Reviews (231)

So, what's your diag-nonsense?
The movie is based on the real life story of Susanna Kaysen (Winona Ryder), who was admitted to Claymoore, a mental institution, in the late 60's after drowning a bottle of aspirin with a bottle of vodka. She insists this wasn't a suicide attempt, but her parents and psychiatrist don't agree. While at Claymoore, Susanna meets the ohter inmates, Georgina (Clea Duvall), her roommate, who's a pathological liar, Polly (Elisabeth Moss), who everyone calls Torch and has been badly scarred by fire, Daisy (Britanny Murphy), who won't eat in front of anyone, Janet (Angela Bettis), who won't eat at all, and most importantly, Lisa (Angelina Jolie). Lisa is a sociopath. She constantly escapes Claymoore, only to return after having a crisis (or running out of money). She "runs" the place and is a major pain in the ass for Nurse Valerie (Whoopi Goldberg).

Soon after, Susanna starts to wonder if she's indeed crazy or if she's turning crazy by being there. The doctors at Claymoore, Melvin (Jeffrey Tambor) and Dr. Wick (Vanessa Grave) seem to think she's mentally ill, while her boyfriend Toby (Jared Leto) disagrees.

Susanna has to deal with the situation, trying not to spiral into insanity, but at the same time finding a substitute for a home amongst this group of rejects.

As for the acting, it is solid all across the board. Ryder does a convincing job as the lead character and all of the other actresses shine in their roles, especially Murphy, but this is Jolie's film. She steals almost every scene she's in, from the distressed crying on one of her downs, to frighteningly mad outbursts, to maniac lunacy. She earned a well deserve Oscar for her supporting role.

The director, James Mangold, has also helmed films like Cop Land (1997, with Sylvester Stallone, Robert DeNiro and Harvey Keitel), Kate & Leopold (2001, with Hugh Jackman and Meg Ryan) and Identity (2003, with John Cusack, Ray Liotta and Amanda Peet).

"I didn't try to kill myself...I had a headache"
"Girl, Interrupted" is the true story of Susanna Kaysen (Winona Ryder), a young woman who was diagnosed with borderline personality disorder during the 1960s. My favorite parts of the film were the transitions between scenes; the movie flowed beautifully. Susanna signs herself into Claymoore, a mental institution, after a failed attempt at suicide. At Claymoore, she meets a wide variety of different girls, each with different problems. There is Lisa the sociopath, played by Angelina Jolie and Daisy, a loner, played by "Clueless's" Brittany Murphy. Whoopi Goldberg rounds out the cast as Valerie, the head nurse on Susanna's floor. A bit reminiscent of "One Flew Over the Cuckoo's Nest," "Girl, Interrupted" is one of the finest films I have ever seen. Winona Ryder is brilliant, I have never seen her portray a character better.

One Flew over the Girl
Of course any movie made about people in a psychiatric ward will resemble the classic 'One Flew Over The Cuckoo's Nest'. This we also do not know for sure if the leading character is sane or not.

Winona Ryder is great in this movie, though a little too pretty. The best perfomance comes from Angelina Jolie, who is just amazing. The movie is sometimes a little sad, frightening, scary but also moving. The ending is a little sweet but not too sweet. A happy ending with a twist.

The music is great since it plays in 1968, although the theme of the sixties is a little underplayed. It is still a great movie though.

It gives you a new look on how normal some people are.
This is one of the most brilliant movies. The acting is superb, and the story grabs you. Angelina Jolie and Wynona Ryder do really good performances. The movies makes you think about how different people are and not to judge and be more aware of people's feelings. The movie is awesome. I highly reccomend it.

BORDERLINE PERSONALITY DISORDER
Girl Interrupted was on last tonight. You know when the shoplifter reads about BORDERLINE PERSONALITY DISORDER? What a revelation! That's me - well, except for the CASUAL SEX - but the DIRECTIONLESSNESS and the SELF-DESTRUCTIVE ACTS (I quit my job the other day).

All this time I thought I was an existentialist. I was wasting my evenings on Camus and Kierkegaard (my back is like a tightrope dancer's, twisted in my childhood, and therefore it is easy for me. One, two, three - I can walk upside in existence). What comfort: the condition is medical not metaphysical.

All I needs do is clear up my skin. Then I aim to complete those symptoms ... and I'd like to begin with Anjelina Jolie ... and even if she got all serious on me, that would be okay: I'd explain to her: the disorder was what was casual (- it was part of my directionlessness). Not you. My aim is true - I'm an existentialist. ... Read more

Reviews (247)

An uneasy mixture of various film styles and genres.
While Meg Ryan has contributed some worthy movies to the "chick flick" genre, KATE AND LEOPOLD falls woefully short of "good movie" status. While not a complete nadir, KATE AND LEOPOLD serves up yet another formulaic movie that offers no real surprises and makes us wonder why Ryan plays a role in a film as uninspiring as this. Not that the acting is bad, because it's not. The real problem is the story itself.

Stuart (Live Scheiber), an inventor and Kate's ex, discovers a time wormhole and travels back to 1876 New York. Leopold (X Men's Hugh Jackman), who invented elevators, chases him from his uncle's house, where he is to announce his bride to be, back through the wormhole into modern day New York. Leopold was to marry into money since his family has run short of funds. The rest of the movie shows Leopold adjusting to the modern world and wooing Kate (Ryan) off her feet. The first half plays like a natural "fish out of water" story. Stuart conviently has an elevator accident, getting him out of the majority of the movie. Also making an appearance, Charlie (Breckin Meyer), Kate's brother, spends a lot of time with Leopold, thinking him another actor. Beware: spoiler ahead. If you know anything about films, it's obvious how this is going to end, so it's not really a spoiler. Kate and Leopold go back to 1876 New York to live happily ever after.

The biggest problems I had with this movie was the uneasy mixture of science fiction and romance. The exact same story could have been told without involving time-travel. An excellent film in its own right, Splash took the "fish out of water" story and succeeded quite admirably. Here, the science fiction is little more than a gimmick to dress up a rather formulaic story. The most depressing thing of all, however, is Ryan has proven you can quite successfully have a "chick flick" while having an excellent supernatural slant (City of Angels).

