flawlessly by James Caan) is the author of a very successful book series called "Misery". But after years of success, he decides to kill the character once and for all and get on with his life. He finishes his book, but disaster strikes on his way back to New York. He gets caught in a snow storm and crashes his car. He is on the verge of death when a seemingly harmless nurse named Annie Wilkes (Kathy Bates in an Oscar - winning role), who claims she's his number one fan. At first, Paul really enjoys Annie's company. Then Annie has several outbursts (including the now infamous ankle - breaking sequence), and Paul becomes suspicous of her past. From here on it's a tense battle between cat and mouse. And if you've never read the book before, then you're in for one of the creepiest endings in your life.

No movie fan should be without "Misery". It is in a class of its own, different from other King classics like "Carrie", "Cuju" and "The Shining". If those films didn't do it for you, then "Misery" will get your blood pumping, your palms sweating and your heart racing in no time.

I Feel Your Pain!
I Feel Your Pain!

Misery is a 1990 suspense drama released by Castle Rock Entertainment, directed by Rob Reiner, with a running time of 107 minutes. Based on a Stephen King novel, this drama is considerably enhanced by the performance of its leads, James Caan (Paul Sheldon) and Kathy Bates (Annie Wilkes).
The tale is really very simple. Paul Sheldon is a successful writer whose career has been made on the back of a series of novels about a 19th century heroine that he is growing weary of, called "Misery." Although she has been the focus of a hugely popular series of novels, Paul wishes to 'retire' the character and focus on writing something more personal. After finishing his latest book, Paul sets out from a Colorado lodge nestled in the Rocky Mountains and begins his drive back to the city during a horrible snowstorm. Let's just say he doesn't make it.
As luck would have it, former nurse Annie Wilkes is passing by and drags him from the wreck. When he comes to, he is in bed being tended to by his 'number one fan' (Annie) in her home. Annie assists Paul in his recuperation, as both legs and an arm are broken as a result of his accident. His gratitude soon turns to concern though, as it become increasingly clear that her love of his Misery novels is far from normal. This unhealthy obsession is only too apparent as she finishes his latest manuscript where Misery dies. To say she becomes outraged would be an understatement. Her rage and insistence that he should rewrite the book leads him to becoming a prisoner in her home.
You would think that a movie centered on two characters in one room wouldn't offer much in the way of excitement, but you need to see this movie! As it becomes quite clear to Paul that help is not on the way, the movie takes on claustrophobic urgency. You find yourself yelling at him, trying to help him escape. As Annie spirals slowly into insanity, things begin to look even bleaker for Paul.
Kathy Bates deservedly took home an Oscar and Golden Globe award for her performance as Annie, and James Caan is wonderful in what must have been a difficult role to play, since he spends most of his time in casts lying in a bed.
Misery is not your typical dramatic movie. It will keep you on the edge of your seat and make you second-guess whether you would really like to be rescued, in a snowstorm, by a "good Samaritan." I give the movie a 4-star rating and recommend it for all viewers, especially Stephen King fans.

Fantastic
The scary thing about Steven King's novels is that they're not that ridiculous. This one in particular, could very well happen. Just remember the penguin always looks south.

Intense and very original.
Misery is by far one of my favorite movies. A writer gets in a car accident and ends up being held at this crazy nurse's home.Excellent plot & fantastic ending---A must've for any one into suspense and who loves S. king's books & movies.

"She can't be dead, MISERY CHASTAIN CANNOT BE DEAD!"
By now pretty much everybody knows the rule that the best movies made from Stephen King novels do not put his name above the title and do not trumpet the fact in the trailer. This would be film's like "Stand By Me," "The Shawshank Redemption," "The Green Mile," and, of course, "Misery." Director Rob Reiner did the first and last films on that list, so he would know. The idea in this 1990 film is fairly simple and one that obviously would send shivers up and down King's own spine: what if an author became the captive of his "number one fan," who, needless to say, is a psychotic maniac?

