Reviews (41)

The Return of the Master
Alfred Hitchcock goes back to his native England for the first time in decades for a gritty, clever, murder mystery. Unlike the typical Hitchcock film, the characters are regular blokes, blue-collar workers, who aren't attractive or glamorous like Cary Grant and Ingrid Bergman. Instead, we are treated to some great performances from the best character actors England has to offer. Although Frenzy doesn't have the typical Hitchcock polish, as far as background and settings are concerned, there are plenty of things for fans to enjoy. The plot surrounds an innocent man (Jon Finch) suspected of being a serial killer murdering London women with a necktie. While he's on the run, with the help of his girlfriend (Barbara Leigh-Hunt), the evidence seems to point more and more against him, trying the loyalty of his closest friends. Unlike the mistaken identity characters in previous Hitchcock movies, Finch's character is not so sympathetic, we aren't drawn to him, nor do we necessarily like him. And this is one of the reasons Frenzy is an interesting film. The new freedom filmmakers had in the early seventies allowed the director to use cruder language and brief nudity. If you're used to the gentle double entendre banter of Hitchcock's film work from the 1950s, Frenzy may be a little shocking. I much prefer the more "classy" Hitchcock touch myself, but once you get past the naturalistic style, you'll enjoy the film and relish the performances.

Hitch's Final Masterpiece
What can be said that has not already been noted? Hitchcocks penultimate film, FRENZY was a return to form after a rough period in the late 60's.

It has it all- the familiar, yet still exciting premise, the mix of suspense and black humor so prevalent in his classic films. Yes, it is violent at times, but the remarkable thing is that restraint and taste ARE still excercised here- it may have received an R rating, but do not expect FRENZY to have anywhere near the nudity and violence we see in today's films.

Hitch also chose to use a cast void of big names- he probably felt, after TORN CURTAIN, and considering the grisly subject matter, that having stars may hurt the credibility, and he was probably right. I don't know Jon Finch as anyone BUT his character, and that is a plus here.

What is most impressive is that, even in his 70's, the Master had lost none of his imagination- the film is well-paced, and there are several incredible camera shots (including the long camera pull away from our murderers' apartment, just as he's invited his next victim in).

Mildly underappreciated today, FRENZY is perhaps not in a league with NORTH BY NORTHWEST, but definitely deserves to be ranked with several of his best films: compared alongside FOREGIN CORRESPONDENT, ROPE, STRANGERS ON A TRAIN, DIAL M FOR MURDER, THE BIRDS, MARNIE, etc. FRENZY holds up admirably...a different film, but an excellent one all the same...

Top - Notch Hitchcock
Alfred Hitchcock's second - to - last film "Frenzy" is a return to the classic Hitchcock thrillers from the 1950s' and early '60s'. After a couple of second - rate films of the mid to late 1960s' ("Torn Curtain" in 1966 and "Topaz" in 1969), "Frenzy" had everything a Hitch film needed - suspense, drama and humor.

A sexual physcopath known as the Necktie Murderer has England in a tizy. Raping women and then strangling them with his tie, the police are left clueless with nary a single suspect. Thrown into the mix is Richard "Dicko" Blaney (John Finch), who is not having the greatest day. First, he loses his job at a local job. Next, he has a violent confrontation with his ex - wife, Brenda (Barbara Leigh - Hunt). The only two people who seem to give a damn about him are his good friend Bob Rusk (Barry Foster) and his girlfriend Babs (Ann Massey. Things get worse when he goes to visit Brenda the next day. After she doesn't answer the door, he walks away. What he doesn't know is that she is the Necktie Murderer's latest victim and that her secretary spotted him leaving the scene of the crime. Naturally assuming he did it, the police arrest him. He escapes and goes out on a limb to prove his innocent. What entails is non - stop suspense that only the Master can provide.

"Frenzy" should stand as one of Hitchcock's greatest achievements. It certainly differs from all his other classics, as it seems more intone with the modern thrillers of today (the nudity especially). While his last film was great, this one was truly his last masterpiece.

The Master's Last Psychological Thriller
For the first time in twenty-plus years, Alfred Hitchcock returned to his native England to make what turned out to be his final psychological thriller FRENZY. Despite a series of only modestly successful films since his 1963 triumph with THE BIRDS, Hitchcock had not lost his touch when he was handed Anthony Shaffer's fine screenplay (based on the Arthur LaBern book "Goodbye Picadilly, Farewell Leicester Square"). And although his approach to sex and violence is more explicit here (thanks to the ease in censorship restrictions that happened only a few years before), Hitchcock still delivers a film quite typical of his work--suspenseful, chilling, and often quite funny in a blackly humorous way.

The film revolves around a series of grisly strangulations of women occurring around London that have the police totally baffled. The killer's choice is a necktie, which pretty much leaves the door wide-open, since almost every man there wears a necktie. We are then introduced to Richard Blaney (Jon Finch) an ex-RAF officer and divorcee who has this tendency to drink too often and get a little bit too rough with people, including his ex-wife (Barbara Leigh-Hunt). The only real solace he gets is from his friend Robert Rusk (Barry Foster), a fruits-and-vegetables salesman in Covent Garden. What Finch doesn't realize, however, is that Foster is, in fact, the necktie strangler. And when Leigh-Hunt is found strangled in her office, the police, having interviewed her secretary, who had heard Finch arguing with her violently only half an hour before she was killed, immediately suspect and later arrest Finch, while Foster gets away. But an alert detective (Alec McCowen) suspects that there is something to Finch's story that could prove him innocent of the crimes.

Although it was only a moderate hit here in America, owing to an all-British cast (all of whom are extremely good), and also quite controversial because of the grisly nature of Foster's strangulation of Leigh-Hunt, FRENZY is nevertheless a brilliant movie, far more concise and better plotted than many of today's serial-killer films of this day. Foster's performance is extremely complex; instead of the typical mad-dog killer, he is a suave businessman with a thing for women--for seducing and then strangling them. Finch's performance is, by necessity, less sympathetic so as to keep the audience off-balance, thinking that he is indeed the killer.

And unlike too many pseudo-Hitchcock films of our time, FRENZY has moments of dry British wit and morbid dark comedy. One involves two policemen chatting in a bar about the killings, where one remarks, "We haven't had a good murder since (Agatha) Christie", and that such a spree "is always good for tourism." Another involves Foster having to get an incriminating piece of evidence off of the corpse of one of his female victims in a potato truck--and he has to actually break off her fingers to do it. Hitchcock later said, "The remarkable thing about that scene is how it improved the taste of the potatoes." Still another is McCowen enduring the "gourmet cooking" of his dotty wife (Vivien Merchant).

A superior piece from one of the all-time great directors, a man who was an influence on everyone from DePalma to Spielberg and beyond, FRENZY is a disturbing but always intriguing horror opus well worth re-discovering.

This is a good movie..
Typical Hitchcock style - an innocent man framed for murder with all the evidence against him and now he has to prove his innocence, even if he has to bend the law by escaping from the gaol. This formula made famous by Hitchcock would be copied countless times and made into numerous movies since this...

This is an all British cast completely devoid of any Hollywood bigwigs who were ruling the roost at that time. This being made during the later years of his movie-making life (his penultimate film actually), Hitchcock also induced small amounts of nudity into this movie which of course blends well into the script and doesn't feel out of place. The fact that body doubles were used was clearly evident though. The parallel plot in the movie where Detective Oxford is being constantly tortured by his wife serving him delicacies like 'baked pig foot' was quite humorous.

The DVD as usual like all the other Hitchcock movies in the series 'The Alfred Hitchcock Collection' has a documentary on the making of Frenzy and interviews with the surviving cast and support crew. I usually don't see much of the DVD extras but the ones in any Hitchcock DVD is a must since it fills in all the cracks and very informative too.