KATE AND LEOPOLD gives us a rather unrealistic love story. KATE AND LEOPOLD is just an elegant man sweeping a boring woman off her feet. Why Leopold would want Kate, other than she has Meg Ryan's looks, is beyond me. Another problem with the story, however, is Stuart the inventor. He is by far the most interesting character, and I kept wishing to see more of him. Leiv does a wonderful job with the role, and the most interesting sections are the all-too brief scene of him in 1876 New York and again in the psychiatric ward. The best and most captivating scene deals with Leiv explaining to a nurse that he is not crazy. I won't ruin it for you if you do decide to see the film, but his explanation is absolutely wonderful, and is easily the highlight of the film.

However, he is taken out most of the movie because of an elevator accident, which makes no sense. The logic of the movie is since Leopold did not invent the elevator, then all the shafts would be empty. Well, if there were no elevators to begin with, why would there be shafts? This is just sloppy writing. The next time the writers want to do a cross-genre film, I hope they do a much better job than this film.

I give it a low three maybe a high two for a squandered opportunity of making another good cross-genre film like CITY OF ANGELS and involving an unrealistic love story.

I Couldn't be more pleased...
With the string of mostly clean, viewer friendly movies I've been seeing lately! Movies I LOVE, without ANY scenes that I'm embarrassed to watch with my parents. Kate and Leopold is another old-fashioned, clean-cut new classic, joining the other new, family friendly films such as The Majestic, Lord of the Rings, Star Wars Episode 2, and Spider-Man!
Kate and Leopold is the story of two lonely people from different times. Leopold (Hugh Jackman) is a young duke from the 19th century, who's family has moved to America and squandered away their fortune. As a result, Leopold is now being forced to choose a wife. The problem is, Leopold is not in love. Kate (Meg Ryan) on the other hand, is a New York City girl who has recently and bitterly broken up with her longtime boyfriend, Stuart, an inventor who has discovered a portal through time. Stuart leaps through his new discovery and unintentionally brings Leopold, his great, great, great (I forget how great exactly) grandfather, back with him to modern day New York City. From here we get a charming fish out of water love story reminiscent of Splash, but maybe a little less bizarre. Just a little. While Stuart is in the hospital recovering from an elevator accident, Leopold charms his way into various people's hearts, and becomes a bit of a role model for Kate's younger brother, Charlie. Eventually, Leopold even manages to charm his way into Kate's battered heart, and, being Meg Ryan, she manages to charm him right back. But while this odd romance is blossoming, Stuart is telling his time portal story to the hospital doctors and nurses, who take it all in with more than a grain of salt. He soon finds himself in a psychiatric ward, desperate to break out and find his way back to his ancestor and the time portal. He fears that if he doesn't send Leopold back to his own time soon, he, himself, will cease to exist!
Kate and Leopold reminds us that a film can be funny, heartwarming, sweet and charming, without a lot of foul language, gratuitous footage, and innuendo. This is simply a charming love story, with endearing characters and a touch of fantasy. There's nothing more to say about it, except that you should pick up a copy today!

I wish I could give a zero
Since this was a Meg Ryan movie I was ready to be bored out of my mind and I wasn't disappointed. Meg plays cute and perky Kate, a street smart New York executive. She has everything going for her except one thing-she has lousy luck in men. This is where it gets interesting and I use that term loosely. Her ex-boyfriend who happens to be living right above her discovers a hole in time that will allow him to go back to nineteenth century and he does just that. Complications arise, however, and a Duke of Albany, from 1876, who is incidentally young, handsome and unmarried, accidentally follows him back through time to present time New York. If that sounds stupid, you've heard nothing yet. He gets in all these incidents because obviously he never seen any of the modern technology which I assume filmmakers wanted to be funny but it wasn't. It was boring as hell. I bet you can guess what happens next. Duke meets Kate, they fall in love because he has nice manners, he goes back in time because balance must be preserved, of course Kate follows him into nineteenth century, they get married and live happily ever after. Oh, I forgot to mention number of boring discussions they have about love and all that. Can someone shoot me, please!.

Science and Romance
Okay, I am not into romances, but my wife is. I put off seeing this because of the dopeyness that I expected. It was better than that, though. Enough science, intrigue and romance to be a good mix. Definitely a good date mix, but even good for a wider audience.

Hugh Jackman really shines in the part...
This was the second movie that Hugh made after he won notice for playing Wolverine in X-MEN, here he puts his stage training to the test and it plays well in this fairly honest and well made movie in which Hugh and Meg Ryan play two people out of time who fall in love and then decite to get married even though the romance is seperated by 150 years. There is a small element of science fiction where time travel is concerened as with STAR TREK IV; THE VOYAGE HOME, it is acknowledged, but taken only a few scenes to explain away and then they go back to doing an honest/romance comedy, which this is. ... Read more

Reviews (275)

One of the most intelligent slasher films in years!!
I finally got the chance to check out "Identity" at the theater, and I just have to say that this is a film that will not only leave you on the edge of your seat, but it's also just as frightening as other thrillers like "The Ring" and "The Sixth Sense"! With intense direction by James Mangold ("Cop Land", "Kate & Leopold", "Girl, Interrupted"), "Identity" has a brilliant all-star cast led by John Cusack ("Grosse Pointe Blank", "Con Air"), one of the most versatile and distinguished actors ever seen on film, in one of his finest performances yet!

"Identity" takes place on a dark and stormy night. By mysterious circumstances, 11 strangers are thrown together at a decaying hotel, trapped between flooded roads and hindered by downed phone lines. Included are: Ed (Cusack), an ex-cop turned bodyguard/chauffeur for an aging movie starlet named Caroline Suzanne (Rebecca DeMornay), Ginny (Clea DuVall) and Lou (William Lee Scott), a quarreling young newlywed couple, a convicted killer (Jake Busey) on his way to prison and his police escort named Rhodes (Ray Liotta), Paris (Amanda Peet), the prostitute with a heart of gold, and a young boy (Bret Loehr) with his mother (Leila Kenzle) and stepfather (John C. McGinley). Oh, and the buggish hotel clerk named Larry (John Hawkes). Everyone has a secret and a problem that complicates their otherwise nighmarish stay at this generically dismal hotel. The young mother, while fixing a flat tire, gets hit by the movie star's limo, with no hospital in sight and no way to call for help. The convict is being transported to a higher-security prison and must spend the night handcuffed to a toilet. But, as with almost all assemblies of wildly disparate individuals, people start dying horribly. Meanwhile, in another part of the state, a judge awaits the arrival of a mentally ill death-row convict who is contesting his death sentence. The storm outside provides the backdrop fro some scary stories and is the odd connection between the killer in the judge's office and the unknown murderer stalking the hotel where the guests check in...but don't check out!