Paul Sheldon (James Caan) is a famous writer, who has been turning out historical bodice rippers about a heroine named Misery Chastain. As was the case with Arthur Conan Doyle, who killed off Sherlock Holmes at one point, and Edgar Rice Burroughs, who tried to kill off Tarzan's Jane, Sheldon has enough of his fictional creation and has killed her off in a book about to hit the stands. Meanwhile he has just finished a new novel about the slums in which he grew up that he hopes will establish his reputation as a serious writer. However, after he leaves the secluded Colorado Hotel where he goes to write his books his car crashes during a snowstorm and he is horribly hurt. But before he dies he is taken from his car and when he awakes he finds himself in a bed, both of his legs broken, and in the care of Annie Wilkes (Kathy Bates), a nurse who gleefully informs Paul that she is his "number one fan."

Grateful to be alive and believing Annie's story that they are snowed in and that the phone lines are down because of the storm, Paul recuperates. He even lets Annie read his new manuscript, a privilege reserved for his editor, agent, and anybody who saves his life. But Annie does not like Paul's new novel and when she discovers he has killed off Misery she goes off the deep end. It becomes clear to Paul that if he has any hope of getting out of there alive, he is going to have to bow to dictates of his "number one fan" and bring Misery Chastain back from the grave.

Meanwhile, Paul's agent (Lauren Bacall) has called up the local sheriff (Richard Farnsworth) and alerted him to the fact that the writer, on his way to New York with a new manuscript, has disappeared. With the help of his plucky wife (Frances Sternhagen), the sheriff starts to search for Paul, who is trying to find some way of getting away from Annie, even in his hobbled condition. Unfortunately, the more he learns about Annie, the less he likes his prospects and the more desperate his condition becomes.

The original novel had a great irony in that under Annie's stern editorial guidance Paul is rather mortified to find the new Misery novel he is writing is the best thing he has ever done. But with William Goldman's script the novel he is writing is but a small part of the game of cat and mouse between Annie and Paul. Once it becomes clear Annie is insane Paul faces the daunting task of keeping on the slippery slope of her good side. Besides, Goldman knows that the whole bit that King did in the novel with Paul's typewriter, which keeps losing keys as his work goes along, would not translate to the film, so he did not even try.

This film represented the second time King created a female character who would be nominated for a Best Actress Oscar, the difference being that Kathy Bates won for "Misery" whereas Sissy Spacek did not for "Carrie." While Caan turns in a solid performance as a character bound to a bed or wheelchair for most of the film, ultimately it is Bates who makes this film work with the way that she goes from sweet to sour on the drop of a pin. Annie's is a many faceted lunacy and part of the terror is that Paul never knows which one will come walking through the door or back out of it again. "Misery" struck me as being a flip on "The Exorcist" in that instead of being afraid of what we would find when we walked through the door, this time we were afraid of what was going to open the door and walk through.

"Misery" is a relatively simple and rather intimate horror film. This time King's monster is a human being and that makes Annie Wilkes one of the scariest, especially as she is played by Bates. When you think of all the fine cinematic performances Bates has turned in since then, especially in "Dolores Claiborne" and "Primary Colors," you have to be glad that Bette Midler turned down the role of Annie when it was offered to her. ... Read more

Reviews (51)

Babs is a great actress
These scenes are so well written - credit to the genius of arthur laurents - that any one of them could be taken out of context and make a great scene for an acting student.

The movie is shot beautifully and the score is a classic. (If a little repetitive at times)

The main reason to see this movie is for the great acting of Streisand and Redford. They are incredible.

Barbara has so many great moments in this - probably the "phone scene" is her best but so hard to choose. She is just great in this movie.

Redford is perfect - saying much more when he is silent than any actor does with dialogue.

The ending scene is a classic of american cinema - so sad and perfect. The most classic goodbye scene since CASABLANCA.

The documentary on this DVD is awesome. The interviews with Barbra, Pollack, the Bergmans, Hamlisch are great. The only disapointment is no Redford. The deleted scenes in this documentary are great and worth seeing.

I highly recommend this DVD.

DVD is Well Done - Looks & Sounds Better Than Ever
Finally! THE WAY WE WERE in widescreen! I think it really makes a difference. I've only seen pan and scan versions on video. It is especially noticeable in the opening credits where names/credits appear on one side of the screen and action takes place on the other side. For the first time we get to see Katie at her typewriter and Katie talking to her teacher.