All-in-all, an entertaining movie, quite out of the league of his earlier movies like 'The Man Who Knew Too Much' or 'North By Northwest', wherein while they all relied on suspense and storylines based on espionage in the times of the Cold War, as times changed, Mr. H did too by making the central thread of Frenzy rely mostly on brutal criminal behavior than anything else. ... Read more

Amazon.com

Legendary horror directors George Romero and Dario Argento team up to direct a pair of short films inspired by the writing of Edgar Allen Poe.In Romero's story, a woman (Adrienne Barbeau) and her lover hypnotize her ailing, older husband into signing over his riches. But when he dies while still under their command, his soul haunts them, seeking to be freed from their hypnotic spell. In Argento's tale, a crime-scene photographer (Harvey Keitel) kills his live-in girlfriend in a fit of jealous rage, but her black cat continues to torment him after her death. While Romero's piece toys with horror conventions and Argento's plays out in his typically elongated fashion, their dramatic story lines, unexpectedly gruesome imagery, and ironic endings shock some life into the movie. It is rumored that this was originally meant to be a quartet of horror tales with contributions from Wes Craven and John Carpenter, but at least we got these two. --Bryan Reesman ... Read more

Reviews (15)

Two horror greats in one film.
While George A. Romero and Dario Argento worked together on the production of Dawn of the Dead, this was the first movie the two actually 'worked' on together as directors. Each contributed a short film based on a story by Edgar Allen Poe. Romero adapted The Facts in the Case of M. Valdemar while Argento chose The Black Cat. Romero's comes first and it is routine EC comic style stuff, solidly made yet hampered by pacing that is a tad too methodical. But the payoff is worth the trip and the cast (Adrienne Barbeau, Ramy Zada, and Bingo O' Malley) contribute nice work. Argento's segment is far more energetic, a surreal trip into madness as a crime scene photographer (Harvey Keitel) is driven by his art to kill his live-in girlfriend's black cat. Of course the cat returns, again and again, and things get even worse in that surreal nightmare way that only Argento can pull off. Not content to just adapt The Black Cat, Argento also tosses in references to other Poe stories; namely The Pit and The Pendulum, The Tell-Tale Heart, Bernice, and several characters have famous Poe names (Usher, Pym, etc.). If he didn't go overboard, then he wouldn't be Argento, now would he? Blue Underground has done another first rate job with this wonderful disc. The maligned movie has never looked or sounded this good and the extras are more than worth the bonus disc. Romero and/or Argento fans will love it. Recommended.

Animal-Handling AND Masonry: Components for Perfection
When directors get together, they have the potential to make interesting things happen. When great directors join forces and decide to take on a project, even better results areexpected. It honestly doesn't matter what type of material they're doing or if the viewing population has tasted it time and time again. They, the silver screen's version of power coupling, know their art, understand the little versions - or perhaps perversions - of atmosphere that balance the viewing scales, and have the most cards to play when it comes to forging complete pictures. Unfortunately, both don't always deliver a knockout punch like you'd like.

In this initial piece, it's a story you've heard before. An older fellow with dollarsign-laced pockets decides to marry a younger woman. People jeer it in the community and friends seem appalled by it, but attraction is attraction and a little IWantATrophyWife-itus is sometimes what wealth is all about. In our tale, we join an ex "airline hostess" and her much older husband as he's teetering on that painful plateau just outside of dying. Plans are in the works on how to acquire some of his fortune before his estate and the long years of "settling" are addressed, with hypnosis and the application of falsified doctor reports working fairly well. It all seems to be going splendidly, too, and three million dollars is all set to arrive in two weeks - providing the wife, Jessica, can keep her husband around that long. As movies would have it, however, he dies and the planning gets worse and worse and worse until....

This Romero addition to the power duo has some serious flaws in it. The plot is thin, the effects are a little drowsy, and what seems to start off well dances down the corridors of lackluster architecture. Honestly, it's a good thing that things happen the way they do in these tales, because the atypical plan thrown into this type of movie would normally end up with someone going to jail for a very long time. Money or not, you wouldn't want to bury someone in your own backyard with a couple of bullet holes in them and you wouldn't want them kicking it with you ice-cream and getting freezer burn. This is worse than that in some ways, however, because it seems to say that a master in his field and Savini can't get together and make something that hasn't been seen a hundred times over. Instead of illustrating a story the way an audience knows they can, they take a Poe idea, splash a little effect work on it, and somewhat go through the motions.

In Argento's version of The Black Cat, things play out a lot better. Our focal point, a man with a gruesome day job, brings home a little hatred and finds himself in a not-so-happy position of trying to conceal what he's done. When things get a little stressed and push come to shove (and hack and slice), it seems that things can get a little ugly at home. This seems especially when you're the owner of a cat you hate and don't want to keep up with, and moreso when you're half of a marriage that will ultimately self-destruct. Without giving all the gray matter away, this ultimately becomes a testament to revenge going awry, why you should treat animals a little bit better, and why post-it notes are a good thing if you don't want to leave out any small details to a crime.

In my personal opinion, the Argento piece is a short film made in gore heaven. Not only does it make a show of force with all its little pieces coming together and working out all-too-well, but it also gives little shout-outs to other Poe stories as well.
And then the eye candy begins to make its rounds.
The first effects, mutilated bodies, birth even better effects. The deaths seem to get worse and worse until, in one place, I saw something that I could almost feel because of the way the image evoked words like "pain." Still, it didn't stop there. With little kitties doing things little kitties shouldn't do; hairless, nasty, and bathed in the debris brought to you by a mind that has imported images of this variety time and again, it gets even more graphic. And that's all I really ever wanted.

Combine that with build, a good plan that twists until it morphs into something horrific that the main character couldn't foresee, and nice acting and you can even overlook Romero's shoddy addition to this collection. Simply be warned that it does have a little kick in the "gruesome" department.

The Evil Eyes are crossed---but it's still good stuff.
I have to confess: I was thrilled beyond words when I heard Blue Underground was releasing this 1991 collaboration between two of my favorite horror masters, George Romero and Dario Argento. I bought the DVD sight-unseen, having only seen a few snippets of sequences from the second story in this two-movie collection, Argento's adaptation of Edgar Allen Poe's "The Black Cat".

I had seen those snippets as part of a larger Argento documentary called "Dario Argento: an Eye for Horror"---and they were ghoulish indeed! Harvey Keitel impaled on a stake? Mewling, hairless baby cats walled up with a gore-caked corpse, 'Cask of Amontillado' style? The gruesome final finishing touch---death by merciless, razor-sharp pendulum---that even Poe himself had shied away from?

I had to have it, just for the Argento work alone! As for the Romero adaptation of "The Facts in the Case of M. Valdemar", well how could you lose, with the evil mastermind behind "Night of the Living Dead" helming up a short movie about a miser left in hypnosis after death?

Blue Underground has done an excellent job with their Limited Edition DVD: the DVDs themselves are nicely decorated with two of the more chilling sequences from the film, and the material on the bonus DVD (including---hey!---a tour of make-up guru Tom Savini's home!)is worth the price of admission alone. It's a handsome DVD, and a nice addition to any horror movie aficionado's collection.

As for the movies---well, they're not what I had expected, highly uneven, and not the best examples of either Argento or Romero's work. But they're enjoyable, gory, ghoulish fare, with Romero's piece more subtle and stylish and Argento's entry an over-the-top assault on the senses that pays tribute to some of the nastiest of Poe's nuggets, including "The Black Cat", "Lenore" (ah yes, her lovely 32 teeth! nice touch, Dario!), "The Pit and the Pendulum", "The Cask of Amontillado", "The Tell-Tale Heart", and even a glib nod to "The House of Usher".