Director James Mangold, once again, has assembled a fine cast. John Cusack emerges from the pack as the central figure in the fight to stay alive. At 37 years old, Cusack is finally maturing vocally and physically into more of a grown-up. And that's one of the things that I like about Cusack and his films. Ray Liotta, however, carries with him the predestination of scariness. In other words, you would love to hate his character in the film. If he's not in a simpy comedy ("Operation Dumbo Drop", "Corrina Corrina"), chances are he's going to scare the living daylights out of you. There's a twist here, and he's not the villain one would expect from a Liotta-laden film, but it's not very long before he peers those "Clockwork Orange"-y eyes into the sight of an impending kill. Rebecca DeMornay amuses briefly as the washed-up starlet. Upon checking in, the hotel clerk observes, "Hey, didn't you use to be that actress?" The same could be said of DeMornay, who spent the late '80s and early '90s getting A-list work in titles like "Risky Business", "Feds", "The Hand That Rocks the Cradle", "Guilty As Sin", and "Backdraft", but disappeared from prominence and into TV and straight-to-video film. Very sad, but nice to see her back in a major release. In addition to the other supporting players are Alfred Molina (upcoming "The Amazing Spider-Man") and Pruitt Taylor Vince ("Trapped"), in which they gave great performances as well.

The plot is not unlike Agatha Christie's 'Ten Little Indians' (political correctness has swept the play version of this story into a new name that hints at its story: 'And Then There Were None') where characters drop off one by one until the murderer is revealed. This is the same device used in just about every horror movie, though more obviously adhered to here than most: The killer's trademark is to leave the victim's hotel key under (or in or around) the body. It's a countdown--10, 9, 8, 7... And like "The Sixth Sense", "Identity" lulls you into thinking how exactly everything works and then turns you upside down until you are fooled again into thinking that you've figured it all out.

In conclusion, "Identity" is refreshing in that sense. It's a slasher movie, yes; but an intelligent one and one that both frightens and provokes. Not in a "Sixth Sense" way, as there are no heartstrings to pull, but just on the right level that will make you think (though not too hard) and scare you witless without giving you nightmares. It may, however, give you pause when considering where to stay for the night when you have a flat tire in the middle of nowhere, standed in front of a Bates-y motel. Call Triple-A. "Identity" is, without a doubt, a great DVD addition when released!

Identity (2003)
Director: James Mangold
Cast: John Cusack, Ray Liotta, Amanda Peet, John Hawkes, Alfred Molina, Clea Duvall.
Running Time: 90 minutes.
Rated R for violence, gore, and language.

One of the most bizarre thrillers to ever hit the screen, "Identity" attempts to pull off a "Sixth Sense" style finale, but fails miserably with a disjointed, confusing story that is well-made and well-acted, but ultimately fails to follow logic. It is a film that jumps into action extremely quick, with a family fixing a flat tire in the middle of the pouring rain on a deserted highway. Ex-cop turned limousine driver John Cusack accidentally hits the mother of the family while she was attempting to help her husband with the fix-up, but they cannot drive to the hospital for medical attention due to the horrific weather. They find a place to stay and tend to the woman's wounds in a ratty, old Bates-like motel.

In all, ten strangers find themselves at the mysterious motel fighting for their lives against an unknown killer that is walking the premises. They are many twists and turns, points fingered at numerous killers, and so many strange occurrences in the last ten or 15 minutes of the film that is it hard to distinguish exactly what is the truth and what is not real. Cusack and Liotta give suitable performances in the lead roles, but certainly nothing spectacular-the rest of the cast is not given much of a personality, mainly used as cookie cutter characters that the audience does not give a flip about if they are slaughtered. "Identity" is a nice attempt at trying to bring some psychosis/schizophrenia terror to the suspense genre, but director Mangold seems more focused on making scary scenes with lightning and down-pouring rain that creating a film that is halfway understandable. Some of the DVD extras are slightly useful, although the extended version is basically the same motion picture. A thriller that had promise, but it does not succeed in establishing exactly what kind of movie it wants to be, loosing its own identity in the process.

Edge of your seat -- but don't give away the ending!
One of the best psychological thrillers made since Jacob's Ladder. This ensemble cast is perfectly blended to offer the right mix of fresh talent (Amanda Peet and Jake Busey) and seasoned veterans (Ray Liota, Alfred Molina and John Cusak) along with Rebecca DeMornay. You will be drawn in with the rhythmic poetry recited in the opening scenes and once the story begins at the desert Motel, you are absolutely riveted. There are key clues throughout to sort of clue you in to the shock at the end, but don't ruin it by talking to others about it! Watching the director's commentary is helpful on the DVD, explaining odd scenes and intricate story lines to the viewer. This movie is one you will want to watch more than once or twice. You get most of the plot only superficially the first time watching, and only on the the second and third go around will you say, "AH HA! Now this makes sense!" IDENTITY is also John Cusak's tour de force, a superb job here in a performance you will not soon forget. Top notch entertainment.

Perfectly Psychologically Thrilling
This film is one of the best in psychological thrillers. It keeps you guessing and re-guessing as the plot moves on and the dead bodies start disappearing. John Cusack is at his brooding best paired with Ray Liotta. This is a movie that could have easily been over-acted, but the cast carries the story line well. There's limited gore and guts but just the right amount of suspense to keep you glued to the the movie. Don't miss out on this one, you'll be glad you spent your time and money on it.

