Reviews (1)

The Best series Ever!!!
What is there to say about the best series ever made. You'll laugh, hearing dale talk to diane and special guest appearances by David LYnch himself.

Also lots of other special guests like billy zane add a little variety to an already fabulous cast.

I recommend this to anyone, twin peaks is quite unusual.... ... Read more

Reviews (25)

Scream For Your Lives!
William Castle was reknowned for his gimmicky films. For THE TINGLER he had "Percepto," and it was a lulu: randomly selected seats in the theatre were wired with a small motor, and at a peak moment in the film these motors came to life and literally gave your bottom a buzz! But unless you happen to have a really warped sense of humor plus some mechanical apptitude, you'll have to forego the "Percepto" effect and settle for one of the most weirdo stories to come down the street.

A doctor (Vincent Price) is studying the effects of fear. In the process, he finds that fear causes a nasty, worm-like creature to grow inside the human body along the spine. Release your fear by screaming, and the creature is destroyed; if for some reason you cannot scream, however, the creature merely grows larger and larger and kills you by crushing your spine. What the good doctor really wants, of course, is to lay his hands on one of these critters--and when a man murders his deaf-mute wife by scaring her to death, Dr. Vince gets his chance. Eventually "The Tingler" escapes into a movie theatre, and the seat-buzzing begins!

Price and company give it their all, and the film is as enjoyable as only schlock horror can be. Fans of the genre will hoot over the murder, Vincent Price's LSD trip, the scenes where the tingler escapes into the theatre--not to mention at the monster itself, which looks like a cross between an overweight centipede and a lobster. And yes, you really can see the wires! The DVD edition also includes lots of fun extras, including a short documentary on the film. Castle fans will get a kick out of it, but all others are warned away!

"SCREAM!....SCREAM FOR YOUR LIVES!"
Another "gimmick" film from producer/director William Castle. He made this movie great fun to watch in the theatre in 1959; a process called "Percepto" caused certain seats in the theatre to give mild shocks to the people sitting in them! But in to the story....

Vincent Price (always fun!) is a doctor who discovers that when a person is terrified, as large insect=like creature grows on their spinal cords. It pinches their nerves and kills them if they don't kill it first. The movie is famous for Price letting one of the "Tinglers" loose in a movie theatre....He tells everyone to scream or they will die!
There are some wild scenes in this movie like a deaf-mute woman being scared to death when she sees a zombie and a bathtub of blood with a hand in it....and there's a great scene of Price tripping after doing aaa hallucingenic drug...Great fun and the classic 50s science fiction movie. Too bad "Percepto" is no longer used...

The Tingler
Wonderful example of the best of early "spooky films". DVD reproduction was great-appreciated the extra features with background on film. Service and product above expectations. Grap the popcorn and get ready to "scream"!

DVD is fantastic
The DVD version of _The Tingler_ is the way to go for horror buffs. It includes priceless footage of the legendary William Castle promoting the film, as well as interesting comments by co-star Darryl Hickman. Hickman seems somewhat apologetic for his role in the film. I was thinking, "Are you kidding? This turned out to be one of the biggest cult classics of all time."
Also hilarious is the drive-in scream sequence, which dealt with the problem of the tingler being loose in a drive-in rather than a theater.
Great film, Castle's campy best. Vincent Price is memorable--he goes on the first LSD trip ever on film--in 1959! Judith Evelyn is remarkable as Ollie's deaf-mute wife. The famous bathroom sequence is as good as it gets.
Sharpen up your suspension of disbelief and enjoy!

This movies is a scream...in more ways than one.
I admit it! I am a sucker for old Black and White horror films. They are quite tame by today's buckets of bloody special effect big budgets ones, but they hold a fun all their own. Especially when the ringmaster is the oh so talented Vincent Price. He was always the odd mix of silky mannered menace, with that sprinkle of humour that set him apart from so many actors. It was that devilish twinkle in his eye that always told you he enjoyed what he was doing.

The Tingler is another of the Castle low budget treats. Price plays a mild mannered doctor/research scientist married to a rich wife who is a floozy. She runs around on Price, cares little that he knows it, controls her younger sister's life, but Price is not a man you push too far. Obsessed with discovered the results fear has on the body, he finds out there is a critter that increases in our bodies when we are frightened, the more fear the bigger and stronger it grows and the only thing that can destroy it is screaming. Feed up with his wife's wicked ways, he convinces her he is going to kill her so he can X-ray her trying to prove the existence of the Tingler.

Price gets mixed up with Olly, a husband of a theatre owner who is a deaf-mute. She goes bonkers and passes out when she sees blood. Price wonders what would happen in her, if the Tingler is unleashed, but she cannot scream. Later, someone deliberately scares her to death, and Price operates and removed the Tingler. But then, wife tries to use the Tingler to strangle Price...all in good loving fun, mind you. The pesky beastie dashes off and heads to the theatre to menace everyone there.

One note, though the film was shot in Black and White, the sequence where Olly's wife is driven to death was shot in colour emphasize the red of the blood scaring her.

Great fun and it's a bit of a walk down memory lane! A must for any fan of Castle or Price. ... Read more

Reviews (23)

Great Movie!
I must say I absolutely loved this movie! Timothy Hutton is one of my favorite actors, and Stephen King is one of my favorite authors, so the movie was perfect! I greatly admire Hutton's ability to play not only the hero, Thad Beaumont, but also the villian, his 'evil twin' George Stark. One scene in particular strikes me. Beaumont, in an effort to discover what Stark's plans are, lets him take over his body, or at least his hand, and askes him questions while Stark writes the answers with Beaumont's hand. Hutton did a wonderful job of acting this scene, making us believe that he was indeed talking to his dark half. Favorite quote in the movie, involves a People Magazine reporter while interviewing Thad Beaumont about his pseudonym George Stark. Reporter: "You'll uh, forgive me for noting, but these behaviors could be interpreted as classic symptoms of schizophrenia." Beaumont: "Yes, I'll forgive you for noting that. I don't think George would, though."

The Better Half?
Following their underated collaboration on the cult horror film Creepshow, author Stephen King and director George A. Romero came together for The Dark Half. While the film boasts a strong performance from Timothy Hutton, and plenty of "chills and thrills", the presentation of the movie on DVD leaves a lot to be desired.

Best selling author and teacher Thad Beaumont (Hutton) hopes to distance himself from his murder novels and from George Stark, the name he has used to anonymously author them. To accomplish this goal, he cooks up a murder of his own: a publicity stunt that should lay Stark to rest forever. But when the people around him are found brutally murdered and his own fingerprints pepper the crime scenes, Beaumont is dumbstruck, until he learns that Stark has taken on a life of his own...and has a gruesome plans to seek revenge against his alter ego. With Beaumont's wife Liz (Amy Madigan) in danger, and Sheriff Alan Pangborn (Michael Rooker) investigating him, he finds himself doubting his very sanity.

Romero has fun translating King's novel for the movies. Hutton is superb as a split personality. The film is genuinely creepy. Given the story, I suppose King worked out a lot of his own frustrations over his career, with this work. Like the aforementioned Creepshow, The Dark Half, is underappreciated. While the film is worth a look...

The DVD, distributed by MGM, loses my total endorsement, thanks to lackluster so called extras, and little care for the film itself. All you get for your money here is the movie's theatrical trailer and a behind-the-scenes booklet. Normally, this kind of thing wouldn't really bother me, but to add insult, the film is only available in the full-screen format??!! C'mon get with it! The film deserves better. If the film was shot in widescreen, you should have the option to see it that way....It is the 21st century after all.

See this underated film--but be advised the DVD is, to put it in a nice way--lacking.