The rest of the dvd is done just as well. The picture and sound are pristine. The menu screens are classy and easy to use. The bonus trailers from FOR PETE'S SAKE and Streisand's later films are fun to see.

The hour-long documentary featuring interviews with Sydney Pollack and Streisand is very revealing. Pollack seems humble and grateful about the film. Streisand is relaxed and beautiful - again, reflective and humble about the experience as Pollack is. There is even a segment with Marvin Hamlisch on piano playing the different versions of THE WAY WE WERE theme. And Alan & Marilyn Bergman are a hilarious couple!

Sydney Pollack's comments on the extra audio channel are interesting as well. I haven't gotten through the whole movie yet, but so far so good!

The dvd is definitely a must-have for Streisand fans. But even fans of this classic romance will find much to like about the dvd as well.

A classic! A tearjerker! Two treats in one!
I've seen this movie many, many times. I can be brought to tears by watching JUST the last scene. This movie is a true visceral experience.

Characters that could have been stereotyped are incredibly complex and true. And that's a big part of the story. We go through life and label people, yet we just don't know what might truly lie beneath.

Katie and Hubble see what lies beneath. How we don't know. Two soul mates who come into each other's lives but cannot stay. I know all of this sounds sentimental but this is a truly sentimental favorite.

Watch this movie!!

"Katie, it was never uncomplicated."
As stated many times before, THE WAY WE WERE is one of only a handful of romantic blockbusters to actually feature an intelligent script and complex characters. Writer Arthur Luarents' based his screenplay (and subsequent novel) on girl he knew in college, who fought for liberal (and sometimes communist) causes. The film was a surprise box office smash when originally released, and became the fifth-highest grossing film of 1973 and an instant classic. Katie Morosky is a character that Barbra Streisand born play, and she delivers on all accounts. Fierce and determined, yet vulnerable and self-conscious, Katie is a tricky character and Streisand inhabits her so deeply that she seems nothing less than completely believable. Justifiably nominated for a Best Actress Oscar, she was unfortunately robbed of the award.

Redford, who actually turned down the role twice before director and friend Sydney Pollack talked him into taking the part, displays some of the best reflective acting ever seen on the big screen and definitely deserved a nomination as well (he was, however, nominated for Best Actor that year for his light comedic performance in THE STING). The film's enduring popular success with the mass audience is due to the magnetic chemistry between Streisand and Redford and the gorgeous visuals and strong directorial hand supplied by Pollack, however it is the complexity of the romance with politics and the strong characterizations by both leads that continues to make THE WAY WE WERE the best love story for adults.

About the DVD: The picture quality is beautiful, quite possibly the best the film has ever looked. The sound quality is also vastly improved. Pollack's commentary track is interesting, but the 60-minute documentary is the best extra on the disc. Featuring insightful interviews from Pollack, Streisand, and Laurents (as well as composer Marvin Hamlisch and lyricists Alan and Marilyn Bergman) the documentary is well-produced and entertaining, and it was great to finally see those much-debated deleted scenes.

For such a great film, the dvd should have been much more!
I, like many thousands of others love this movie and could watch it over and over again. What should have been a 25th Aniversary spectacular is a very lack luster. My major complaint is with the 60 minute documentary.
1.Great, we get to see some scenes that were cut that really SHOULD have been put in the film in the first place. How about the rest of the cut scenes? Legend has it that there is much more.
2.Barbara's commentary is good but I really think she could have added a lot more. What about the screen play she supposedly was interested in that was, in essence, a part two of this movie entitled "the way we are"?
3.Redford is absent on the disc because of "scheduling" problems? Or so I have heard....Gee, nobody could have waited even to get 3-4 minutes of commentary from him? Something isnt right.