You think you know, but you have no idea.
This movie is hard to talk about because you don't want to give a second of it away. I've seen a lot of movies and I'd give this one a A+. Even if you have your doubts about buying it I would fully suggest you buy and be amazed at this masterpiece. ... Read more

Description

Meg Ryan (YOU'VE GOT MAIL) and Hugh Jackman (X-MEN) are paired as star-crossed lovers who discover that passion and chivalry never go out of style! When a rip in time brings together a charming 19th century bachelor and a thoroughly 21st century woman, the potential for an old-fashioned modern romance ignites! Also starring Breckin Meyer (ROAD TRIP) and Liev Schreiber (SCREAM 3). ... Read more

Reviews (247)

An uneasy mixture of various film styles and genres.
While Meg Ryan has contributed some worthy movies to the "chick flick" genre, KATE AND LEOPOLD falls woefully short of "good movie" status. While not a complete nadir, KATE AND LEOPOLD serves up yet another formulaic movie that offers no real surprises and makes us wonder why Ryan plays a role in a film as uninspiring as this. Not that the acting is bad, because it's not. The real problem is the story itself.

Stuart (Live Scheiber), an inventor and Kate's ex, discovers a time wormhole and travels back to 1876 New York. Leopold (X Men's Hugh Jackman), who invented elevators, chases him from his uncle's house, where he is to announce his bride to be, back through the wormhole into modern day New York. Leopold was to marry into money since his family has run short of funds. The rest of the movie shows Leopold adjusting to the modern world and wooing Kate (Ryan) off her feet. The first half plays like a natural "fish out of water" story. Stuart conviently has an elevator accident, getting him out of the majority of the movie. Also making an appearance, Charlie (Breckin Meyer), Kate's brother, spends a lot of time with Leopold, thinking him another actor. Beware: spoiler ahead. If you know anything about films, it's obvious how this is going to end, so it's not really a spoiler. Kate and Leopold go back to 1876 New York to live happily ever after.

The biggest problems I had with this movie was the uneasy mixture of science fiction and romance. The exact same story could have been told without involving time-travel. An excellent film in its own right, Splash took the "fish out of water" story and succeeded quite admirably. Here, the science fiction is little more than a gimmick to dress up a rather formulaic story. The most depressing thing of all, however, is Ryan has proven you can quite successfully have a "chick flick" while having an excellent supernatural slant (City of Angels).

KATE AND LEOPOLD gives us a rather unrealistic love story. KATE AND LEOPOLD is just an elegant man sweeping a boring woman off her feet. Why Leopold would want Kate, other than she has Meg Ryan's looks, is beyond me. Another problem with the story, however, is Stuart the inventor. He is by far the most interesting character, and I kept wishing to see more of him. Leiv does a wonderful job with the role, and the most interesting sections are the all-too brief scene of him in 1876 New York and again in the psychiatric ward. The best and most captivating scene deals with Leiv explaining to a nurse that he is not crazy. I won't ruin it for you if you do decide to see the film, but his explanation is absolutely wonderful, and is easily the highlight of the film.

However, he is taken out most of the movie because of an elevator accident, which makes no sense. The logic of the movie is since Leopold did not invent the elevator, then all the shafts would be empty. Well, if there were no elevators to begin with, why would there be shafts? This is just sloppy writing. The next time the writers want to do a cross-genre film, I hope they do a much better job than this film.

I give it a low three maybe a high two for a squandered opportunity of making another good cross-genre film like CITY OF ANGELS and involving an unrealistic love story.

I Couldn't be more pleased...
With the string of mostly clean, viewer friendly movies I've been seeing lately! Movies I LOVE, without ANY scenes that I'm embarrassed to watch with my parents. Kate and Leopold is another old-fashioned, clean-cut new classic, joining the other new, family friendly films such as The Majestic, Lord of the Rings, Star Wars Episode 2, and Spider-Man!
Kate and Leopold is the story of two lonely people from different times. Leopold (Hugh Jackman) is a young duke from the 19th century, who's family has moved to America and squandered away their fortune. As a result, Leopold is now being forced to choose a wife. The problem is, Leopold is not in love. Kate (Meg Ryan) on the other hand, is a New York City girl who has recently and bitterly broken up with her longtime boyfriend, Stuart, an inventor who has discovered a portal through time. Stuart leaps through his new discovery and unintentionally brings Leopold, his great, great, great (I forget how great exactly) grandfather, back with him to modern day New York City. From here we get a charming fish out of water love story reminiscent of Splash, but maybe a little less bizarre. Just a little. While Stuart is in the hospital recovering from an elevator accident, Leopold charms his way into various people's hearts, and becomes a bit of a role model for Kate's younger brother, Charlie. Eventually, Leopold even manages to charm his way into Kate's battered heart, and, being Meg Ryan, she manages to charm him right back. But while this odd romance is blossoming, Stuart is telling his time portal story to the hospital doctors and nurses, who take it all in with more than a grain of salt. He soon finds himself in a psychiatric ward, desperate to break out and find his way back to his ancestor and the time portal. He fears that if he doesn't send Leopold back to his own time soon, he, himself, will cease to exist!
Kate and Leopold reminds us that a film can be funny, heartwarming, sweet and charming, without a lot of foul language, gratuitous footage, and innuendo. This is simply a charming love story, with endearing characters and a touch of fantasy. There's nothing more to say about it, except that you should pick up a copy today!

I wish I could give a zero
Since this was a Meg Ryan movie I was ready to be bored out of my mind and I wasn't disappointed. Meg plays cute and perky Kate, a street smart New York executive. She has everything going for her except one thing-she has lousy luck in men. This is where it gets interesting and I use that term loosely. Her ex-boyfriend who happens to be living right above her discovers a hole in time that will allow him to go back to nineteenth century and he does just that. Complications arise, however, and a Duke of Albany, from 1876, who is incidentally young, handsome and unmarried, accidentally follows him back through time to present time New York. If that sounds stupid, you've heard nothing yet. He gets in all these incidents because obviously he never seen any of the modern technology which I assume filmmakers wanted to be funny but it wasn't. It was boring as hell. I bet you can guess what happens next. Duke meets Kate, they fall in love because he has nice manners, he goes back in time because balance must be preserved, of course Kate follows him into nineteenth century, they get married and live happily ever after. Oh, I forgot to mention number of boring discussions they have about love and all that. Can someone shoot me, please!.