It's Only Half Good.
THE DARK HALF is about a famous writer, Thad Beaumont (Timothy Hutton), who has been writing very successful thrillers under a different name, George Stark. When a little weasle from out of town threatens to blackmail Beaumont and blow his cover, he decides to let the world know that there is no George Stark and that he has been writing the best-selling books all along. But, what if there really is a George Stark? And what if George Stark wasn't totally real, but a part of Thad that was cut away a long time ago? And what if that George Stark came to life and starting killing people like the characters in his books do? That pretty much sums up the plot of THE DARK HALF. The movie ends in a climatic battle of the wills between Thad and George.

The film contains some pretty decent acting, especially by Timothy Hutton who plays both Beumont and Stark. The directing is done by horror master George Romero and is almost faultless. Nevertheless, more so because of a lackluster script than anything else, the movie never reaches it's full potential. The movie has a great premise, an interesting plot, and begins as an enthralling thriller. However, about a third of the way through, things start to loosen up and fall apart. The mood changes and instead of an enthralling thriller, the movie feels more like a semi-suspenseful dark comedy. In the last act, the movie picks up steam again, but not enough to overcome the shortcomings of the second act. It's not a film I would recommend to buy, but it's a great movie to rent.

The divided man.
Thad Beaumont is a writer who goes public about the novels he wrote under an assumed name. Now his fictious counter part, George Stark (his Dark Half) has become a real physical person, and Stark is rather upset that he's been killed off. And now a battle to become the dominate personality has begun. I thought this was a terrific movie. George Romero and Stephen King have been friends a long time, and Romero's care really comes through in the material. Timothy Hutton plays a double role as both the clumsy Thad and the ruthless Stark, and he dose a wonderful job, he was very underrated by the critics. Michael Rooker's Sheriff Pangborn was a nice touch, a good, smart cop who's sympathetic to Thad's problem, at least as much as his rational mind will let him be. All the other characters and actors do a good job. The best is Thad's fellow professor, the least being Thad's wife. The action is rough and mean spirited, I loved it. The gore is actually pretty mnimal, but what's there is impressive. I recoment it whole heartedly.

Hutton's great
Hutton is extremely good in two roles, playing Thad and his evil persona that turned into human form. somewhat of a slow pace, which lags this down a bit, but then the finale when evil Hutton gets ripped apart by all those sparrows that enter into the place is just awesome. there's a lot of evilness to the way Hutton puts it into his character and you can see that when he slices the victims up. ... Read more

Reviews (477)

A great modern adventure!
This is the last entry in the "Evil Dead" series, but folks, this is NOT a horror flick, it is a fantasy comedy adventure. This deals with "Ash" ( Bruce Campbell) who was sucked into another time, in the medieval times. Now he must get a unholy book called " The Necronomicon" so he can get back home but when his idiocy gets in the way, he unleashes a army of the dead and now Ash with the rest of King Arthur's men must fight back.

A brilliant, entertaining and hilarious final in the awesome Evil Dead series with wit, humor, skill, good special effects and great battle scenes. Sam Raimi is a genius of a filmmaker, Bruce Campbell is definitely a great actor portraying a lovable moronic hero. Like i said, this movie isn't a horror flick, it's really a Fantasy comedy adventure and doesn't have gore like the last two flicks but this movie is also enjoyable for the whole family. I own this movie on DVD in 2-versions such as the Cut U.S. version with happy ending and the Director's cut with alternate ending, this is a must see movie.

Also recommended: Lord of the Rings: Fellowship of the Ring, The Evil Dead, Evil Dead II, The Princess Bride, The Neverending Story, The Dark Crystal, Conan The Barbarian, The Crow, Lord of the Rings: The Two Towers, Harry Potter and The Sorcerer's Stone, In The Army Now ( Pauly Shore), The Flight of Dragons, Return of the King, The Last Unicorn, Gladiator, The Wizard of Oz, Excalibur and Mulan.

Great, Fun Film.
ARMY OF DARKNESS is the third film in the EVIL DEAD series. The first movie in the series, EVIL DEAD, was a strictly horror film containing a humorous moment every now and again. EVIL DEAD 2 was basically a dark comedy interlaced with a few moments of horror. ARMY OF DARKNESS is neither; it's an action/adventure flick filled with comedy and just a touch of gore.

The movie begins where EVIL DEAD 2 ended: Ash has been transported to the 13th century and is surrounded by the Army of King Arthur. He is assumed to be a member of a rival army and is taken prisoner. After defeating a couple of Deadites in the pit, he is declared to be the prophecized hero who will rid the kingdom of the evil that has befallen it. However, Ash, being the befuddled hero he is, makes things worse and almost destroys any chance he has of returning home.

ARMY OF DARKNESS is hilarious. It's filled with comedy and all sorts of literary and pop culture references from The Three Stooges to Gulliver's Travels to JASON AND THE ARGONAUTS to Frankenstein. I found myself laughing about every three minutes and some of the one-liners just rock: "Give me some sugar, baby" and "I'm going to cut your gizzard." Of course, this movie isn't for everyone. There are some people who would be offended and some who would see this movie as garbage. However, I see the movie as pure genius and great fun. Whatever.

A Bad and Tasteless Film
This by far is the worst film I have ever seen. Sure, I've had my fair share of bad films, but this one tops them off. The acting stunk in a very big way. I expected this film to scare the socks off of me, but, instead I was shaking my head in full on disgust at the Comedy Relief Film instead of being a true horror flick. Don't waste a second of your time on this film and don't waste your money on it either.

Great cheesy cult horror film - choose the edition wisely
I've seen the U.S. theatrical cut of this film a number of times, so I bought the Director's cut (ASIN B00005QW4K) when it first came out. I finally got around to watching it recently, and I've got to say, I'm pretty disappointed with this particular edition. If you want to see the director's cut, I'd recommend you go with the "Boomstick Edition", which also includes the U.S. theatrical release.

There were a number of flaws in this particular DVD. The first thing I noticed was really bad pixellation in many scenes. They did a great job in many cases of cleaning up any scratches or flaws in the source film, but then they did a really bad job of DVD compression. I'm sure the other editions aren't any worse on that score, and hope that they're better.

Also, this cut is actually missing some of my favorite scened and lines. The worst offense is that the line "Good, bad - I'm the guy with the gun" (which for me has always epitomized Ash) was replaced by "I'm not that good". In the commentary, Campbell and Raimi actually note that they prefer the "Good, bad" line... So why not include it in the "director's cut"?

They also deleted an early fight scene, just after Campbell's arrival, and went back to what was apparently the original ending. I really liked the ending in S-Mart, though. I also found the editing on the windmill scene in this edition less cohesive than the theatrical release.

The commentary by Campbell and Raimi was very good, since those two have a long history together, and really seem to have loved making this movie. Still, though, it was clear that they could see some of the same issues I mentioned above, leaving me baffled as to why they didn't work together to make this edition a true reflection of what they think the "best" version of "Army of Darkness" would be.