Taken together, the two pieces that comprise "Two Evil Eyes" give the film a "Creepshow"-like feel, not surprising given that Romero helmed that movie. Romero's piece here has been unfairly savaged, and while it seems sedate in comparison to Argento's gory Italian Grand Opera, it's a stately, stylish little chiller. Adrienne Barbeau plays the crafty youngish wife of financier Valdemar (played to the hilt by Bingo O'Malley, who gave me the creeps!---he also shows up as Stevie King's dad in the Meteor episode of Creepshow), who plots with her hypnotist lover to get rid of the sick old man and abscond with a fortune.
Not surprisingly, things don't go as planned; look for an opening shot right out of "Night of the Living Dead" and a scene-chewing contest by movie veteran E.G. Marshall and Barbeau (who holds her own).

But it's really Argeno's sanguine little number you should check in for. Ostensibly an adaptation of "The Black Cat", it features Harvey Keitel as a demented crime photographer whose lifestyle and pre-occupations would make his "Bad Lieutenant" character cry for his mommy. It's not Dario at the height of his game, but it's wicked, depraved, gory stuff.

All told, these two shorts make a jolly, gory little evening of Poe-vian goodness. Break out a nice cask of Amontillado from your cellar (don't mind the knocking from the other side of the wall), open up a tin of caviar for your trusting black cat, put a blanket over your pet raven's cage, and enjoy two horror masters having some fun with their medium.

Good horror, great directors
This movie is based on the writings of Poe. The first film is okay. It drags a little, but once things pick up it gets very interesting. The second film is probably the BEST horror short ever made. If you're a fan of episode horror films, (Creepshow, Trilogy Of Terror and the like), then this is a MUST HAVE DVD. The extras alone are worth the purchase. It's a limited edition, so make sure you snag it up before it's gone!

for completists only
I bought this movie only because I am an Argento nut and wanted to have everything he has done. His segment is the only reason I gave this three stars; Romero's segment is a real let-down. I can't even believe it was made by the same guy who made Dawn of the Dead and Martin! ... Read more

Amazon.com essential video

This terrifying adaptation of Stephen King's bestselling horror novel was directed by shock maestro Brian De Palma for maximum, no-holds-barred effect. Sissy Spacek stars as Carrie White, the beleaguered daughter of a religious kook (Piper Laurie) and a social outcast tormented by her cruel, insensitive classmates. When her rage turns into telekinetic powers, however, school's out in every sense of the word. De Palma's horrific climax in a school gym lingers forever in the memory, though the film is also built upon Spacek's remarkable performance and Piper Laurie's outlandishly creepy one. John Travolta has a small part as a thug, De Palma's future wife, Nancy Allen, is his girlfriend, and Amy Irving makes her screen debut as one of the girls giving Carrie a hard time. --Tom Keogh ... Read more

Reviews (211)

Unique blend of horror and sentiment.
There's one thing I specifically like about certain horror films, and that is those that contain the horror elements, yet have a story that allows you to feel a great deal of emotion for a main or secondary character, depending on the focus of the plot. When Stephen King wrote his first novel, Carrie, it was shocking as well as emotionally heart-stopping. Brian de Palma's film, following soon after, is groundbreaking and intense, and captures the horror of the character's actions as well as the horror of her secluded and alienated school and home life.

Carrie White has never been popular in school, and the verbal and physical abuse has apparently gotten worse with each year. One day, she gets her first period in the showers of the girls locker room, and frantically running to everyone for help, she is bombarded by shouts of banter and flying tampons. After it is learned that she was never told by anyone about this process of life, we soon learn the reason why: her mother is a Bible-thumping embodiment of a true maniac, who believes that every action committed by man is a sin in the eyes of God. Her treatment of her daughter is extremely harsh, but only until Carrie learns that she possesses a special gift, the ability to move objects with her mind. Meanwhile, Sue Snell, one of the girls involved in the malicious locker room incident, feels guilt over her actions and asks her boyfriend Tommy to take Carrie to the prom. Carrie accepts, and attends the event despite her mother's warnings of doom and sin. But something much worse will happen, something more terrifying than Mrs. White could ever imagine.

"Carrie" is one of the most well-known horror films of all time, and has set the standard for many later films of the genre. The entire premise for the movie is quite original, and the execution of the material is even more powerful and emotional than the novel itself. What makes it so emotional is the fact that there is a human story that happens everyday around the world. Carrie is constantly bantered and teased about every aspect of her life: her home, her mother, her apparel, and her demeanor, and it is done in such a manner that you cannot help but feel a great deal of sorrow for her when she commits the ultimate act in the finale of the film.

De Palma's camera angles and cinematography add an immense amount to the overall effect. Many of his shots usually center on someone in the foreground, while Carrie is somewhere within the near background, making her appear minute and small among everyone else. His use of the two-window effect for the prom sequence helps us to see more of the destruction and the reactions people have to events going on around them. One more notable sequence is opening scene, in the girls locker room, where we see the rest of the girls having fun and making merry while Carrie is alone and singled out in the shower stall. Throughout the movie, De Palma does a spectacular job in making Carrie seem insignificant when put with a group of people.

Sissy Spacek was brought to the project to play the title character, and does a top-notch job. She is the perfect "ugly-duckling" type for the role, and she is able to play out all of the emotion and terror that Carrie experiences throughout the novel. Amy Irving is does a credible job as Sue Snell, and her performance makes us believe that Sue really does feel sorry for what she has done to Carrie. The rest of the ensemble makes the movie believable, and never is there a moment where you will question the authenticity of a performance.

Certain to remain a hallmark of moviemaking, "Carrie" will shock, scare, and incite emotion for years to come. It is a movie that operates on many different levels, each beginning at separate times of the film, yet converging in the end to sweep us up in horror and sorrow.

Here's to the Devil with false modesty...;)
Released in 1976, "Carrie" is a disturbing horror film that's generously fueled by psychological tension and religious iconography. Unlike the decade's other two occult works, "The Exorcist" and "The Omen," this is not a tale about the Devil's chicanery. Although it overlaps ominous images of Christ with the raging feminine hormones of teenagers, the film actually decrys the tragic reality of school bullying; as an underrated form of child abuse, this so-called "rite of passage" involves a youth culture so cruel and thoughtless that it drives its victims to suicide or murder.
Actress Sissy Spacek portrays Carrie White, a shy and lonely misfit who is constantly harrassed by her classmates. After another strenuous game of vollyball, she begins to mensturate in the girls' shower. Terrified at seeing the blood running down her fingers, Carrie hysterically cries to the other students for help. But instead, all of the girls corner her in the locker room, jeering and tossing tampons at her. From that moment on, viewers are introduced to the appalling ignorance of the high school staff; not only do the teachers refuse to take Carrie's word seriously, but even Principal Morton (Stefan Gierasch) can't seem to remember her first and last name. The only official to pity her is gym teacher Miss Collins (Betty Buckley), who realizes that she was never taught how to deal with PMS. Fiercely determined to protect Carrie's well-being, Miss Collins punishes the class with a week's worth of brutal, boot camp athletics; anyone who refused to attend detention was excluded from the senior prom.
Meanwhile, behind closed doors, Carrie is tortured and chastised by her Mother (Piper Laurie), a straitlaced Christian fanatic who corrupts every passage in the Bible, blatantly accusing her daughter of being sinful. After hearing about her first period, Margaret White assumes that Carrie is inflicted with the curse of blood, and that she's tempted by the Antichrist's lust. Forcing her to pray for strength, Margaret drags her helpless daughter into a tiny closet, where a gaunt effigy of Jesus stares into a dark void of nothingness. It seems that all hope is lost for this little girl, but that mood eventually changes. Through library research, Carrie discovers she possesses telekinetic powers; whenever she gets angry or afraid, she can flip an ashtray off a desk, shatter a mirror, or make doors open and close unaided. Eventually, this is the weapon she uses to fight back against her Mother's assault.
Seeking revenge, one of Carrie's most hateful bullies, a spoiled and nasty girl named Chris (Nancy Allen), cajoles her drunk boyfriend Billy (John Travolta) to play a sadistic prank on her. On prom night, after Carrie and poet Tommy Ross (William Katt) are crowned King and Queen, Chris dumps a bucket of pig's blood on her head. Drenched and degraded, she is surrounded by a kaleidoscope of laughing spectators. In an act of murderous rage, Carrie unleashes her telekinetic anger upon the crowd. With her cold and blank stare, she showers water from a firehose, electrocutes the microphone, and engulfs the entire school in flames. In perhaps the most shocking split-screen sequence in history, this unforgettable night of terror is shot through multiple perspectives, while glowing a grisly, hellish red.
If you are seeking a horror classic for your DVD collection, I strongly recommend this film, as well as "The Exorcist," "Evil Dead," and "Nightmare on Elm Street."