Science and Romance
Okay, I am not into romances, but my wife is. I put off seeing this because of the dopeyness that I expected. It was better than that, though. Enough science, intrigue and romance to be a good mix. Definitely a good date mix, but even good for a wider audience.

Hugh Jackman really shines in the part...
This was the second movie that Hugh made after he won notice for playing Wolverine in X-MEN, here he puts his stage training to the test and it plays well in this fairly honest and well made movie in which Hugh and Meg Ryan play two people out of time who fall in love and then decite to get married even though the romance is seperated by 150 years. There is a small element of science fiction where time travel is concerened as with STAR TREK IV; THE VOYAGE HOME, it is acknowledged, but taken only a few scenes to explain away and then they go back to doing an honest/romance comedy, which this is. ... Read more

Amazon.com

After making a critically acclaimed debut with the low-budget independent drama Heavy, writer-director James Mangold took on this gritty crime drama, which was highly touted as Sylvester Stallone's long-awaited return to a serious dramatic role. With an illustrious cast of costars, including GoodFellas alumni Robert De Niro, Harvey Keitel, and Ray Liotta, Stallone plays Freddy Heflin, the ineffectual sheriff of a New Jersey suburb that a group of corrupt New York cops have turned into their own off-duty criminal empire. Deaf in one ear and desperate to prove his worth, the sheriff takes on the cops with standoffish assistance from an Internal Affairs cop (De Niro), resulting in an explosive climactic showdown. The stellar cast can't be beat, and Stallone is quite good as the overweight cop whose pride is on the line. Mangold's script is wildly uneven, but the film still packs a white-knuckled punch. --Jeff Shannon ... Read more

Reviews (48)

One Good Cop
When I bought my first DVD player a number of years ago, Cop Land was one of the films that, I thought about buying right off the bat. I was disappointed though, to discover there were no bonus features on the disc, and I didn't get it. Back then, my rule was simple: no bonus material-no purchase. After a long wait, a special edition for the film, is finally here.

Freddy Heflin (Sylvester Stallone) is the sheriff of a place everyone calls "Cop Land"-a small and seemingly peaceful town populated by the big-city police officers he's always admired. Yet something ugly is taking place below the surface. The sheriff is shocked when he uncovers a large and deadly conspiracy among these local residents. He doesn't know who to trust. Gary Figgis (Ray Liotta) and Ray Donlan (Harvey Keitel) try to persuade Heflin that he is wrong. Soon though, he is forced to take action and make the difficult choice between protecting his own and enforcing the law, as Lt. Tilden (Robert De Niro), an Internal Affairs officer, arrives to begin an investigation of his own.

Writer/director James Mangold assembled a top notch cast that can't be beat. Stallone rises to the challenge and gives his best performance since the original Rocky flick--no really, it's that good. The drama and situations are very real. No over the top, super hero heroics are to be had. It's gritty reality is heightened for me even more, due to Mangold's use of many familiar North Jersey locales, as the story's backdrop.

The DVD showcases a 116-minute "Director's Cut" of film. In this cut, 11 minutes of footage is reinserted, not part of the original theatrical version. For the most part, these scenes are rich in character bits and advance the plot only slightly. Still, the 11 minutes are worthwhile. The audio commentary track from Mangold, producer Cathy Konrad, cast members Stallone and Robert Patrick is a solid one, filled with great insight on how the film came together. Aside from the 11 minutes of inserted scenes, there are a few additional deleted scenes complete with opitional commentary from Mangold, about the editing choices he made. The film's climatic shootout and its corresponding storyboards are detailed for viewers. Pretty cool. Rounding out the bonus material is a featurette called "The Making of an Urban Western" All I'll say is the commentary is better.

The special edition of Cop Land is recommended. And it's worth a re-purchase if you already own the movie only disc. ****1/2 stars.

A memorable movie with an even more memorable cast !
The movie Cop Land combines long lost talent in its leading star, Sylvester Stallone; top notch performances from its supporting cast, Ray Liotta, Robert Deniro, Harvey Keitel, and Annabella Sciorra; wonderful cinematography by Eric Edwards; and brilliant direction of James Mangold who later went on to direct such hits as Kate And Leopold, Identity, and Girl Interrupted.

Cop Land is a fictional tale of crime and corruption in a city run and occupied by New York's unfinest cops. Stallone pulls it off excellently as the city's overweight sherrif, Freddie Heflin, who couldn't get into to the force on account of his deaf ear. When the police force covers up a cop shooting that leaves two innocent men dead and stages a hero story, its up to Sherrif Heflin to reveal the truth and bring order to the city known to everybody as Cop Land.

The movie features an outstanding performance by Robert Deniro as an FBI agent trying to uncover the deceptions and opens Heflin's eyes to the corruption around him.

A memorable film with an even more memorable ensemble cast.

Underrated
Great little movie. Amazing cast, great performances. Nicely underplayed. Will be curiuos to see the directors cut with 11 extra minutes added.

A solid cop thriller in the tradition of Sidney Lumet
Cop Land is a homage to police corruption films like Sidney Lumet's Serpico and Prince of the City. In many respects, Cop Land is also a modern western, complete with a High Noon-style showdown. Miramax previously released this film on a movie-only DVD. This new version is a huge improvement but is it worth the upgrade?

Definitely.

"Cop Land: The Making of an Urban Western" is an excellent retrospective featurette. Stallone to be interested in the role but the actor wanted to something different, to go back to his starving actor roots. After him, came De Niro and then everyone else followed.

Next, there is a "Storyboard Comparison" that allows one to watch part of the film's climatic shoot-out simultaneously with the storyboards for it.

There are two deleted scenes with optional commentary.

Rounding out the extras is a solid audio commentary with director James Mangold, producer Cathy Konrad and actors Sylvester Stallone and Robert Patrick. Not surprisingly, Mangold and Stallone dominate this track. Stallone comes across as a very humble and gracious guy. Mangold keeps everyone talking, acting as an informal moderator and asking everyone questions. This is a really good track and definitely worth a listen if you're a fan of this movie.