Good bad im the Ash with the gun.
Army of Darkness is such a fun movie to watch, What more could you want from a movie. I first became a fan of this movie because of Evil Dead 1&2, they where pretty good movies but when Army of Darkness came out it was five times better than the first two movies put together. The real reasson this movie did so well is because Bruce Campbell a.k.a Ash played his part damn well, and because of that we the fans of his movies where happy to see him come back to the big screen. If you don't like slap-stick comedy or horror movies you will not like this film, but if you do your in luck because Army of Darkness is the cult classic movie you've been waiting for. ... Read more

Reviews (134)

"She said hi to me.That was cool.She didnt have to do that."
'A Simple Plan' is a great film. It isn't particularly original, and the plot has already been done to death. But the performances, and all the little touches, make this is truly superb film. Sam Raimi demonstrates that he is criminally under-worked as a director, having made his mark with the classic 'Evil Dead' trilogy and done little else since. With 'A Simple Plan' he shows his restrained side, so far unknown to movie-goers. Instead of focusing on zany, risky camera acrobatics, and gory slapstick, he focuses on the characters, and their respective lives of misery, in a bleak town. Pill Paxton, giving a more internal performance to his normal action-heroics, is the film's protagonist, and is the younger brother of Billy Bob Thornton, who suffers from learning difficulties, and has to say the least, very little in common with his brother. The plot revolves around the discovery of over $4 million in a crashed plane, and the agonised soul-searching about what to do with the money. Murder and betrayal ensue, punctuacted be a personality metamorphosis by Bridget Fonda (playing Paxton's pregnant wife). With most, genuinely touching dramas, you have to watch the whole thing, and get sucked in, in order to emotionally connect with the characters. But some of the final scenes with Billy Bob Thornton (especially the scene where he sets his brother straight about his only 'girlfriend') are simply magnificent. Just start watching at that point, and the tears will start to flow. Billy Bob Thornton is one of the best actors working in Hollywood today (along with Ed Norton). It is a monumental performance. I'm running out of complimentatry adjectives! Truly outstanding.

Thoroughly depressing.
A SIMPLE PLAN is a film that -aside from the change in climate- reminds me of the Coen brothers BLOOD SIMPLE in a number of ways. Both films contain a relatively simple story line, complex, tortured characters, and...simple plans that go wrong. Here, we have two brothers, played wonderfully by Bill 'game over man!' Paxton and Billy Bob Thornton. Thornton is the rather dim-witted one. They stumble across a stash of money in northern Minnesota I believe and that's where the trouble begins. I have to give kudos to Director Sam Raimi's steady hand, and the Oscar-caliber performances of the leading men. Thornton in particular, is amazing. Filmed around the winter bliss of Ashland, Wisconsin, this film is bleak and unremittingly grim. While I can recommend it as a powerful story, my caveat is that by the end you will probably be feeling disturbed and uneasy. At the time I watched it with a friend he told me afterwards that it was the most depressing film he had ever seen. I won't go that far, but it's a definite downer.

As far as the DVD goes, it looks and sounds good, so if you are just looking for a good transfer you should be pleased. You also get a trailer, but really, this film should have more included in this age of digital media. When we only had magnetic VHS tape to work with -and all of its time constraints- I can understand only making a trailer available. But now we should expect more from the bloated film studios of Hollywood.

Not such a simple plot
Brilliantly acted by Bill Paxton and Billy Bob Thornton in particular, this is a gut wrenching film about greed in its saddest presentation.

The moral center of the story is Bill Paxton's character, Hank Mitchell. When he, his out-of-luck brother, Jacob, played by Thornton and his brother's loser of a friend, Lou, stumble onto $4.4 million dollars, his first instinct is to call the police and turn the money in. Who knows where the money is from? But the serpent of Eden is in this story and sinks its fangs into every character, and even a man wit a good heart like Bill Paxton eventually bites from the proverbial apple. He agrees to hold on to the money, just until the thaw, until the plane is found, and then see if anyone comes looking for the money. All swear to secrecy, to not even tell their wives. When Hank arrives home, he asks his wife what she would do if she found a large sum of money. Her response is similar to his - call the police. Regardless of where the money came from, to keep it is tantamount to stealing. But when he dumps the money on the table, showing her that his questioning isn't hypothetical, the moviegoer can see the change in her eyes; can see the proverbial serpent crawling up her leg as clearly as if it actually were. She moves easily and comfortably from a person of strong moral character, like her husband, to a person eventually consumed with avarice.

Simple in its presentation, it's really a complex story. We learn that Lou is more of a brother to Jacob than Hank is, and we can certainly see that in the character's physical presentation. Paxton looks too clean cut for this small town - certainly too proper to be working in a feed mill. Jacob, in stark contrast, is right where he belongs. He has greasy hair, no job prospects, no girlfriend, no wife - not even a decent pair of glasses (he could have used a visit from Hermione to mend the broken center). Lou is the town drunk and proud of it, and although he has a wife, it is a relationship with very little substance. Not one of love, but of comfort. In a telling scene of distance, although it is a scene of remarkable and surprising subtlety, Jacob pokes fun at the way his brother drinks his whiskey. It's not the way that other men in this small town would drink their whiskey. In truth, Hank's mannerisms in this respect are somewhat effete.

With every moral dilemma presented to them, they all sink deeper and deeper into the serpent's grip. To say more would be to give away one of the more tragic endings since Romeo and Juliet (don't laugh, I'm serious), and not an ending that you see coming from a mile away.

Devastating portrait of how greed ruins men's souls
Before watching A SIMPLE PLAN, I saw THE TREASURE OF THE SIERRA MADRE, John Huston's 1948 classic that also tackled the same subject as this film. Fred C. Dobbs (Humphrey Bogart) allowed greed to get the best of him, and it destroyed him. But Huston wrapped this little tragedy in the adventure genre, and while it was indeed a thrilling adventure, Dobbs' downfall in Huston's film doesn't seem (on a visceral level, at least) quite as tragic as what happens to the major characters in Sam Raimi's film.

The major difference that perhaps makes A SIMPLE PLAN more powerful as an examination of greed than SIERRA MADRE is this: Huston's main characters went looking for riches in a land known to be full of 'em, so they didn't have to necessarily worry about being caught stealing anything---Dobbs & Co. only had to worry about other people trying to steal their gold. Hank (Bill Paxton), Jacob (Billy Bob Thornton), and Lou (Brent Briscoe) accidentally find $4.4 million in unmarked American currency in a downed plane in a quiet, snowy Minnesota town, and the moment they decide to steal the money for themselves (and that is basically what they decide to do, although they certainly try to convince themselves that it's not stealing) is the moment that changes all of their lives forever.

In SIERRA MADRE, Walter Huston's character talked early in the film about how he's seen money destroy men's souls. That is exactly what happens to the characters in A SIMPLE PLAN. It leads Hank to coldblooded murder, it leads Hank's wife (Bridget Fonda) to become a modern version of Lady Macbeth, and it drives Jacob to despair. In one key moment, Jacob confesses to Hank that he "feels evil," and that just about sums up the movie's theme succinctly.

While Huston's film also worked as a grand adventure tale, Raimi's film is more in the bleak, film noir style of the Coen Brothers' FARGO, right down to its Minnesota setting and constantly falling snow. It sometimes feels like a suspense-thriller (especially towards the end), but there are no stylish, bombastic action scenes here in the manner of Raimi's earlier films---just a lot of quietly devastating moments and flashes of quick but shocking violence. It's the emotional violence done to these characters, though, that reverberates throughout the whole film.

The performances are all powerfully convincing across the board, and while some might take issue with the plausibility of some of the plot twists in the film's later moments (I can't believe that no one actually bothered to ask to see that person's badge just to make sure he was who he said he was), that is hardly enough to detract from the tragic cumulative impact of this film. Highly recommended.

Brilliant script
A simple plan is above all a deep study if the iiner demons of the human being in the present.
Three men suddenly find 4,4 millions dollars in the bag inside a crashed plane. That fact becomes as smart device for developing the hidden greed, the loss of trust , and the awake of old apparently forgotten past in the childhood of these two brothers.
The script counts with a well supported cast. Paxton has never been so credible in his role; and Bridget Fonda too as his analytical lovely wife, who will be the power behind the throne.
Be warning with four notorius mistakes with the edition: The first three are linked by the same mistake; you see the microphone in the superior level of the frame, and I will tell you the sequences.
The first one; when Lou inquires for his money in the lobby of Paxton; the second is in the hospital when Paxton is with Fonda with their baby , the third is when the police inquires to Thornton about the stranger death of Lou and his wife; and the four mistake is very fast , it is when the two brothers are with Lou in his home. The camera makes a close up to Thornton and he suddenly looks at the camera, by a very brief instant!
The basic aspect of this film would seem turn around this question: what would you do set in such conditions? ... Read more

Reviews (344)

...Let's go carve ourselves a witch.
Evil Dead 2, while technically a sequel, holds very little in common with "Evil Dead." Evil Dead was one of the scariest, creepiest, and grossest films I've ever seen. Evil Dead 2 is one of the funniest!