Classical
Carrie White is a bit strange. She is friendless, her mother is obsessed with worshipping god, and sin, everybody at school harrases her, and to top it all off, she gets asked to the prom by the "hottest" guy in school, which also happens to be the guy Carrie has "special feelings" for.

Now, when you mix all those things together, do you come to the conclusion that Carrie might be under a lot of pressure? Well sure you do, cause she is. And to her horror, when she and Billy or whoever it is, i forget his name, starts to dance to the school song, a huge bucket of pigs blood is poured on her.

Blood, guts, gore...not really, but during the last half hour or so, the violence is pretty strong, not too graphic, but there are some graphic scenes of violence. When a girl gets crushed by a basketball hoop thingy, and when Carries mom gets killed by knifes being stabbed in her. I am sure there are some other ones, but those are the most graphic that i Can remeber right now.

Not too sexual, but there are definatly some sexual scenes, after all, this IS stephen king we are talking about, read this book and that will be enough dose of sexuality for you for one day, guarenteed.

Chilling ever time I see it
This movie is a very rare type of teen horror moive. It perfectly balences our fears and teen angst with phenominal acting at the same time. I think the reason why Carrie is still so fresh even today is because we all have a little bit of Carrie in all of us. All of us at one point in our lives have been teased, beaten up, or felt like you didn't belong at some point in our lives. We all know exactly how Carrie feels when all the girls laugh at her at the prom, or the excitment she felt when the most popular guy in schol askes her to the prom. We have all experienced these feeling throught out our teen years. Pino Donaggio did a superb job with the sountrack. Its so simple yet so effective. The music playing just before the blood is dumped still gets me everytime. It sounds almost like a clock ticking. Almost as if itsticking away the time that the kids have left to live. Even though I know whats gonna happen that scene never fails to scare me to death. This movie is a must see. Even todays teens will love this movie.

Steven King at his best
Probably the best translation of a Steven King novel into a movie. You can't miss this one. ... Read more

Reviews (2)

The work of Poe with The Great Price
A classic tale with a religon view. Instead of christions ruling there, they are the peasants and sananists are the rules. Vincent Price as the Prince. In an isalated casle with the Red Death Plague is killing peole all over the country.

Good storyline, excellent acting, all british cast
Also stars Hazel Court and Jane Asher (ex beatle Paul McCartney's one time girlfriend.) ... Read more

Reviews (14)

great movie, lousy copy
If you've never seen Little Shop but love humor on the edge, this is more than worth the money (though I bought the same copy from another source for a dollar less).

But, if you love film, this copy is abysmal, not even close to Corman's original. There's dirt on the film, contrast is limited (though the movie is watchable) and detail is definitely compromised. It's recorded in VHS EP mode.

Corman made some great films, this title is arguably the best of its genre, and I hate to think that the original may be lost or missing, and this is all we have left.

It may have been shot in two days, but it was excellent B/W not so long ago.

Flower Power fans unite!
This is Roger Corman's FLOWER POWER epic. It has something for everyone:Jonathan (Purple)Haze plays Seymour K (like Kafka's great Post-Modern hero)who falls into the existential trap of your basic Vampire Plant. Jackie Joseph (an Audrey Hephburn "ringer")essays "Helen of Skid Row" role as Audrey Fulquard. Mel Wells brings depth to underrated Dostoyevskian role of Little Shop of Horror's proprietor, Gravis Mushnik. Much has been said about how this Corman classic influenced directors like Coppola and Scorsese. But its budgetary excess(2 days and a night, to knock-off a typical, blood-devouring daffodil drama)probably offended artistic propriety. Remember: it took Francis Ford C. 10 years to complete APOCALYPSE NOW!...

Technically, art direction and production values of this proto-work have to be studied to be appreciated. The sequence where hapless Seymour K is pursued by police agents Fink and Stoolie through a junk yard full of tires and toilets belies unnecessary interpretation other than to observe the angst on Seymour's face when he pops-up through a broken commode. Finally, there's the celebrated role of Jack Nicholson who would come to fame in the Hippie saga, "Easy Rider". If you're a fan of DENTAL QUEST(who isn't?), LITTLE SHOP of HORRORS deserves its mythological repute on this segment alone.Fans of Gravis, Seymour K, Audrey I & II, unite to restore this archetypal film to the peerless status it deserves......

Wrong movie reviewed
Your review of Roger Corman's low-budget "Little Shop of Horrors" by James G. Mack actually reviews the musical version, made many years later. You need to correct that.

Right Movie, wrong version
I haven't seen this version, so the stars are "just because".

Every review of this movie refers to Rick Moranis, whom was probably a child of 10 or less when this movie was produced. Please keep the reviews to the correct versions of the movies.

Wrong Description
I purchased this item for my friend who speaks fluent Spanish. The description read "dubbed in Spanish". After speaking to my friend after Christmas, he told me that the movie was in English, with Spanish subtitles. I was embarrased, but he obviously didn't want to hurt my feelings, so he just said it was OK. I just let it go but I think the description should be changed. It just was so embarrassing for me. ... 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 (111)

"John Carpenter's Escape from New York"
Escape from New York (R) *****/5
Kurt Russell, Ernest Borgnine, Isaac Hayes, Harry Dean Stanton, Adrienne Barbeau.
Directed by: John Carpenter.
Synopsis: A former war hero turned criminal must save the president, and recover his briefcase to save his own life when he is dropped in the criminal penitentiary of N.Y. City.
Special Features: Trailer
Review: One of the greatest films ever made, and the greatest vision of the future ever. John Carpenter's widely acclaimed success of a film. It follows Kurt Russell as Snake Plissken who has two bombs planted in him. He is given a chance for his freedom if he can rescue the president and his briefcase from the clutches of The Duke in the prison city of N.Y. Plissken the former war hero turned criminal goes in, and he must survive the terror town, complete his mission, and get back before the bombs go off. Kurt Russell forever shed his Disney image for this film. He is on the ball, with the performance of a lifetime, and he creates one of the greatest characters in cinema history. Borgnine is lovable as the cabbie, Hayes is a fantastic bad guy, Stanton is cool as usual, and the supporting cast gives it their best effort. Carpenter shines with his tiny budget. He introduces us to a world where anything can happen, and he unveils his world to us in spectacular form. He even filmed it in Saint Louis and made me think it was New York. As for the DVD? ...

Snake Plissken Escapes from DVD Hell...
A few years ago, MGM released a bare-bones DVD of EFNY and were rightly criticized for not including anything in the way of supplemental material. A glaring omission for such a beloved movie. The studio has more than redeemed itself with this new two DVD Special Edition that should please the fans.

There are two audio commentaries on the first DVD. The first one is with producer Debra Hill and production designer Joe Alves and focuses on production anecdotes and how the special effects of the film were achieved.