Cop Land features a killer cast and allows them to flex their acting chops with a top-notch screenplay. This DVD is a definite improvement over the previous bare bones edition and is worth the upgrade. Miramax has finally done this film justice with an excellent special edition.

SLY IS THE BEST!!!!
I AM A HUGE SLY FAN EVER SINCE I WAS A KID, ANY FILM SLY MAKES I MUST SEE WEATHER IT BE SPY KIDS 3 OR THE NEW MOVIE "SHADE" I HAVE TO SEE IT IF SLY IS IN IT. COPLAND IS A WONDERFUL MOVIE AND WHAT IT DID WAS INTREST ME TO BE A DEPUTY SHERIFF MAYBE IN THE FUTURE. SLY ONCE AGAIN DOES A GREAT JOB AS THE DOWN TO EARTH SHERIFF WHO JUST WANTS A LITTLE MORE CREDIT FOR HIS JOB. APART FROM THE GREAT SLY WE HAVE THE GREAT HARVEY KEITEL, RAY LIOTTA AND OF COURSE ONE OF MY TOP 5 FAV ACTORS ALONE WITH SLY WHO IS NUMBER 3 ROBERT DI NERO. THIS IS A GREAT FILM FOR COP LOVERS I THINK ITS ONE OF THE BEST AND REALISTIC FILMS ABOUT BEING A SO CALLED "COP" AND BEING A "SHERIFF". I WOULD RATHER BE A SHERIFF AND WEATHER MOE TILDEN LIKES IT OR NOT FREDDY HEFLIN IS A COP. ... Read more

Reviews (247)

An uneasy mixture of various film styles and genres.
While Meg Ryan has contributed some worthy movies to the "chick flick" genre, KATE AND LEOPOLD falls woefully short of "good movie" status. While not a complete nadir, KATE AND LEOPOLD serves up yet another formulaic movie that offers no real surprises and makes us wonder why Ryan plays a role in a film as uninspiring as this. Not that the acting is bad, because it's not. The real problem is the story itself.

Stuart (Live Scheiber), an inventor and Kate's ex, discovers a time wormhole and travels back to 1876 New York. Leopold (X Men's Hugh Jackman), who invented elevators, chases him from his uncle's house, where he is to announce his bride to be, back through the wormhole into modern day New York. Leopold was to marry into money since his family has run short of funds. The rest of the movie shows Leopold adjusting to the modern world and wooing Kate (Ryan) off her feet. The first half plays like a natural "fish out of water" story. Stuart conviently has an elevator accident, getting him out of the majority of the movie. Also making an appearance, Charlie (Breckin Meyer), Kate's brother, spends a lot of time with Leopold, thinking him another actor. Beware: spoiler ahead. If you know anything about films, it's obvious how this is going to end, so it's not really a spoiler. Kate and Leopold go back to 1876 New York to live happily ever after.

The biggest problems I had with this movie was the uneasy mixture of science fiction and romance. The exact same story could have been told without involving time-travel. An excellent film in its own right, Splash took the "fish out of water" story and succeeded quite admirably. Here, the science fiction is little more than a gimmick to dress up a rather formulaic story. The most depressing thing of all, however, is Ryan has proven you can quite successfully have a "chick flick" while having an excellent supernatural slant (City of Angels).

KATE AND LEOPOLD gives us a rather unrealistic love story. KATE AND LEOPOLD is just an elegant man sweeping a boring woman off her feet. Why Leopold would want Kate, other than she has Meg Ryan's looks, is beyond me. Another problem with the story, however, is Stuart the inventor. He is by far the most interesting character, and I kept wishing to see more of him. Leiv does a wonderful job with the role, and the most interesting sections are the all-too brief scene of him in 1876 New York and again in the psychiatric ward. The best and most captivating scene deals with Leiv explaining to a nurse that he is not crazy. I won't ruin it for you if you do decide to see the film, but his explanation is absolutely wonderful, and is easily the highlight of the film.

However, he is taken out most of the movie because of an elevator accident, which makes no sense. The logic of the movie is since Leopold did not invent the elevator, then all the shafts would be empty. Well, if there were no elevators to begin with, why would there be shafts? This is just sloppy writing. The next time the writers want to do a cross-genre film, I hope they do a much better job than this film.

I give it a low three maybe a high two for a squandered opportunity of making another good cross-genre film like CITY OF ANGELS and involving an unrealistic love story.

I Couldn't be more pleased...
With the string of mostly clean, viewer friendly movies I've been seeing lately! Movies I LOVE, without ANY scenes that I'm embarrassed to watch with my parents. Kate and Leopold is another old-fashioned, clean-cut new classic, joining the other new, family friendly films such as The Majestic, Lord of the Rings, Star Wars Episode 2, and Spider-Man!
Kate and Leopold is the story of two lonely people from different times. Leopold (Hugh Jackman) is a young duke from the 19th century, who's family has moved to America and squandered away their fortune. As a result, Leopold is now being forced to choose a wife. The problem is, Leopold is not in love. Kate (Meg Ryan) on the other hand, is a New York City girl who has recently and bitterly broken up with her longtime boyfriend, Stuart, an inventor who has discovered a portal through time. Stuart leaps through his new discovery and unintentionally brings Leopold, his great, great, great (I forget how great exactly) grandfather, back with him to modern day New York City. From here we get a charming fish out of water love story reminiscent of Splash, but maybe a little less bizarre. Just a little. While Stuart is in the hospital recovering from an elevator accident, Leopold charms his way into various people's hearts, and becomes a bit of a role model for Kate's younger brother, Charlie. Eventually, Leopold even manages to charm his way into Kate's battered heart, and, being Meg Ryan, she manages to charm him right back. But while this odd romance is blossoming, Stuart is telling his time portal story to the hospital doctors and nurses, who take it all in with more than a grain of salt. He soon finds himself in a psychiatric ward, desperate to break out and find his way back to his ancestor and the time portal. He fears that if he doesn't send Leopold back to his own time soon, he, himself, will cease to exist!
Kate and Leopold reminds us that a film can be funny, heartwarming, sweet and charming, without a lot of foul language, gratuitous footage, and innuendo. This is simply a charming love story, with endearing characters and a touch of fantasy. There's nothing more to say about it, except that you should pick up a copy today!