The gore in Evil Dead II is WAY over the top. (If you've seen Arthur's battle with the Black Knight in "Monty Python's Holy Grail"... THAT'S the sort of gore I'm talking about.) Campy lines are thrown around in here the like you've not heard since the Batman TV series.

The Premise: Ash (Ashley Williams for those who saw the first one) and his girlfriend drive up to a secluded cabin in the woods for a weekend of fun. They come across a tape recording of ancient incantations...that, when played, release an unseen evil that stalks them. When the cabin owner's daughter and team show up, the evil comes for them all!

If you don't try to take this movie seriously, you won't be dissapointed. One of the film's scenes was once rated in the top ten fight scenes of all time: Ash versus... his hand.

Now, for the DVD goodies!
First, the DVD and "booklet" come in a tin! I was impressed by the tin and the arwork on it, but the booklet is a bit of a let-down. The pictures in it are simply screen grabs (and not very good ones) from the movie.
THX and Widescreen add back what's been missing all these years. It's nice to see (clearer!) all of the bits we've been missing and the 5.1 audio tracks make those chase scenes sound like you're right there!
The featurette 'The Gore the Merrier' is fantastic and left me wanting more! It would be great to see more of the behind the scenes antics of this crew, as it's plain to see (hear in the commentary) that they had fun making the film.
And, the teaser for the video game "Evil Dead: Hail to the King" has me chomping at the bit! I can't wait to play a game as Ash! "You want a little??"

If you're an Evil Dead fan, this Limited Edition MUST be in your collection. If you just like slapstick/comedy/horror, you can't lose with this one.

When it comes down to it, if legions of undead started roaming the Earth, I'd want Ash nearby! Not just for protection, but also for comic relief!

Demon Madness
Evil runs wild in the exciting comedy-horror favorite "Evil Dead: Dead by Dawn". In the deep woods, an unspeakable evil force has been unleashed and torments a traveler (Bruce Campbell) and those around him. Director Sam Raimi's horror spectacle is an amazing combination of creepy stylish horror and hilarious slapstick comedy. The movie contains some terrific camerawork, effective visuals effects and memorable gross-out scenes. Bruce Campbell's vivid performance as unlikely hero Ash is another good highlight of the film. The cult favorite is presented in both standard full screen and 1.85:1 anamorphic widescreen formats. Its picture quality is reasonably sharp with good contrast. The 5.1 Dolby Digital sound is enjoyable with lively surround effects. This DVD contains audio commentaries with filmmaker Sam Raimi and cast member Bruce Campbell, an amusing behind-the-scenes featurette and original theatrical trailer. The animated menus are excellent. Overall, "Evil Dead II" scores a "B+".

Back To The Cabin...
Bruce Campbell returns as Ash, the sole survivor of the first EVIL DEAD demon fest. This time out, he must battle the evil spirit in himself! Sam Raimi pulls out all the bloody stops to unleash a tale of possession gone mad! Campbell's solo performance during the first part of the film is a total trip! He is chased, flattened, thrown, carried through the air, and indwelt by that accursed horror from the blood-inked pages of the Book Of The Dead! This movie is either hilariously scary, or Terrifyingly hysterical. A perfect follow up to it's more serious predecessor. Would make an excellent triple feature with DEAD ALIVE and RE-ANIMATOR. Highly recommended...

fun x2
The thrills have increased, and so have the chills. This is by far the scariest movie out of the triology. In a way, i dont fully understand it, because why would Bruce Campbell venture with his new girl friend all the way back up to the cabin where the original massacre happened? I mean its not like you would forget something like that so easily, i mean come on! But besides some incredibly stupid moves, this movie is still pretty good.

Much Better Than The First
Gorier, better, and over all a much better movie than the First. Bloody stabbings, chainsaw action, rotting corpses, removal of body parts, decapitations and lots of blood and green goo. ... Read more

Reviews (1)

A Fine Sampling of Hitchcock
1943's SHADOW OF A DOUBT is an allegorical study of Americana seen through the naivete of a typical family in a quiet and slumberous community. When evil comes to town in the embodiment of the beloved Uncle Charlie (Joseph Cotton) it is the perceptive niece Young Charlie (Teresa Wright) that slowly uncovers his true identity as the Merry Widow murderer. Henry Travers and Hume Cronyn spend their evenings concocting ways to commit the perfect murder unknowingly under the watchful eyes of the genuine article. Evil takes many shapes and hides behind many facades in broad daylight. Would the wholesome average American community recognize such evil and be willing to deal with it? Dimitri Tiomkin, composed a brilliant score utilizing American idioms laced with the darkness of the tainted soul. This remains one of Hitchcock's best films since it works, as a thriller yet remains a true reflection of a good-natured but generally complacent lifestyle. 1948's ROPE is a thoroughly enthralling and disturbing look at a thrill killing perpetrated by two prep-school chums (John Dall and Farley Granger) possibly suggested subconsciously by their unwitting professor (James Stewart). This film has often been characterized notably only as Hitchcock's great experiment. He shot it in ten-minute takes contrary to his stylistic use of effective story telling through editing. This was a technique that he also employed to a lesser degree by Hitchcock in 1949's UNDER CAPRICORN. However, ROPE is first and foremost a riveting tale bordering on the perverse. 1954's REAR WINDOW is a brilliant study on voyeurism and insatiable curiosity. Wheelchair bound James Stewart spies on his neighbors in the courtyard from the window of his Greenwich Village apartment. Convinced that he has uncovered a murder, Stewart maintains his vigil with his society girlfriend (Grace Kelly) by his side. Hitchcock asks the viewer about the ethics of interpreting what goes on behind the closed doors of our neighbors, as his courtyard is an allegorical cross section of American society and mores during the 50s. 1956'S THE MAN WHO KNEW TOO MUCH is Hitchcock's effective remake of his own 1934 version. An American couple (James Stewart and Doris Day) visiting Morocco have their young son kidnapped as part of an international murder plot which they can not help but be drawn into. Doris Day's performance is brilliant as the mother whose son has been taken from her. Her initial reaction to the news is almost unbearable to watch. This film is very suspenseful and disturbing, as the odds against the family regaining their boy seem insurmountable as the film progresses. This is reinforced by Bernard Herrmann's almost minimal score, which adds an undercurrent of discomfort to the psyche of the viewer. There are some very memorable scenes such as when James Stewart is followed by echoing footsteps in the empty London streets on his way to finding Ambrose Chappell. The suspenseful Albert Hall assassination scenes are brilliantly filmed and edited. The face of Reggie Nalder as Rien the Assassin is unforgettable. Brenda de Banzie turns in a complex performance as Mrs. Drayton. Bernard Miles as Mr. Drayton also gives an effective performance through the various identities he goes through. And that is one of the strengths of this film: people and places are not exactly as they seem. Characters constantly evolve. Some grow in strength while others are mere shadows of virtue. 1960'S PSYCHO is probably Hitchcock's best known film. Its images and sounds are indelibly etched into the psyche of our culture. Anthony Perkins as Norman Bates, the Bates Motel, Bernard Herrmann's score, Saul Bass' main title designs, the shower scene and many other elements are cinematic icons. One element of this film that has not been given due recognition is Martin Balsam's performance as Milton Arbogast the private investigator. Balsam embodied the personification of professionalism and determination yet he was cut off in mid stream. I think there is a statement being made about the very nature of justice and fate and that life is not always fair. 1969's TOPAZ was Hitchock's second return in that decade to his earlier spy thriller films. Shot directly after 1966's TORN CURTAIN Hitchcock TOPAZ is a more matter-of-fact tale than a genuine thriller where real lives were at stake. Essentially an American intelligence head (John Forsythe) uses his friend in the French Intelligence (Frederick Stafford) to spy for the United States in Cuba and at the same time they try to ferret out a high French official passing on secrets to the Soviets. Roscoe Lee Browne as Philippe Dubois has the best scenes in the film as he has to get close to the Cubans visiting New York to photograph some secret papers from a high official (John Vernon as Rico Parra). These scenes were what Hitchcock called pure cinema. TOPAZ contains an interesting score by Parisian Maurice Jarre. 1976's FAMILY PLOT was Hitchcock's final film. In an interview with François Truffaut, Hitchcock stated that in today's films you no longer had to close the picture with a kiss. The audience no longer needed it or expected it. The romanticism of the motion picture was dead. If not for the performances of Barbara Harris as a phony psychic and Bruce Dern as her taxi driving-detective-boyfriend this film would have indeed lacked any hint of romanticism. In a complex plot that involves the location of a missing heir the lives of Harris and Dern become intertwined with the villains of the piece (William Devane and Karen Black). Ultimately the film seems more akin to ALFRED HITCHCOCK PRESENTS than to Hitchcock's previous films. However, there's nothing wrong with that. ... Read more