I also dont think the transfer of this movie came out too well. Not exactly great quality for such an icon. ... Read more

Amazon.com

David Zucker--of the Zucker-Abrahams-Zucker creative troika behind Airplane! and television's Police Squad!--directed this 1988 feature film based on the latter show. Leslie Nielsen returns to his old TV role of Lt. Frank Drebin, the deadpan idiot with a detective's badge. The reinvention of the failed series as a theatrical feature seems to have inspired everyone involved to make a pretty funny movie, and the jokes gather a momentum that lasts until the final act. Ricardo Montalban is a perfect foil as a villain whose aquarium is being invaded by Drebin during routine questioning, and George Kennedy is delightful in a self-parodying part as an earnest but obtuse lawman. There's a hilarious bit when Drebin--wearing a live police wire while going to the bathroom--can be overheard over the loudspeakers at a speech given by a flustered mayor (Nancy Marchand). Yes, that's O.J. Simpson as a detective who ends up on the wrong side of numerous Drebin blunders. --Tom Keogh ... Read more

Reviews (63)

From the files of when comedy was actually funny
Those who know me know that I don't often go to comedies that have been made since the Austin Powers era. The reason is that there has been a line that has been crossed in recent years that makes that majority of these films unfunny to me. While Austin Powers had Dr. Evil to save it from over all lameness most comedies these days are too reliant on riskaye sex jokes and over the top toilet humor that works in South Park and Nintendo's "Conker's Bad Fur Day" but nothing else. The Naked Gun is based on the short-lived but absolutely hilarious "Police Squad" TV series starring Leslie Neilson as Lt. Frank Drebbon. The show and films classic "who dun its" from the 40s and 50s with over the top classy humor, and a lot of well timed puns and gags. Timing is what makes not only this movie, but also its sequels do funny. The timing for everything is dead on, plus it's a Zucker film, and the Zuckers are almost up there with Mel Brooks. They know how to do comedy right. However the weakness of this film is in its time sensitive gags. A lot of the events in this movie are poking fun of events that were occurring at the time the movies were made. People who were not around in, or do not remember the early nineties may not get a lot of the gags. Even so there is still enough material that is not time sensitive for the film to be funny over all. Even a guest appearance by Weird Al Yankovic.
The special features are lacking, however. Part of what makes DVDs so fun is when you get a jam-packed DVD that goes in depth into the making of the movie. It is when you have those kinds of documentaries that the movie becomes more than a movie; it becomes a living piece of history. Considering that so many of the jokes are so era sensitive these making of featurettes that this DVD lacked could have been beneficial to those who don't know that backdrops to which so many of these jokes are built.

Frank Drebin from Police Squad hits the Big Screen
Yes, "The Naked Gun" is a funny movie, a fitting heir to "Airplane" in the genre of "Kitchen Sink" comedy where you had better pay attention to everything that is going on in the background and read all of the final credits or you will be missing out on the fun. But Leslie Nielsen's totally dead-panned performance as Lt. Frank Drebin in the original "Police Squad" TV series worked better than than the more hammy approach used in the films. Still, watching Priscilla Presley, Nancy Marchand and Ricardo Montalban deal straight up with all the wackiness redeems many things. Even if you never saw "Police Squad" (with Rex Hamilton as Abraham Lincoln), you will laugh parts of your anatomy off during "The Naked Gun." I wonder if Queen Elizabeth ever watched this movie? Too bad it is hard not to wince every time you see that guy playing Nordberg. Final Trivia Note: the German version of "The Naked Gun" runs four minutes shorter. See if you can guess what the fun loving Germans found so offensive they cut (No, I do not have any idea, but I am curious).

Classic Comedy
Based on the failed tv series "Police Squad", 1988's "The Naked Gun" was a smash comedy that gave new life to Leslie Nielsen's career (he had previously been reduced to dramatic roles) as well as escued the team of Jerry and David Zucker and Jim Abrahams, who hadn't had a hit since 1980's equally hysterical "Airplane" (which also starred Nielsen).

Frank Drebin (Nielsen) is a bumbling cop who is assinged to look into a plot to kill Queen Elizabeth at the World Series after his fellow oficer and good friend Nordberg (O.J. Simpson - yes, that O.J. Simpson) is nearly killed. The prime suspect is a businessman named Vincent Ludwig (Ricardo Montalban). Drebin and his partner Ed Hocken (Georeg Kennedy) will stop at nothing to find out who's behind the crime. That is, if Frank can avoid the charms of the sexy Jane Spencer (Priscilla Presley).

This is a great film for anyone who loves to laugh. And get the two sequels as well and pray they comeout with a fourth one soon.

This carn't be overlooked
Very funny movie if you haven't seen it its clear your behind in comedy.