The second audio track is with John Carpenter and Kurt Russell, and is the one fans will enjoy the most. The two men joke and banter with each other like old friends and it is this relaxed, conversational tone that really makes this track such an enjoyable listen.

There is an excellent documentary entitled, "Return to Escape From New York" located on the second DVD. A treat for fans is all the new cast and crew interviews conducted especially for this documentary: the always radiant Adrienne Barbeau, the normally publicity shy Harry Dean Stanton and even the Duke himself, Isaac Hayes! They all speak fondly of their experiences on the film.

There is also a so-so a photo montage of how an issue of the comic book is put together, from rough sketches to its arrival in stores. In a nice touch, the issue that is shown is also included with the DVD.

"Snake Bites" is a collection of clips from the film scored to some atmospheric electronic music. This really isn't all that interesting and seems like unnecessary padding to fill out the DVD.

The other extra that has been eagerly anticipated by fans is the famous original opening of the film. Snake and his partner rob a bank and are caught with Snake being arrested and his partner being gunned down. This scene sets up Snake's arrival at the New York prison but Carpenter cut it because test audiences were confused by it. This footage was thought to be lost long ago. It is finally being presented in its entirety on this DVD. The footage is quite grainy but watchable and features an optional audio commentary by Carpenter and Russell (who had never seen the footage before).

Rounding out the disc are a nice collection of TV spots, a theatrical trailer, and a photo gallery with lobby cards, behind-the-scenes and production stills.

Escape From New York is a fast-paced action film that contains a dark, satirical edge that never falters, even right up to the film's conclusion. The DVD, with its wonderfully themed menus (done in the same style as the film), stunning transfer and top notch extras, ranks right up there with the excellent Big Trouble in Little China (1986) special edition set that came out a few years ago. This new special edition was obviously made with the fans in mind and this only enhances its value.

"You mean I can't count on you?...Good!"
What can I say.

Strangely enough, despite the fact that I am a child of the 80s (I was 12 when this movie first came out), I never saw Escape from New York until 6 weeks ago.

Then I was hooked.

Most people know the story. In the "future," (1988, haha) the US crime rate rises 400%. To combat this crime wave, drastic measures are taken. The United States becomes a fascist-like police state, and in 1992 New York City becomes the country's one maximum-security prison to house the worst society has to offer. Sealed off from the outside world by a 50-foot containment wall on all sides, Manhattan Island becomes a modern (or postmodern) Botany Bay. All bridges, tunnels and waterways surrounding the island are mined, and the US Police Force constantly patrols by helicopter, to ensure that no prisoners escape. Criminals unlucky enough to receive a maximum-security sentence are given a choice: be executed or be airdropped into the New York for life to fend for themselves. As the chilling opening narration observes, "There are no guards, only prisoners and the worlds they have made. The rules are simple. Once you go in, you don't come out."

Into this black pit of despair comes one S.V. "Snake" Plissken, played by Kurt Russell. A war hero (he won 2 purple hearts, one in Leningrad and one in Siberia - remember, the Soviet Union still existed when this film was made), Snake for unspecified reasons has turned to a life of crime. And at the film's beginning, the Law has finally caught up with Snake, and he is being transported to New York to serve a life sentence for bank robbery when Fate steps in.

On the same evening that Snake is brought to Manhattan Island to begin serving his sentence, the President of the United States (played by Donald Pleasance) is on his way to a peace summit when his plane (Airforce One) is hijacked by a terrorist posing as a pilot, and is crashed into the prison. (In today's post-9/11 environment, the hijacking scene, at least to me, is particularly chilling and I have a hard time watching it).

Miraculously, the President exits the plane via his special "escape pod" and he survives the plane crash...only to be taken captive by the "Duke of New York," played with beautiful understated menace by Isaac Hayes.

Police Commissioner Bob Hauk (played by Lee Van Cleef), has an idea: send Snake Plissken, trained combat veteran and specialist at "getting in quiet," into the prison to find the President and rescue him. If he succeeds, Snake will be pardoned for every crime he's ever committed in the United States. And just to make sure that Snake fulfills his end of the bargain, Hauk has the prison's chief doctor implant 2 explosives in Snake's neck. If Snake does not return with the President in 22 hours, the explosives will go off, and, as Hauk wryly notes, "No more Snake Plissken."

So the die is cast. Snake goes in...but will he find the President alive? Even if he finds the President alive, will he get out in time to have the charges in his neck neutralized? Watch it and see.

This film is entertaining on many levels. It's an excellently crafted story, complete with social commentary and irony. It's a dystopic vision of what can happen when we trade too much of our liberty in exchange for what we think is security - definitely another resonant theme in our post-9/11 reality. We clamp down on individual rights/freedoms, supposedly in the name of protecting the collective - and leave society's undesirables to prey on each other in an asphalt jungle hell. But then what are we? According to this film, we're only slightly less inhuman than the criminals.

And the DVD contains various extras and bonuses which are sure to round out one's Escape from New York knowledge. This includes the documentary film "Return to Escape from New York," which details the making of the film. There are also commentary tracks by John Carpenter and Kurt Russell, as well as by producer Debra Hill.

Another real treat is the deleted bank robbery scene (the original first 10 minutes of the movie). This scene was cut from the final film because, in Carpenter's words on the commentary track, premiere audiences thought it diminished Snake's character by "humanizing" him too much. I actually found that humanization to be a good thing, and thought that the Bank Robbery sequence helped to set context for the story.

Along the lines of the deleted bank robbery sequence, another potential flaw of this movie, at least in my opinion, is that we never really know much about the characters or why they are the way they are. In other words, there's not much in the way of character development or backstory. For example, we know that Snake is sullen, embittered and in general concerned for nothing but his own self-preservation (though occasionally flashes of humanity do show and when it comes down to it, he does the right thing). But why?

I've read that Mike McQuay's novelization of the movie sketches out some history for Snake's character (and for the characters of Hauk, Brain, Maggie, Cabbie and the President as well). It would have been nice to see some of that in the film, with subplots, flashbacks, etc. It would've made the story richer.

But, regardless, what is there is great stuff. The cynicism and one-liners will bring a wry smile to your face, especially when they come from good old snarling Snake. Check it out.

Snake Plissken; Add Him To Your List of Movie Heroes
There's always something bizarre, in a very cool way, about watching a futuristic movie set in a year we've already passed. It's very eerie. Released in 1981, "Escape From New York" opens to explain that in 1988, Manhattan Island was transformed into a Maximum Security Prison, surrounded by a massive wall from every angle; guarded by police, with landmines at every exit route. The film is set in 1997, when terrorists bring down Air Force One, president and all, right into the heart of the forbidden island. Luckily, the president has survived thanks to his escape pod, and a rescue team is immediately dispatched in an effort to retrieve him and his special cargo. The president carries with him a cassette tape (very futuristic, eh?) of recorded information that could bring peace to the currently warring nations, but the time left with which to use it in is short. The rescue team finds the escape pod empty, and is soon approached by a loony prisoner with a grim message. The president has been taken captive by the A-Number One inmate of Manhattan Island, The Duke of New York. This is a job for... SNAKE PLISSKEN!

Yes, Snake Plissken: war hero; the youngest man ever to be decorated by the president; and recently, bank robber. Before being condemned to join the other inmates of Manhattan Island, Snake is made an offer. Go in, come back with the president and the tape before the clock runs out, and get a full pardon. But to sweeten the deal, another card is played. Snake is injected with two tiny capsules into his bloodstream. If he doesn't make it back in time to have the capsules neutralized, they will explode and rupture his arteries, killing him immediately. The only thing Snake really cares about anymore is himself, so now he has no choice. He must fly a glider into the heart of the city, locate the president and his tape, and together, they must escape from New York!