I wish I could give a zero
Since this was a Meg Ryan movie I was ready to be bored out of my mind and I wasn't disappointed. Meg plays cute and perky Kate, a street smart New York executive. She has everything going for her except one thing-she has lousy luck in men. This is where it gets interesting and I use that term loosely. Her ex-boyfriend who happens to be living right above her discovers a hole in time that will allow him to go back to nineteenth century and he does just that. Complications arise, however, and a Duke of Albany, from 1876, who is incidentally young, handsome and unmarried, accidentally follows him back through time to present time New York. If that sounds stupid, you've heard nothing yet. He gets in all these incidents because obviously he never seen any of the modern technology which I assume filmmakers wanted to be funny but it wasn't. It was boring as hell. I bet you can guess what happens next. Duke meets Kate, they fall in love because he has nice manners, he goes back in time because balance must be preserved, of course Kate follows him into nineteenth century, they get married and live happily ever after. Oh, I forgot to mention number of boring discussions they have about love and all that. Can someone shoot me, please!.

Science and Romance
Okay, I am not into romances, but my wife is. I put off seeing this because of the dopeyness that I expected. It was better than that, though. Enough science, intrigue and romance to be a good mix. Definitely a good date mix, but even good for a wider audience.

Hugh Jackman really shines in the part...
This was the second movie that Hugh made after he won notice for playing Wolverine in X-MEN, here he puts his stage training to the test and it plays well in this fairly honest and well made movie in which Hugh and Meg Ryan play two people out of time who fall in love and then decite to get married even though the romance is seperated by 150 years. There is a small element of science fiction where time travel is concerened as with STAR TREK IV; THE VOYAGE HOME, it is acknowledged, but taken only a few scenes to explain away and then they go back to doing an honest/romance comedy, which this is. ... Read more

Amazon.com

Not merely a description of corpulent character Pruitt Taylor Vince, the title refers to the leaden atmosphere hanging over a roadside café and its inhabitants. Writer-director James Mangold finds significance in the details of life, giving this touching story an authenticity that keeps us involved. Liv Tyler brings poignancy to the story as a college dropout who helps awaken the introverted and depressed Vince. Unfortunately, this fascinating character study is too often undermined by direction slow enough to be leaden. Happily, even the most stolid camera work cannot undermine the desires and insecurities of the main character, a man yearning for a full life but too afraid too take a chance. --Rochelle O'Gorman ... Read more

Reviews (24)

Something New
Something new under the sun: there's no formula to this picture. Each action and emotion logically follows the one before, instead of being contrived to fit into some form. This isn't hero-wants-girl, hero-loses-weight, hero-gets-girl, or the opposite, where the hero displays the fatal flaw which will hold him back all his life.

If you are used to the Hollywood formula, you won't know what's going to happen next, though by intuition, you will figure it out eventually, because these are real people; you know people like these-- unless you've lived in Levittown all your life, in which case you should see this film because you need the education.

Brilliant performances all around. I bought this video because I'm a Deborah Harry fan, and here she proves her natural acting skills once again. She is so good, it's difficult to remember that in her career, she has not been primarily an actress. Shelley Winters is great. Everyone is wonderful. The lead actor has very few lines, because he is a loner, but he is so good, he communicates without having to speak.

The film is slow-paced, but not plodding. I didn't notice time pass as I watched it. The beat is steady, and I was caught up in its rhythm. I couldn't stop watching, not to eat or let the dog out. This is a beautiful film.

one of the best indies
Heavy is a film about an overweight shy pizza chef (Pruitt Taylor Vince) working in a pizzeria run by his widowed mom (Shelly Winters). He also lives with her and seems to have neither friends nor the social skills to make any.

There is already one waitress there without much work (Deborah Harry) when his mom hires another (Liv Tyler). Through his crush on and friendship with her, he starts to see life as having possibilities -- maybe even go to culinary school like he once thought about doing.

While Liv Tyler is beautiful and does a fine job as a college drop-out waiting tables, the real star here is Vince, whom you can see being so shy and mute in real life. He doesn't even have much dialogue, instead he conveys his ennui and downtrodden psyche with his body. He later does the same when he starts to experience hope.

Heavy for sure...
The title doesn't merely point to the size of the central character, but also to the entire atmosphere of the film. I had to watch this movie a few times to fully appreciate its subtleness, yet I was intrigued even upon my first viewing.
While the central plot revolves around the "heavy" character, the story seems to more so be about Liv Tyler's character and her coming of age in a none-too-friendly environment. While her character does at times seem a bit too contrived and archetypical, you do find yourself nonetheless interested in her fate. In the same vein, you want to know the history of the Debbie Harry character. I was apalled and intrigued at the same time by her performance as a ... waitress. Excellant casting there.
i really appreciate the fact that the film makers never tried to make you feel TOO sorry for the title character. he is gross and close to being a stalker... yet you "get" him and his motivation. you almost root for him, until... I don't want to give too much away, but by the end you are truly asking, "what the...?!". I can't know why this character would behave as he did, but I am guessing that is the point of the film. Or at least I'd like to think so.
Watch the movie... maybe a couple times. It is worth the time and quite possibly a spirited conversation with your fellow viewers afterwards.

subtle and heartbreaking
amazingly beautiful and well-directed. Director James Mangold lost his sense in his recent films but he does great in this movie. Not to mention, acting is all great.

HEAVY AND HOLD THE MAYO
Heavy is a though provoking masterpiece. The movie does have some long drawn out scenes, but the under laying message of love and acceptance shines clearly through in the end. Deborah Harry of Blondie fame, is a stellar standout, as Delores the waitress. Liv Tyler and Shelley Winters are brilliant. Heavy although not a massive blockbuster, was a top AMERICAN rental for many weeks when it was first released, word of mouth keep it in the rental top 40 for 5 months. Which goes to show you some of the best movies never get their life line. This movie is a must for your DVD collection, even if your just a fan of the Star Material. ... Read more

Reviews (48)

One Good Cop
When I bought my first DVD player a number of years ago, Cop Land was one of the films that, I thought about buying right off the bat. I was disappointed though, to discover there were no bonus features on the disc, and I didn't get it. Back then, my rule was simple: no bonus material-no purchase. After a long wait, a special edition for the film, is finally here.