Masterpiece
When asked what my favorite movie of all time, I always instinctively utter "The Naked Gun." While not everyone really appreciates this movie, unless you're into goffball comedies, this has to be one of the funniest movies ever. Not sure what else can be said about it. Puns, punchlines, side gags, are all brilliant. I laugh out loud every time I watch it. ... Read more

Description

In this Jerry Lewis classic from 1983, Jerry not only stars in the film, but wrote and directed it too. The story is about a nerd who goes to see a shrink about his suicidal impulses. Hechr(39)s a clutz and just canchr(39)t seem to kill himself successful ... Read more

Reviews (9)

a cult classic for my family!
My siblings and I watch this movie practically every time we go home to visit. We have loved it since first seeing it over 20 years ago. Today, our conversations are sprinkled with phrases such as "No. Anesthesia. Please. Boing.Boing.Boing.Boing." and "OW! That HURTS! Are you NUTS!" Then we are all laughing like crazy!

And every time I get on a low-cost airline I think of Willy Wehawkin and my hand naturally curls! But my favorite scene is definitely Jerry in the French prison planning his escape! Jerry is brilliant and appreciated by so few...

For the more objective review:
The movie definitely has some slow points but just keep watching. As in most stand-up comedy routines, the jokes have a way of coming up later and catching you off-guard. (i.e. the annoying waitress, Jerry getting punched each time he lights up, Jerry falling down...often!)

If you hate Jerry, you probably will hate the film and there is nothing I can say to convince you otherwise. Many of my friends (whom I've made sit through this) think my family is nuts! But I still keep pushing it hoping for the next new members of our cult-following...

...Happy
This movie is The Jerk times 10! I forgot how funny Jerry Lewis is - can we just address the hospital/Krishnamurti scene or the workman on the head phones? I was pounding the floor and ripping my hair out...and the beginning credits weren't even finished yet. Please watch this movie, skip over the parts that don't speak to you - then laugh your a__ off! Red slippery floors make me laugh. It's like sunshine....

A smorgasbord of guffaws!
Having grown up watching early Jerry Lewis and Lewis & Martin movies, I consider this one right up there with the best of them. Jerry is in top form in this one. The guys got the funniest face in show business this side of Buddy Hackett, yes that's a compliment. My brother and I have watched this movie several times since first seeing it on cable as kids, and everytime I see it I can't help but laugh louder than "a land-to-air missile" Screw all the skeptics, Jerry is one of the funniest freaks in Hollywood history and it's a shame you have to go all the way to France to find people who realize he's a genius. If you're a Jerry Lewis fan you'll love this flick, if you're not a fan you might become one after this gut-buster.

You folks are kidding, right?
This movie was as awful as anything Lewis has done since the mid-60s (though a few have been worse). The opening title sequence, in the psychiatrist's office, is very funny, true, but unfortunately the movie continues after that. Part of the story takes place in France, an obvious bone thrown to the country where some critics take Lewis seriously.

What does looking up have to do with finding an address book
I first watched this movie when I was about ten years old. I saw it again just this week. It is absolutely hilarious. You can't help but laugh. Some of the jokes are absurd and completely out of place. But the second you see Jerry in French prison, warming himself by a candle saying, Hot, chaude....hot, chaude.....hot, chaude, you'll know this movie is for you. I never really knew how funny he could be til this... ... Read more

Reviews (67)

The Little Guys Triumphs
I have to admit that I have never been a big fan of Frank Capra's directing or the stories he chose. But this movie scores for me. James Stewart is simply amazing as Jefferson Smith, the naive young man who discovers that Washington and politicians are not what they seem to be. Jean Arthur, an actress who seems to be forgotten these days, is excellent as the secretary who has seen it all. Claude Rains and Harry Carey do well in supporting performances as a senator and the president of the Senate. The underlying themes about political corruption and the power of the people still work today. The scenes surrounding the filibuster are unforgettable, and you'll find yourself routing for the little guy, something I thought I was too cynical to do myself.