Reviews (10)

Hitchcock Confesses
This film is seemingly standard Hitchcock fare, with a twist. A man is accused of a murder he didn't commit. That is typical Hitchcock. However, instead of the man trying to find the real murderer while trying to escape the police and criminals, the man knows who the murderer is and he cannot do anything. This is not typical Hitchcock. Montgomery Clift gives a good performance as the priest who cannot reveal the truth. Karl Malden is also well cast. Not the greatest of Hitchcock efforts, but a interesting plot and the Master of Suspense's touch makes this well-worth a look.

ANOTHER FIND FROM HITCHCOCK!
This was another one of Hitchcock's movies that I had never seen, but I'm glad I did! Montgomery Clift, as a priest who knows a terrible secret, is wonderful! (What a great actor he was - I have never seen him give a poor or mediocre performance in any of his films. It's such a pity his life was cut short)Karl Malden and Anne Baxter give good performances, as well, but the movie is all Clift's. The movie has an interesting premise - a murderer confesses his crime to a priest, who is bound by his vows not to reveal anything told to him in the confessional. There was a little too much talk in the film, but the surprise ending more than makes up for any minor complaints I may have had. Alfred Hitchcock's movies are wonderful - classy and intelligent as opposed to some of the rot being churned out of Hollywood today. A great film, a great cast, a great viewing experience into the dark sie of human nature!

clift: probably the greatest screen actor period!
this is by no means a great film, but it's essential for the incredibly intense, internalized acting of montgomery clift.
and that's what so incredible with clift. he could still make thin material like this an unforgettable experience.
it's no accident that brando, james dean, and countless others have named clift their biggest influence.
all potential actors should watch this perfromance, which clift said was inspired by reading kafka and watching chaplin.
it shows.

Remember when Hollywood believed in God?
This is an excellent movie! Montgomery Clift turns in a superb performance as Father Michael Logan, a priest who hears a confession of a murder. Shortly thereafter, Father Logan himself is suspected and, eventually, accused of the murder. Of course, he knows who committed the murder, but he can't break the seal of the confessional even to save his own life! Anne Baxter plays an old girlfriend who tries to help, but ends up making things worse. Karl Malden is very good as a police detective determined to solve the murder.

This is one of the best and most Catholic movies ever! I am a priest, and I encourage all of my brother priests to watch this movie. It is an inspiring look at the kind of priest that God has called us to be. It is also an excellent reminder to all Catholics about the great gift we have in the Sacrament of Reconciliation.

a lesser Hitchcock, but still recommended
"I Confess," set in Montreal and starring Montgomery Clift and Anne Baxter, is not one of Hitchcock's finest, but it's still worthy of your entertainment time. The musical score is rather lugubrious but the plot does move along. Clift presents his trademark longsuffering, noble look throughout, resisting the passionate entreaties of Baxter.

Unfortunately, the murderer with his accent somehow reminded me of Bruno Hauptmann, the German immigrant who may have been falsely accused of the Baby Lindbergh murder. (I 'm not giving away the plot; the opening scene reveals who commit the crime.) I don't accuse Hitchcock of national bias, though, as many of his villains are accentless Americans in other films.

A young Karl Malden turns in a fine performance as a detective, part of the strong supporting cast. There are some good scenes of the beautiful capital of Quebec. Recommended. ... Read more

Reviews (2)

Hitchcock haunts the Selznick studios
For VHS nostalgists, and those intimidated by the pricey Criterion boxed set that has replaced this (adding "The Lady Vanishes" and "The Thirty-Nine Steps" and subtracting "The Paradine Case"), this set is a prize to be sought out. Anchor Bay put out a good number of clamshell-cased classics in the suspense and horror genres (including letterboxed Argento titles and "Halloween") and they also did right by these Forties Hitchcock thrillers. Of course, these are the films Hitchcock made under the prying eyes of Selznick, and the relationship was sufficiently difficult that Hitch occasionally drifted away from the post-production, allowing Selznick to lave on extra dollops of music and occasionally even reshoot a smidgeon here and there. "Notorious" is the only one here free of Selznick's taint, but that is in large part because it is the only one of these projects to so completely fire Hithcock's imagination that he considered it absolutely vital to maintain his full vision. Regarded as a highwater mark by everyone from Truffaut to Ebert (and Hitchcock himself), its greatness is so pure and consuming as to reduce even these other terrific films almost to the status of filler. But let us not write them off. Though they are not the same Minerva-born products of Hitchcock's genius as "Notorious" and the Fifties-era masterworks, Selznick was not without his visionary qualities and the Gothic richness of their confections (Hitchcock's ingredients certainly preponderant) make for superb, intoxicating entertainment. Truffaut rightly hailed the 'very modern' qualities of "Rebecca" (the intercutting feels completely contemporary, the forward momentum of the camera through the enormous interiors clearly influenced Kubrick's "The Shining", and the opening sequence is as luminously fluid as any feverish dream of Cuaron). Joan Fontaine is far sexier here than in "Suspicion" (the original "New York Times" review memorably noted "Miss Fontaine has the most expressive spine--and shoulders!--we've bothered to notice this season"), and George Barnes' camerawork is similarly sinuous and expressive. The film's obsessional perversities, like those in "The Paradine Case", come through quite nicely. Alida Valli is the subject of some prime iconic shots in "The Paradine Case" (though the screenplay from Selznick's own hand is a bit disjointed, the camera-choreography clearly kept Hitchcock awake). "Spellbound", the one Hitchcock considered least successful of this bunch, was an enormous hit, and though Miklos Rozsa's sensational score may have been too much for what Hitch regarded as the requirements of the piece, it remains a landmark movie score and will certainly seduce the viewer. Bergman's Dr. Constance Peterson is one-dimensional compared to Alicia in "Notorious" but beguiling nonetheless, and watching the somewhat wan Gregory Peck fume at her mothering attentions provides comic counterpoint to its delirious bouts of pop-Freudian obsession and nightmare. This boxed set comprises a glorious waking dream in luminous black & white, a gorgeous riot of eroticism, fixation, ambiguity, terror, menace and romance rich and seductive enough to keep your nights filled through a long holiday week, and as soon as I have enough nights free I'll be "renting" my brother's set off him and subjecting my girlfriend to the whole lot. Grab it up if you can.