John Carpenter creates another masterpiece with "Escape From New York." The city is turned into a truly intimidating, downright frightening environment, with every kind of crazy one could think of. Kurt Russel as Snake Plissken, creates one more of those wonderful iconic anti-heroes the likes of Bruce Campbell's Ash and Rowdy Roddy Piper's Nada; self-serving, gruff, and full of great one-liners, but always doing the right thing when it comes down to it. The always fun Ernest Borgnine is great as Cabbie, Harry Dean Stanton is perfect as Brain, and Donald Pleasance and Isaac Hayes are also well cast, as was the entire film. Carpenter's usually haunting music runs throughout, and the adventure and action is non-stop. A must have for all fans of the sci-fi anti-hero genre and apocalyptic future films. Sorry I can't comment on the Special Edition DVD, but I currently only have the bare bones edition. It sounds great though, and I definitely want to get it. Mine does include the theatrical trailer though, and it's very cool. Love those creepy theatrical trailers for sci-fi films of the late 70s and early 80s. "Escape From New York" was followed by a sequel in 1996, "Escape From L.A." Some (maybe most) may find the sequel overly campy, with too many special effects and too much comedy. I have to confess that I slightly prefer L.A., probably for those very reasons. I'm not huge on camp, but it seemed to work well with the material. The plot was fairly similar though, and both movies have GREAT twist endings.

One of the most important films in my life
Carpenter's 2nd best. The fact that I'm a loser who does nothing but sit in a room all day and watch movies all day and has no friends and dreams of making movies of his own some day. This is the 2nd most inspiring movie in my life No.1 is Halloween. No 3. is Ghostbusters No 4. is The Thing. and No. 5 is Big Trouble In Little China. I'm not really sure what to say because words can't explain how much I love this movie but I wiil say this Incredible movie very ahead of it's time amazing story, amazing cast including western legends Lee Van Cleef and Ernest Borgnine and my favorite actor of all time Donald Pleasence, Amazing photography by Dean Cundey who I think is the best of all time, the best character of all time (besides Michael Myers) Snake Plissken, best Director of all time and I really really mean that, very funny ending just amazing and believe me I really really mean that too. I will Never forget it. Well I'm gonna go watch some more movies I'm thinking about watching Prince Of Darkness or maybe Halloween 4 The Return of Michael Myers well so long. ... Read more

Reviews (292)

Truly a cult classic!!!!!!!!!
When I first saw this film it scared the Hell outa me. George A Remero is a genuis. this film spawned a new genre of horror movies like "Halloween," and The "Evil Dead" series. This film is definately the best horror movie of all time. Although Black and White films are mostly corney and dull, this is one of those films that set the standards for future movies to come.
Anyway, A satalite from outerspace let out radiation from the planet Venus and is causing the dead to walk. Barbara (Judth O'dea) and her brother Johnny (Russel Streiner) go to visit a deseaced family member to pay respects.
Barbara and Johnny were attacked by the famous cemetary ghoul (Bill Heinzman). Barbara Escapes to the car and makes it to a nearby farmhouse only to meet her hero Ben (Duane Jones) who helps her through this incredible ordeal. later they find out five people are in the basement hiding out. Ben and the others must come together to defeat these terrible flesheating creatures outside. This is my favorite film of all time and I defenitally recommend it. I give it two thumbs up. I also liked the remake in 1990 by Tom Savini. He did an exellent job of bringing back the characters although it was missing the erie atmosphere the original had. Savini's good, but he'll never be a George Remero.

The original is always best!!!!!!!!!
Night of the living Dead is the best horror movie picture of all time in my eyes. I give it 5 stars for its creepy soundtrack and its great one of a kind feel. It starts with Barbara(Judith O'dea) and her brother Johnny going to visit thier mothers grave to pay thier respects, when all of a sudden "Ther're comming to get you Barbara" says Johnny just fooling around. and it actually turns out to be the creepiest Zombie of the film. Anyway Johnny gets what was coming to him and Barbara gets away and runs to a nearby farmhouse where Ben(Duane Jones)helps board down the doors and windows to keep the flesh eaters out. later on they find out there were five people in the basement hiding. The whole plot is seven people in an isolated farmhouse trying to stay out of reach of the flesh eating ghouls outside the house for the night. The film that started the best and coolest Dead series of all-time, thanks to George A. Remero.

NIGHT OF THE LIVING DEAD
BY FAR THE ABSOLUTE BEST ZOMBIE MOVIE EVER!!! BEING IN BLACK AND WHITE ONLY MAKES THIS CLASSIC SCARIER.THE MOOD OF THIS FILM IS INCREDIBLE. JUDITH ODEA DESERVES AN AWARD FOR HER ACTING!!SHE GAVE AN EXTREMELY CONVINCING PERFORMANCE.NOT VERY GORY BUT DEFINITELY SCARY!!!!THE SOUNDTRACK IS AWESOME AND IS A BIG PART OF WHY THIS FILM IS SO FRIGHTENING.A DEFINITE TRUE HORROR MOVIE THAT SHOULD BE SEEN AT LEAST ONCE OR TWICE OR MANY, MANY TIMES LIKE MYSELF.A+++++ ALL AROUND!!!! GET THIS MOVIE.

Piece of Crap.
Another terrible movie from that terrible Director George A. Romero. This time, there are only about twenty zombies waiting outside.

The zombies in this look better than those in Dawn of the Dead (1978)but are still very boring and unrealistic. Like i've said before, zombies wouldn't be able to move without certain orgains opertating properly in their bodies. Another thing I have just discovered is the fact that if the heart and lungs were operating and moving the body, then the rest of the organs in the body would be recieving blood, so they would be operating too. Meaning the body would be alive. ALIVE!!!!

The story is terrible. A group of people seek shelter in some house and, for some reason, are afraid to leave. There are about 15-20 zombies waiting outside. Why don't they just brake in the house? Because the man sets a chair on fire and throws it outside. Wait a minute. Why are they afraid of fire? They're dead. They don't know what fire is and they don't get hurt by the flames. Why does it scare them so? Romero never answered that question. It sounds to me like Romero just needed an answer.

Another question not answered. Why are zombies walking around the earth? They put out the idea of radiation from Venus, but never confirmed it. In Dawn of the Dead (1978) they said that there was a possibility of a viral outbreak. So , they still haven't found the answer. I wonder when Romero will tell the answer. If Romero doesn't need to answer the question, why does James Gunn's and Zack Snyder's obviousley superior version of Dawn need an explanation. They set out the idea of a virus, just like the original Dawn. Who knows? It sounds to me like the people are just trying find away to make an argument between which version of Dawn was better. The answer to that is obvious. The new Dawn.

The acting is terrible. I know it was low-budget, but you could get better women performances from the lady serving you at the resteraunt. The women in the movie were just terrible. The men were good, but the women were terrible. I couldn't stand them.

This is a comedy that was poorly done. It wasn't very funny and...What? It's not a comedy? It looked like a comedy. It wasn't scary, or entertaining as a matter of fact. I thought they were trying to be funny. The way the zombies acted, the acting, the lines, the pathetic attempt to gas up the truck. I thought this was supposed to be a comedy.

This is a terrible movie and a terrible DVD. I think it's about time George Romero died. He's just not a good director.

Thank god they fired him from Resident Evil. I can't stand thinking of the name. George A. Romero's Resident Evil. It's the George A. Romero's part that I don't like. Paul Anderson did a better job than Romero would have ever done.

A Classic That Worms Its Way Into Your Dreams
"Night of the Living Dead" is a classic that worms its way into your dreams. Truly amazing stuff. Back when Romero and Russo wrote and films this, they did not yet realize they were created a whole new subgenre of horror. Much as I like the remake, the undead are creepiest in the shadows of black and white film.