Jimmy Stewart's Finest Performance in Capra Gem!
Mr. Smith Goes to Washington is a timeless, brilliant parable of Good Vs. Evil, played out in the U.S. Senate. Good is represented by Jimmy Stewart, in the film he SHOULD have won an Oscar for (MGM, trying to bolster 'Goodbye, Mr. Chips' at the box office, influenced it's Academy members to award Robert Donat with the statue; the following year, Stewart appeared in 'The Philadelphia Story', for MGM, and won Best Actor!). He is magnificent as Jefferson Smith, an idealistic youth leader, who is offered up as an innocent and gullible replacement for a Senate vacancy. Evil is personified by Claude Rains, as the suave and corrupt senior Senator, and Edward Arnold, brilliant as a ruthless party boss.

In many ways, 'Smith' is cut from the same cloth as Capra's earlier masterpiece, 'Mr. Deeds Goes to Town', and both films costar the radiant Jean Arthur, here cast as Smith's secretary. She is an old hand at understanding political wheelings and dealings, and at first, she considers her new boss a total idiot! But Smith's integrity wins her over, and with the help of reporter Thomas Mitchell (1939's busiest actor!), the three manage to outlast the forces of Evil, in the most rousing filabuster Hollywood has ever filmed!

Two supporting characters deserve special attention; Harry Carey, one of Hollywood's most beloved Western stars, plays a warm, sympathetic Vice President, in a small but very crucial role; and Beulah Bondi is terrific as Stewart's mother (she would play his mother again in the Capra/Stewart classic 'It's A Wonderful Life').

The new DVD edition offers the insights of Frank Capra, Jr., son of the legendary filmmaker, as well as trailers, vintage material, and a whole lot more!

If you've seen 'Mr. Smith Goes to Washington' before, treat yourself with this lavish new edition! If you haven't seen it, you are in for one of the most wonderful cinema experiences you'll ever have, from the best year Hollywood ever had!

Simply put, this film is a masterpiece!

An All-American Film
This movie is perfect for July 4th..in fact, I watched this movie for the first time on this day! If you want to see how a bill is passed, what the Senate consist of in the government, how people in politics are after, great monuments like the Capitol and Lincoln, and a great storyline, this is the movie for you.
Jimmy Stewart played Jeff Smith, a Boy Scout ranger who loves America, was picked as a Senator. His honesty and rookie nature made him a ruse for the experienced Senators who are out to get him and throw him out of office with their lies. Meanwhile, he did find a friend who went with him all the way...his secretary, Clarissa (who falls in love with him). You will have to find out the rest of the movie what happens when people found out that Smith was telling the truth all along, and the bad guys.
This is a great movie!! Go watch it!

THE LAST "CONSERVATIVE" MOVIE?
In 1939, Frank Capra made "Mr. Smith Goes to Washington", starring Jimmy Stewart. I have sources that tell me a film was made 10 years later that depicted the Republican as a good guy, but I could not verify it. To the best of my knowledge, "Mr. Smith Goes to Washington" is the last big screen film in which the Democrat was the bad guy, and even then it is only inferred. In Capra's classic, a Midwestern political machine based on the corrupt Democrat organization in Kansas City that Harry Truman rose to power in, is exposed by an idealistic young Senator (Stewart). Claude Rains plays the Truman character. He looked just like him, and in end gives a Senate floor mea culpa of his complicity with Democrat crimes, which is highly, precisely and to quintessential effect the same one "Give 'em hell Harry" should have given, but never did. All is not lost for the Democrats, however, because Stewart is still a Democrat, and the hope for the future. In reality, the Democrats just got more corrupt, and Hollywood would be their willing ally.

STEVEN TRAVERS
Author of "Barry Bonds: Baseball's Superman"
STWRITES@aol.com

The movie will not yield.
Frank Capra captures the heart of american patriotism without ever becoming preachy. Mr. Smith is equal parts civics lesson, romance, tense drama and at its heart: the perfect fish out of water comedy.

Jimmy Stewart is fantastic as Jefferson Smith an honorory senator who accidentally stumbles on corruption. Stellar performances were turned in by Jean Arthur, Claude Raines, Edward Arnold and Thomas Mitchell, but it is Stewart who dominates this film.

The phrase Capraesque gets bandied about with too much regularity these days when describing recent films. I would strongly reccomend Mr. Sith goes to Washington as Capra at his most Capraesque. ... Read more

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