The Old Classics
When I saw these programs, I felt like I was watching "The Twilight Zone". They were brillent. Many directors helped make these and the episodes on this tape are some of the best ever aired. They are genius. They are incredible. Some are even downright chilling. If you like creepy, you'll love this. ... Read more

Reviews (4)

Very funny movie
I really liked this movie, but I do have to admit it's not for everyone's tastes. I was a huge Smothers Brothers fan growing up, and I was able to rent this movie from the video store. The film was actually made in 1969 but put on the shelf for three years before it was finally released. I think this is also Brian De Palma's directorial debut. And I do have to agree, the John Astin part is hilarious!

I'm not alone
I got 3/4 of this movie late one night and never forgot it. The scene with John Astin in the hotel setting up his exec doodahs is priceless!

Orson Wells and Tommy Smothers -- you simply should see it.
This decades old movie centers around the currently fashionable '99 trend towards voluntary simplicity in lifestyle. It made a huge impression on me when I first saw it at the Orson Wells Cinema in Cambridge, MA, back in the '70's. I told people it was the best movie I'd ever seen, and I tried to find it again. Finally, two decades later, I saw it was playing in Venice CA! --- it seemed somewhat dated, not "the best movie I'd ever seen" but it is unique, a classic, and simply should be experienced.

Am I the only person who loves this movie?
I came upon this movie late one night on TV and just had to see it to the end. I remember every gag (even if I didn't laugh out loud when I saw them). This was the first post-modern movie... made in 1972! Orson Welles seemed to be playing the role that he really wanted to always play; a tap dancing magician maestro. Are there any other fans out there? ... Read more

Reviews (1)

What a Great Set !
This set of Alfred Hitchcock videos is superb.Most of the videos included are his older ones but they are still wonderful. The Lady Vanishes ,Young and Innocent,secret agent,and the 39 steps are my favorite videos in this collection of 10 tapes . They are true Alfred Hitchcocks . They keep you in suspence until the murderer or kidnapper etc. is revealed and caught. I would suggest that if you like Hitchcocks you should definetley get this set it is a must for any Alfred Hitchcock fan . Your collection won't be complete without it! ... Read more

Reviews (4)

ROGER CORMANs MASTERPIECE
THE TOMB OF LIGEIA is the definitive of Roger Corman's eight Edgar Allan Poe film adaptations. This is the best. The first thing that impresses the viewer is the innovative cinematography by Arthur Grant. It is stark yet hauntingly beautiful. The opening scene at Ligeia's burial is an impressive piece of filmmaking. It immediately draws the viewer into this tale of obsession where images are presented in such a way leaving one uncertain as to what was actually observed. Roger Corman directs these scenes with an emotional fervor entirely different from his other Poe tales juxtaposing quick editing, insightfully ambiguous dialog and penetrating camera movements creating a truly unique experience. There is something very erotic in a more mature sense about this whole film. There is no notion of carnal lust present in any of the images yet the viewer can feel a sense of stirring of the passionate emotions between the two principal characters, Verden Fell and Lady Rowena Trevanion. Vincent Price is truly brilliant as Verden Fell, husband of the late Lady Ligeia Fell. He plays this elusive and enigmatic character with complete conviction and confidence. Elizabeth Shepherd is equally brilliant as the curious and interested Lady Rowena as she exudes an aura of repressed burning sexuality. This is all conveyed by a mere hand gesture, a look or the ever-slightest touch or just the utterance of some seemingly unimportant words. Price tends to be oblivious to these very subtle advances in an almost asexual trance of consciousness yet he still conveys a sense of yearning for a passion perhaps lost or just lying dormant. Corman's directorial abilities are so acute in this film that the viewer really has no direct insight to where he is going with this intriguing and engaging story, yet when the tale concludes it all becomes apparent and quite logical. Equally important is Roger Corman, the producer. Robert Towne's screenplay is filled with incredibly intelligent, witty, amusing and crisp dialogue. Vincent Price and Elizabeth Shepherd did wonders with Towne's use of language making the characters' eccentricities and frailties startlingly real. Editor Alfred Cox made use of well timed and trimmed cuts to heighten and enhance certain plot elements putting the viewer off balance yet increasing the viewer's awareness of the narrative. Cinematographer Arthur Grant and art designer Colin Southcott combined to make indelible images that are so simple and economic in design yet convey a strange and beautifully haunting setting that entices the viewers' intellectual curiosity in an emotional response. Even composer Ken Jones' score is economical in its construction yet it is very effective. It just seems to flow with the images waiting for the viewer to make an intellectual connection that again elicits an emotional response. This is a very impressive and important film and it is rather curious that it remains somewhat unknown to the general public.

Corman, Price and Poe at their Best
Roger Corman delivers a masterpiece of filmmaking from Robert Towne's script based on the story "Ligeia" by Edgar Allan Poe. It seems like Corman saved his best Poe for last. Vincent Price gives a brilliant and genuinely cryptic performance in this movie (I love those crazy eyeglasses he wears). I think this is Vincent Price's best screen performance. It was almost like he wasn't acting at all. This is a lush and very attractive movie but beware what lies beneath it all. It has been very underrated by far. Did you see her move?

The Tomb Of Ligeia
Verden Fell (Vincent Price) loses his wife Ligeia but then he meets another women they fall in love and get married. The problem is the spirt of his dead wife comes back in the form of a cat to kill them. Every night he goes to Ligera's grave when his wife falls asleep, until he bring Ligera's body into the house. Then more problems begin. Roger Corman's last film with Vincent Price. An OK film. Based on an Edgar Allen Poe Poem. ....

If you like Egytology, Poe, V. Price, Horror you'll love it!
I have studied Archaelogy and am particularly interested in Egytology. I also love Edgar Alan Poe's writings and have been a fan of the late night TV for years. Not to mention, Vincent Price is my favorite Actors of all time. So, I must say this is not an impartial evaluation, but I hope I pass on my love for this particular genre of film. If you were one of those teens who stayed up late to watch all the hokey scifi, horror, etc. films(only shown after 12 midnight)you will love this one. It is a classic! Even if you feel the acting and effects are poor, it should at least bring back fond memories of a day gone by when those hokey horror films actually instilled a bit of fear. Who knows, if you let yourself go,... perhaps...you may experience the fear once more. ... Read more

Reviews (274)

GREAT SCENERY. BUT MARS MOVIE COULD HAVE BEEN BETTER
The story and screenplay can be blamed on writers Lowell Cannon (story) and Jim Thomas. Their plot of MISSION TO MARS is about a rescue mission to find out what happened to a crew of astronauts that successfully landed on Mars, then suddenly disappeared. But in its concept, the movie's story has whiskders: it is a dumbed down, cut-and-paste assembly of Kubrick's "2001: A Space Odyssey," Spielberg's "Close Encounters of the Third Kind," sprinkled with a little Robinson Crusoe thrown in. Indeed, diagnostic is that the best stuff takes place BEFORE the rescue mission even reaches Mars. The ending climax, therefore, is made to be anticlimactic! On top of this, the actors are burdened with banal, meaningless dialogue further adding to the movie's generic feel (example: "Are you sure you want to do this?"/"I'm not sure of anything anymore." ... Wow, how "original"). The cast includes Gary Sinise, Don Cheadle and Tim Robbins who never seems to take the movie very seriously. It is almost as if they were trusting director Brian De Palma to make everything come together in the editing room. Wrong!