I'm writing to respond to one reviewer's nitpick and another reviewer's well-intentioned mistake. Complaining that most of it is in mono is like complaining that it's in black and white. That's how the original was made, plain and simple. Another reviewer complained about how horrible the version with added footage is. That individual is right about that version, but that's the 30th Anniversary Edition and NOT the Millenium Edition. The 30th Anniversary Edition with added scenes and weird, distracting music is too horrible for words, and not even in a "Plan 9 From Outer Space" so-bad-it's-funny way. The Millenium Edition is simply an official DVD made from a cleaned up print, with extras like the interviews. If you want to see the real "Night of the Living Dead" and get some cool extras for your money, this is the way to go. ... Read more

Reviews (101)

The movie that made me a DePalma fanatic
The first Brian DePalma movie I ever saw was "Body Double" with Melanie Griffith. I was not impressed and didn't think much of DePalma as a director. But that was before I saw "Phantom of the Paradise," DePalma's lunatic hybrid of "Faust," "Phantom of the Opera," "Frankenstein," and "The Picture of Dorian Gray."

I first read about "Phantom of the Paradise" in Danny Peary's book "Cult Movies 2." It sounded too good to be true, and I was thrilled to find a used copy at a video store's clearance sale. The movie turned out to be even better than I'd imagined. The movie seemed to have a bit of everything: horror, comedy, music, and melodrama. It gave me a newfound respect for Paul Williams, and it made me an instant Brian DePalma fanatic. Soon, I was seeking out all of his early classics -- "Greetings," "Carrie," "Blow Out," and the mind-boggling "Sisters."

The DVD of "Phantom" contains almost no extras (except for a trailer and an alternate French soundtrack), but the picture and sound are satisfactory... at least compared to my worn-out VHS copy. It's just too bad DePalma didn't do a commentary track. Then again, he hasn't recorded commentaries for ANY of his movies yet as far as I know.

Great Movie
Phantom of the Paradise is a '70s rock version of Phantom of the Opera. Winslow is a composer whose music is stolen by a famous producer named Swan. During all of this, Winslow ends up falling for Phoenix and only wants her to sing his songs. Meanwhile, Swan plans to open a new rock palace called The Paradise using Winslow's music - with a few changes.

Phantom of the Paradise actually borrows more from the 1962 version of Phantom of the Opera where the Phantom gets his music stolen and his face is disfigured by acid while trying to destroy the printing plates of his stolen music. In Paradise, Winslow's face is injured while trying to destroy the recordings of the stolen music. Paradise really combines the plots of the 1962 Opera and the play Faust.

Thanks to the truth behind the character of Swan (Paul Williams) the movie does have a Twilight Zone quality to it. You even have Rod Serling speaking at the beginning. Brian DePalma likes to borrow from Hitchcock, and he has an interesting and humorous variation on Psycho's shower scene here. It also takes elements from The Picture of Dorian Gray.

It does poke some fun at the music industry and some of the insanity of those in it. The movie takes a humorous approach to things - the scenes where Winslow is sentenced was done by using a very basic set and just two lines. May come across as silly to some but the style of parts like that add to the fun. Parts of this movie are not to be taken seriously. (I can't really explain without doing spoilers.)

Paul Williams wrote a nice variety of music for this movie - 50s style for the opening scene. One piece reminds me of The Beach Boys. A somewhat darker song is used during staged construction of Beef. The closing song could be viewed as comments on people who had been corrupted by the biz - plus it's humorous. (You'll find some better comments on the songs in the reviews for the soundtrack. I'm not a music pro.) Everyone except for Gerrit Graham does their own singing. In fact, the three groups in the movie are played by the same three artists. They just switch off on who plays the lead singer.

The DVD is a wonderful edition of the movie. Image quality is great considering the age. A trailer that doesn't even have the movie's title in it is included as well as trailers for other movies including Rocky Horror Picture Show.

The movie does have some truly weird moments, but I love it!

A few trivia notes: Sissy Spacek was set dresser on this movie. Archie Hahn, who sings "Goodbye, Eddie, Goodbye," has appeared on the UK version of Whose Line Is It Anyway? Gerritt Graham starred in Used Cars. Jessica Harper appeared in the movies Shock Treatment and Harper Valley PTA.

In the back of the Signet Classic edition of Gaston Leroux's Phantom of the Opera, this movie is mentioned and there is a reference to The Paradise looking like New York's Museum of Natural History. (p271) Phantom of the Paradise was filmed in Dallas, TX. The Paradise and most of the musical moments were filmed at The Majestic Theatre in downtown Dallas. In 1991, I saw Ken Hill's musical version of Phantom of the Opera there which added a nice touch for me. Swan's office building (exterior shots) was at one point owned by Mobil Oil, but I'm not sure if they owned it when this movie was made. Although it's changed alot since 1974, it is along Stemmons Frwy (I-35E) just after Carpenter's Frwy (183) joins it when going south. This same building appeared in Logan's Run.

Phantom of the Paradise was also mentioned in the program for Andrew Lloyd Webber's Phantom of the Opera and the same material was published in some special editions of the Gaston Leroux novel. I believe the writer was Peter Haining. He described Phantom of the Paradise as simply having The Phantom terrorizing teenyboppers. That does not fit this movie at all. I really wish people would watch a movie before reviewing it.

What is this~?
What's up with this film? It was my waste of money, and I saw anything good in it. Why is this film has almost 5 stars? American thing it must be.....worst class, worst art, and worst story. I want my money back. I would rather spend it for MacDonald Sandwhich or something.

A golden treasure !
This film is unique. De Palma was in a efervescence creative in this decade as fery few directors in the story. I think the next film in his career Carrie mad the people forgot this one, who in many aspects goes beyond Carrie due his artistic character and innovative resources.
Once more De Palma accepts the challenging duel to adapt this classic version but set and described from another perspective.
This film also allowed him to follow his bliss wothout the powerful presence of Hitchcok .

In other order of ideas , something similar happened with Chabrol , the french master , but the difference in the case of Chabrol is his major versality.
De Palma has reached the peak with this one. You feel Sisters and Phantom as his major achievements in this decade.
Don't forget one film that in a way was a twisted wrench of this one : I'm talking about the rocky horror picture show.
This was a decade in which the concern about others ways of expression were in the minds of many film makers.
Think in Ken Ruseell with Tommy , Jewison with Jesuchrist , Robin Hardy with The wicker man , Dario Argento with the cat with nine tails , The clockwise orange , Badlands , The harder they come , Pink flamingos, Walkabout , Don't look now or the honey moon killers. You felt besides the desperate spirit of the german cinema Fassbinder , Wenders (Paris Texas) , Herzog , Hauff and the french cinema under the kingdom of Truffaut , Chabrol , Molinaro Pierre Granier Deferre and Claude Sautet . This decade experienced an authentical creative and innovative tour de force in what concerns with new themes and proposals.
That's why this film wins, because it kept his level and status and still remains.
Watch this one and it will become one of your favorites!