To some extent in his rendering of this $100K (where did it all go?) MISSION TO MARS, De Palma showed nerve - while saving LOTS of money - by totally skipping the usual shots of spaceship blastoffs and landings. The audience is left to imgaine how the various space voyagers got into outer space. Also, he completely bypassed the transition from the astronauts' backyard family barbecue in the year 2020 (seems just like 2001) to hurtling towards Mars. He cuts away before each departure, then shows the spacecraft either on its way to or on one of Mars's rusty deserts. Once on Mars, title cards tell us how much time has elapsed [title cards are lots cheaper than FX!]. Eventhough MISSION TO MARS is often realistic, sorry guys but it blazes no new cinematic trails (at risk of mixing metaphors). On the plus side, this flick is more picturesque, efficient, and technically more convincing than many of its earlier counterparts. Seemingly reversing myself, its avoidance of CHEAP whiz-bangs is a plus, in a limited sense. Compared to the way overdone "Armageddon," the plainness of MISSION TO MARS is a pleasure.

Most of MISSION TO MARS is about the rescue mission. The second NASA team of astronauts to Mars is reluctantly sent to retrieve the unconfirmed sole survivor (of four) from the first Mars mission that was unexpectedly wiped out. The second team nearly fails to arrive for rescuing their possibly stranded buddy, and also to possibly find out what Mars is all about. The claustrophobia of the astronauts in close quarters is artistically contrasted with the vastness of the often deadly vacuum outside their spaceship. Some excellent effects are presented to us when co-commander Tim Robbins, and eventually the others, hover in zero gravity or gas propel themselves outside their ship to repair damage done by meteorites.

At its best, the scale and pacing and imagery remind us of "2001: A Space Odyssey." Thanks to De Palma deciding a lot of the action to unfold in silence, he gives us a feel for the remoteness and emptiness of space. Realistically, space travel is mostly long periods of uneventful floating after the blastoff. At risk of giving the movie's big finale away, I must say it is a silly montage of computer-generated special effects which accompanies a touchy-feely revisionist evolutionary theory of life. Evidently, MISSION TO MARS was written with impressionable 10-year-olds in mind. People who're committed to Creationism won't be nuts about the movie's big "revelation." In fact , if that's what evolution is all about (our evolutionary ancestors were UFO driving, bug eyed aliens who came from Mars) I'll take Creationism! But then again, science fiction and religion have never gotten along THAT well, anyhow.

By the way, MISSION TO MARS was produced under NASA's new Space Act Agreement for film and TV. This allows filmmakers to use the Kennedy Space Center for locations and shoot the NASA logo. Taking advantage of the U.S. taxpayers' largesse, that added a realistic look to the spacesuits and equipment used in the film. But, hey folks, these touches of realism couldn't rescue this slow-paced movie to nowhere.

Eh...
This movie doesn't amaze me, at all, but it didn't fall short of my expectations either. The special effects were good, in that they didn't take on a role of their own but still blended well with the movie. Now, putting aside the pseudo-realism (after all this is a sci-fi movie), the story was good at heart, but poorly executed. The acting, however, did not seem to be the problem. I thought Tim Robbins was excellent, Don Cheadle was good, and Gary Sinise was also good, if not great. The problem seemed to be the boring, lifeless dialogue and blocking. When they became trapped inside the face was probably the worst part of the movie. "We're Trapped, no don't take off that wait!" If you're trapped in a giant white face who cares whether you die of atmospheric pressure being too low (or high, if it even is a legitimate issue). This film could have been a great film on the level of 2001: A Space Odyssey, but the story and dialogue fell very short. It's a decent movie to watch, but worth buying the DVD? No. If you want to see it, rent it.

Hideously Horrible! 8-(
Why some people gave this stinker four or five stars is light years beyond me, and I love good sci-fi. I thought Red Planet was pretty bad until I saw this movie, and I realized that even Red Planet had some (not much) redeeming value by comparison. The negative reviews here accurately sum up the reasons why this is one of the worst movies ever made. I really struggled to stay with it 'til the end, if only for morbid curiosity.

Absolutely the steaming pile you've heard it is...

Worst Alien Ever!
*SPOILER WARNING*
How would you like to go through what the characters do in this film, only to come face-to-face with a technologically advanced cartoon? What were the filmmakers thinking?
Derivative and cliche-ridden as it was, the story is actually compelling. Fine efforts were made to replicate scientifically plausible scenes in space. Once on Mars, however, plausibility is virtually thrown out the escape hatch.
Using "The Face" as a plot point was ridiculous since by the time we send a manned expedition to Mars, the planet and its landmarks would have been thoroughly mapped. The characters' sense of surprise at seeing "The Face" was when the film lost its grip on me. Despite the odds against the characters being drawn to "The Face" on a planet the size of Mars being "astronomical", it still COULD be explained by extraterrestrial intervention. Let's forget the fact that "The Face" has already been scientifically dismissed as a natural simulacrum caused by light and shadow. Kids could care less.
Once inside "The Face", we're taken on the "mysteries of the universe" goose chase which made previous films such as "2001" and "Close Encounters" memorable, but here leaves us with a sense of the filmmakers simply throwing away an ending to what has been a compelling narrative. Kids could care less.
But what absolutely lost it for me was "The Alien". C'mon, people; if you can't come up with a scientifically plausible alien, don't give us a damned cartoon! I'm not sure even kids were fooled by this one...absolutely terrible! THAT'S what made this film a waste. It's a good example of how one bad but crucial decision turned a decent entertainment into dreck.
All that being said, the overall production values elevate this film to "guilty pleasure" status. Kids might actually enjoy it in toto. Adults, however, will not look back in fondness upon seeing it.

Worst movie I have ever seen
This is definetly the worst movie I have ever gone to go see in the big screen. I remember I kept wishing for the movie to end and I almost got up and left. Im not going to spoil the ending for you but I am going to say that in movie aliens do exist. This movie isnt worth seeing and definetly not worth buying. Which is why I give it 5 out of 5 stars for the worst movie ever made! ... Read more

Amazon.com

Alfred Hitchcock hadn't made a spy thriller since the 1930s, so his 1969 adaptation of Leon Uris's bestseller seemed like a curious choice for the director. But Hitchcock makes Uris's story of the West's investigation into the Soviet Union's dealings with Cuba his own. Frederick Stafford plays a French intelligence agent who works with his American counterpart (John Forsythe) to break up a Soviet spy ring. The film is a bit flat dramatically and visually, and there are sequences that seem to occupy Hitchcock's attention more than others. A minor work all around, with at least two alternative endings shot by Hitchcock. --Tom Keogh ... Read more

Reviews (21)

International Top-Cast
After a Russian officer defects to the United States, the gouvernment learns of a special French intelligence agent in Cuba, called Topaz. It seems Topaz has access to NATO secrets and in turn, deals that information to the Russians, which means a double agent must be involved somewhere. The Russian agent reveals all this to Michael Nordstrom (John Forsythe), who decides the best course of action to call on his friend and trusted associate,Andre Devereaux (Frederick Stafford, who spend some days with his wife Nicole (Dany Robin), his young-married daughter Michèle (Claude Jade) and his son-in-law Francois Picard (Michel Subor) in New York. So Devereaux heads off to Havana, where he hopes to learn more about Topaz and also scout the potential missiles that have been rumored to exist in the area. There his love Juanita (Karin Dor) is killed by diplomate Parra (John Vernon). Andre follows his family to Paris to find out, who leads "Topaz". Michèle ask her mother for help to Andre, but Nicole says "There's nothing I can do" - Nicole haves an affair with the leader von "Topaz"... This movie turns out to be decent enough, but it seems like a real let down, since it came from the master of suspense, Alfred Hitchcock. Betrayal between all the persons, played by an international cast: young Claude Jade, made famous by Francois Truffaut's "Stolen Kisses" and "Bed & Board", as Andre's worried daughter, Dany Robin also from France as her mother, Michel Subor from Godard's "Little Soldier" as son-in-law, Michel Piccoli and Philippe Noiret as "topaz"-spies, the german actress Karin Dor as the cuban lady in Hitchcock's most underrated thriller.