Overlooked rock music film which was somewhat prophetic
The 1974 rock music film Phantom Of The Paradise is perhaps one of the most unusual and intriguing films i've ever come to know. This film was one of Brian DePalma's best films to date next to 1976's Carrie, 1983's masterwork Scarface and 1987's The Untouchables. The film is seen as somewhat as a rock and roll version of Phantom Of The Opera but it's a film about getting revenge on those who have hurt us. The hero in the film is nerdy and disgruntled composer Winslow Leach(played by William Finley) whose rock cantata about the magician 'Faust' whom was stolen by music impressario Swan. Swan had his own record label Death Records(originally Swan Song before Led Zeppelin coincidentally came up with the record label name and the producers changed the label to Death) and his own music channel(predated MTV by many years. Swan then proceeds and destroys Leach's life (steals the lovely Phoenix from Winslow, has him wrongfully framed, arrested, teeth pulled and had metal teeth in its place(predates the look that rappers and rockers like Marilyn Manson would adopt) and appearance). After being badly disfigured, Leach disguises himself as a phantom (whose Phantom outfit and make-up could easily have been the predecessor to the Goth Rock era of the 80's) wreaking havoc on the devilish (and that terms comes in quite handy here) and will stop at nothing to terrorize Swan. He tries arson (blowing up the set design during one of the 'Faust' rehearsals with a Beach Boys send-off The Beach Bums) and even murder (electrocuting over-the-top singer hard rock singer Beef mid-performance whose backing band look like what KISS would appear like a few months after this film was made. Also, the people at the door scene predicts the Studio 54 scene by a few years as does the partying/wedding scene at the end. The music in this film is great and the story proves that in the end, the nerds win over the arrogant types! Highly recommended! ... Read more

Reviews (1)

Early Corman junk approaches sublimity.
The movie begins with the Viking Women limply throwing spears at a tree to vote whether or not they wish to go search for their men, who went on an excursion and have been missing for two years. There is one man watching, but his presence with them is unexplained. Also unexplained is why he would ever let the group go search for other men. The Viking Women include such B-queens as Sally Todd, Abby Dalton, June Kenney and the Wasp Woman herself, Susan Cabot, looking really good as their "Dark Priestess," the only brunette among them.

Questions yet remain, which the script (and budget) have no intention of answering. We know why there are no viking men around, but where are the old vikings? Where are the infant vikings? Where are the ugly vikings? Does the entire society consist only of that small group of chicks? How can I get there?

They "construct" a boat, using "tools" of light plastic, in a montage that plays a little bit like those good-ol' A-Team come-together plans. There are continuity issues within scenes as far as the boat goes; sometimes it appears that they are packed in tightly just to fit. At other times it affords them space to lean back or to hide the lone man from the others. They set sail, and immediately- I mean immediately- lose their rudder. Never fear, though, because the script calls for them to reach the land where their men are being held captive quite simply. They are attacked by "The Beast of the Vortex," which as we all know, is a Viking word, along with "gnarly" and "antidisestablishmentarianism." This Sea Serpent (likely a hand puppet held by someone under water) of the title, accompanied by tossing waves and strong winds, casts them from their ship and they wash ashore, luckily right where they needed to be.

We meet the King of the Grimwalts (not the Griswalds of European Vacation, I soon came to realize), played by Corman regular Richard Devon, looking silly and decidedly un-Scandinavian in his furry hat and costume. He seems to rule over precious few subjects (Die Nibelungen this is not). We are also introduced to a very sparse Great Hall, in which drinking and a dance occur, and we meet his whiny, wimpy son, Prince Jonathan Haze, who is cornered by some footage of a wild boar and rescued during a hunt by Dalton. Eventually the movie gets less deliriously silly and focuses more on melodrama and court intrigue. Will jilted lover Cabot betray them out of jealousy?

A typical, wondrously bad (badly wondrous?) scene is where pig-tailed June Kenney sneaks out of their cell- between the bars- to find and rescue the menfolk. (She is wearing a leather bra, a miniskirt and knee boots with occasionally visible zippers. I've had dreams kind of like this scene.) She drops a rock on the head of a guard, and out the men and she go, only to be shortly thereafter recaptured. Corman, known at this point in his career for padding, had a couple of such lazy tangents in this already only 70-minute film.

Professions of undying love, slow-burning sacrificial fires, religious debates, invocations of Thor, Crimson Pirate-style fisticuffs, death, betrayals, redemptions, changes of heart and vicious tracking dogs follow, as the movie reaches its feverish climax and the Viking Women rush to escape with their men, in longboats conveniently sitting for them at the shore. The Grimwalts give chase, and the Sea Serpent lies in wait...

Maybe you can guess the outcome. Anyway, when "The End" appeared onscreen I was left with this thought: in retrospect, it seemed that the voyage covered so short a distance that the Viking Women could almost have yelled over to the men from their home shore.

Corman made campier movies, but on the whole not too many. I might compare this to Gunslinger, but this is funnier.

In summary, The Viking Women and the Sea Serpent is a must for Corman devotees and for fans of the cast, especially of the ladies. But if Beverly Garland, Bruno VeSota, Dick Miller and Vincent Price had been in this, too... well, it's just best not to think about such things as we can't have.

(Sigh) ... Read more

Reviews (114)

Brings back memories of when I loved this game.
I've always been a Costner fan, even when he has stretched my patience. "For the Love of the Game" did a lot for me in bringing back fond memories of the game which I used to love when I was a kid. Costner's sports movies are among his most entertaining, and bringing in Vin Skully added tremendously to the realism of this film.

Although I do agree (somewhat) in many reviewers' disappointment concerning the relationship aspect in this film, it still held enough interest for me that I enjoyed the film as a whole (heck, I almost bought it hook-line-and-sinker, but then again, I can be a real sucker). I also liked how the love aspect of the story was told in flashbacks as Chapel (Costner) was pitching the game of his life. I believe that many people may actually enjoy this film who are not baseball fans, but it sure couldn't hurt if you were.

Between 1 and 10, I give "For the Love of the Game" a solid 7. It's nice to see an actor who is athletic enough to pull off a sports movie and make it look real. Some of the scenes (where people are watching the "game" on television, ala Kelly Preston at the airport bar) looked 100 percent authentic. I would have no hesitation in viewing this film a second time, especially the dvd version (if it puts back what was left on the cutting room floor, as one reviewer indicated).

Kevin Costner plays a 40 year old pitcher
Kevin Costner again stars in another baseball movie. This time he is a 40 year old pitcher for the Detroit Tigers. As the movie opens, he has dinner in his hotel room and a drink at a minibar. The next morning he awakes with 3 bad news.

(A) The team owner (Brian Cox) has sold the Tigers, (B) He might get traded, (C) His on and off girl firend he leaving him and taking a job in London, Because she tells him "you don't need me, you'r perfect with the ball and the diamond. Not the thing you want to hear when you are facing retirement.

Billy Chapel (Kevin Costner) has to decide to hang it up after 19 years or have a 20th season? His girlfriend is Jane Aubrey (Kelly Preston). She is his on and off girlfriend.

Then it flashes 5 years before a game in New York, when Billy and Jane first met. At first she doesn't know who he is until a tow-truck driver says, "Hey your Billy Chapel."

Anybody Kevin Costner's age might be retired from baseball. Kevin Costner had two or more baseball films before this, and when of them was called "Field of Dreams".

Soon he has to look for his grandfriend's daughter named Heather (Jena Malone). Which after first she says freedoom. The movie was directed by Sam Raimi. If you love baseball, then this is the one for you.

I loved this movie
this movie has to be one of the best baseball and love movies I have ever seen. It is perfect for a date because the guy can get into the baseball part and aa little bit of the love story and the girl can get into the love story and a little bit of the baseball story without feeling let down

Costner should stick to baseball and Westerns
If Costner stuck to baseball movies and westerns he would be fine. This was a really good movie. It is actually a cross between a chick flick and a sports movie. The baseball scenes are expertly done and the other part of the storyline is expertly woven into the movie. I really enjoyed this movie and think lots of other people will too. Even if you've read the book, you should still see this movie. Just my opnion though, I could be wrong.

Not a baseball fan
I am not a baseball fan but i can tell you this movie is really good it is really deep full of emotion. I don't know anything about the game basball i live in England but yet i was able to really enjoy it bcoz it doesn't really focus on the game but on the personal life of a successful baseball player. Brilliant buy it. ... Read more

Reviews (9)

A Filmmakers Dream Project
In 1885, the Lumiere Brothers perfected a hand-cranked movie camera that moved the world. This 100th year anniversary takes forty filmmakers to task with the same camera to produce a film less than a minute. It's not as interesting in its results as one might have hoped. It was a huge challeng