Good, But You Can Certainly Do Better
After 1966's "Torn Curtain" flopped, Hitchcock decided to make another spy thriller. "Topaz", based on Leon Uris's best - selling novel of the same name, is meant to be an exciting, suspenseful espionage thriller involving nuclear missiles in Cuba. Despite a few engaging sequences, that show Hitch still had it, the film comes off as a second - rate James Bond flick rather than a Hitchcock masterpiece.

John Forsythe (the only recognizable actor in the entire cast) plays a CIA agent who recruits a French Operative named Devereaux (Frederick Stafford, who gives a great performance despite the film's flaws)to help him find out if rumors of Russian missiles in Cuba are true. His investigation leaves behind a string of casualities who either kill themselves or get murdered. The plot seems cool, but it's slow - moving and hard to follow at some points.

The main thing that keeps "Topaz" afloat is the top - notch acting. Hitchcock clearly thought that great acting would triumph over starpower, which is why he filled the cast with highly talented unknowns. In the past, legends like Sean Connery, Jimmy Stewart, Cary Grant, Gregory Peck, Ingrid Bergman, Grace Kelly, and a host of others starred in Hitchcock masterpieces and gave great performances in their roles, but at same points were unconvincing. The acting in "Topaz" is flawless; I recommend it.

Decent Hitchcock espionage drama
Frederick Stafford playing a French intelligence officer collaborates with John Forsythe, an American counterpart to garner information concerning Russia's involvement in Cuba in 1962. A high ranking KGB official defects from Russia and his debriefing prompts Stafford to enter Cuba, at the urging of the U.S., to conduct surveillance on the import of missiles.

Stafford gathers intel provided by his Cuban mistress, a widow of a top revolutionary played by an attractive Karin Dor of James Bond fame. He manages to smuggle out the information under the suspicious eye of bearded Castro crony John Vernon.

Learning from Forsythe of the existence of an espionage ring, code named Topaz, a group of French politicos spying for the Russians, Stafford sets out to smash it.

Topaz lacked the gripping intrigue so often present in Hitchcock's work. My appreciation for his body of work led me to be generous with my rating.

Excellent spy movie.
This is an excellent film. First rate. It has an intelligent plot cleverly scripted by Samuel Taylor (Sabrina, Vertigo), based on Leon Uris's novel. Uris had probably access to inside information about the "Saffire" affair (whence "Topaz") and mingled fact and fiction as masters of his craft can do.

Hitchcock delivers suspense, humor, great cinematography, a story that unfolds with ease and relative verossimilitude. Karin Dor is very beatiful, and Frederick Sttafford cuts a fine figure of a man.

The bonus material includes an interview with Leonard Maltin, who shows great appreciation of the movie. However, he doesn't mention a factor which, in my view, stood in the way of its recognition when it was released and still stands now: Communist Cuba is presented as a place where torture is practiced, and its leaders are uncouth and ridiculous. The CIA men are the gooddies. Unforgivable in 1969, and even now, in Europe and it seems in the US where we must sing praises for "Comandante" and things like that. This is surely at least 70% of its lack of appreciation, and not the "transparencies" or the uncertanties about its ending.

One scene has been particularly praised, and it is only one among a score: when Cuban head Rico Parra (John Vernon) kills Juanita de Cordoba (Karin Dor). Not only the image is visually astounding, but the words: "You can't judge... not you" Rico says to Juanita before sparing her torture... bu shooting her. Also stunning the image where the two members of the Cuban resistance lie after martyrdom like Jesus and His Mother in Michelangelo's "Pietà". Wonderful movie, exiting, epic... without the excesses of the caritaturesque Bond series.

John Forsythe makes the film. Three different endings.
This is perhaps the only Alfred Hitchcock color film I have not seen, until now. It is a rarity for television. And it would be edited for television broadcast anyway. Now on DVD, you can see TOPAZ in its entirty. If you have seen TOPAZ before, well here is the surprise. There are three very different endings of the film you may have not seen yet. This DVD version will show them all to you. If the ending chosen leaves you flat, in the Bonus Material section, you can see all three alternate endings and decide the one you like best. John Forsythe (Bachelor Father [1957-62],Charlie's Angels [1976-1981] as voice of "Charlie", Dynasty [1981-89]) sure does make the beginning act of the film much more interesting to watch. I can not say this is the best of Hitchcock, but I would recommend: REAR WINDOW (1954) and ROPE (1948). ... Read more

Amazon.com

Brian De Palma, heir apparent to Alfred Hitchcock in his ability to spook an audience, pulls out the stops in this feverish, sometimes funny thriller which, while not making a lot of sense, is undeniably watchable--if you're not bothered by the violent excesses. De Palma casts John Lithgow in a handful of roles in a story about twins at odds over whether to help their scientist dad steal babies for Skinner-box-like experiments in conditioning. The homages here are to Hitchcock and Michael Powell's Peeping Tom. Lithgow has a madly over-the-top good time playing multiple characters (and multiple personalities), but the real star is De Palma's restlessly roving camera, which continually finds ways to surprise--and scare--you. --Marshall Fine ... Read more

Reviews (23)

A Fine Suspense Thriller
Okay, bare with me. This movie is kind of confusing. First of all, the horrendous reviews on this page do not do this fine film justice. They must've seen a different film. Brian De Palma directed this stylish thriller With John Lithgow playing twin brothers, who don't know wether or not to help their nutso father(also played by Lithgow)steal children so he can perform experiments on them. It's a dark and disturbing subject matter that might turn off some people. There are a few twists and turns here that keep this movie incredibly interesting. De Palma definitley has a style that's all his own. Odd camera angles, slow motion scenes, etc. Besides the roles mentioned above, Lithgow plays a few more as well. Everybody knows that Lithgow is an incredibly brilliant actor. With this role, he gets to show off his tremendous talent. He steals the show and eats up every scene he's in. A remarkable performance. Lolita Davidovich plays his wife who's having an extramarital affair with character actor Steven Bauer. Frances Sternhagen("Misery") also shows up as a psychologist. The movie is dark and weird. The first half is pretty talky. It sets up the characters and what's going on. If you hang in til the second half, you'll have fuun because things start rolling and everything goes nuts. It's an interesting film where it's tough to really say too much. What you can say doesn't describe the film and what it's really like well enough. If you say everything then you'll definitley be letting some secrets out. De Palma definitley has a Hitchcock thing going. Good for him. Somebody needs to keep that kind of classic filmmaking alive. All in all, this is an odd and intriguing film. You might not think much at first, but it'll hook you and you won't want to turn away. It's a creepy film that is destined to give you the willies. Raising Cain is one of the better psychological thrillers to come around in a while. Do not listen to the negative reviews. They know not what they say.

superb !
One of my favourite DePalma movies - this is an incredibly contrived but hugely enjoyable thriller with some fantastic fluid camerawork from Stephen Burum and a tremendous score from DePalma regular Pino Donnagio.
John Lithgow delivers a towering performance (or is that performances?) that holds the attention right through the film.
Top stuff. A definite keeper.

Over-the-top Or Not, LITHGOW ROCKS!
Alright, look. So many people say that this is DePalma's worst. Okay, fine. Who cares. Apparently it meant enough to you to spend your time writing a review. The bottom line is this is a cool movie. To say that this is a Psycho rip-off, is to single it out from the dozens of other films that have stolen from Hitchcock. Everybody steals from everybody. When something works, you use it. You make it your own. Get over it.

Norman Bates and Carter Nix comparison: both have a female multiple who has them wearing a dress and both dump bodies in a lake. That's it. Otherwise, they're nothing alike. A split personality is a good ailment to pair with murderous tendencies. Hollywood latches on to a lot of lame ideas that didn't work from t