Freddy Heflin (Sylvester Stallone) is the sheriff of a place everyone calls "Cop Land"-a small and seemingly peaceful town populated by the big-city police officers he's always admired. Yet something ugly is taking place below the surface. The sheriff is shocked when he uncovers a large and deadly conspiracy among these local residents. He doesn't know who to trust. Gary Figgis (Ray Liotta) and Ray Donlan (Harvey Keitel) try to persuade Heflin that he is wrong. Soon though, he is forced to take action and make the difficult choice between protecting his own and enforcing the law, as Lt. Tilden (Robert De Niro), an Internal Affairs officer, arrives to begin an investigation of his own.

Writer/director James Mangold assembled a top notch cast that can't be beat. Stallone rises to the challenge and gives his best performance since the original Rocky flick--no really, it's that good. The drama and situations are very real. No over the top, super hero heroics are to be had. It's gritty reality is heightened for me even more, due to Mangold's use of many familiar North Jersey locales, as the story's backdrop.

The DVD showcases a 116-minute "Director's Cut" of film. In this cut, 11 minutes of footage is reinserted, not part of the original theatrical version. For the most part, these scenes are rich in character bits and advance the plot only slightly. Still, the 11 minutes are worthwhile. The audio commentary track from Mangold, producer Cathy Konrad, cast members Stallone and Robert Patrick is a solid one, filled with great insight on how the film came together. Aside from the 11 minutes of inserted scenes, there are a few additional deleted scenes complete with opitional commentary from Mangold, about the editing choices he made. The film's climatic shootout and its corresponding storyboards are detailed for viewers. Pretty cool. Rounding out the bonus material is a featurette called "The Making of an Urban Western" All I'll say is the commentary is better.

The special edition of Cop Land is recommended. And it's worth a re-purchase if you already own the movie only disc. ****1/2 stars.

A memorable movie with an even more memorable cast !
The movie Cop Land combines long lost talent in its leading star, Sylvester Stallone; top notch performances from its supporting cast, Ray Liotta, Robert Deniro, Harvey Keitel, and Annabella Sciorra; wonderful cinematography by Eric Edwards; and brilliant direction of James Mangold who later went on to direct such hits as Kate And Leopold, Identity, and Girl Interrupted.

Cop Land is a fictional tale of crime and corruption in a city run and occupied by New York's unfinest cops. Stallone pulls it off excellently as the city's overweight sherrif, Freddie Heflin, who couldn't get into to the force on account of his deaf ear. When the police force covers up a cop shooting that leaves two innocent men dead and stages a hero story, its up to Sherrif Heflin to reveal the truth and bring order to the city known to everybody as Cop Land.

The movie features an outstanding performance by Robert Deniro as an FBI agent trying to uncover the deceptions and opens Heflin's eyes to the corruption around him.

A memorable film with an even more memorable ensemble cast.

Underrated
Great little movie. Amazing cast, great performances. Nicely underplayed. Will be curiuos to see the directors cut with 11 extra minutes added.

A solid cop thriller in the tradition of Sidney Lumet
Cop Land is a homage to police corruption films like Sidney Lumet's Serpico and Prince of the City. In many respects, Cop Land is also a modern western, complete with a High Noon-style showdown. Miramax previously released this film on a movie-only DVD. This new version is a huge improvement but is it worth the upgrade?

Definitely.

"Cop Land: The Making of an Urban Western" is an excellent retrospective featurette. Stallone to be interested in the role but the actor wanted to something different, to go back to his starving actor roots. After him, came De Niro and then everyone else followed.

Next, there is a "Storyboard Comparison" that allows one to watch part of the film's climatic shoot-out simultaneously with the storyboards for it.

There are two deleted scenes with optional commentary.

Rounding out the extras is a solid audio commentary with director James Mangold, producer Cathy Konrad and actors Sylvester Stallone and Robert Patrick. Not surprisingly, Mangold and Stallone dominate this track. Stallone comes across as a very humble and gracious guy. Mangold keeps everyone talking, acting as an informal moderator and asking everyone questions. This is a really good track and definitely worth a listen if you're a fan of this movie.

Cop Land features a killer cast and allows them to flex their acting chops with a top-notch screenplay. This DVD is a definite improvement over the previous bare bones edition and is worth the upgrade. Miramax has finally done this film justice with an excellent special edition.

SLY IS THE BEST!!!!
I AM A HUGE SLY FAN EVER SINCE I WAS A KID, ANY FILM SLY MAKES I MUST SEE WEATHER IT BE SPY KIDS 3 OR THE NEW MOVIE "SHADE" I HAVE TO SEE IT IF SLY IS IN IT. COPLAND IS A WONDERFUL MOVIE AND WHAT IT DID WAS INTREST ME TO BE A DEPUTY SHERIFF MAYBE IN THE FUTURE. SLY ONCE AGAIN DOES A GREAT JOB AS THE DOWN TO EARTH SHERIFF WHO JUST WANTS A LITTLE MORE CREDIT FOR HIS JOB. APART FROM THE GREAT SLY WE HAVE THE GREAT HARVEY KEITEL, RAY LIOTTA AND OF COURSE ONE OF MY TOP 5 FAV ACTORS ALONE WITH SLY WHO IS NUMBER 3 ROBERT DI NERO. THIS IS A GREAT FILM FOR COP LOVERS I THINK ITS ONE OF THE BEST AND REALISTIC FILMS ABOUT BEING A SO CALLED "COP" AND BEING A "SHERIFF". I WOULD RATHER BE A SHERIFF AND WEATHER MOE TILDEN LIKES IT OR NOT FREDDY HEFLIN IS A COP. ... Read more

Reviews (1)

Should Be Good
Haven't seen it yet (Of Course) but can't wait too! Johnny Cash was an American Icon weither or not you liked Country Music or not. I'm glad this movie was made just so more people can undersntad just how amazing this guy really was. Johnny Cash was no fluke. ... Read more

Reviews (275)

One of the most intelligent slasher films in years!!
I finally got the chance to check out "Identity" at the theater, and I just have to say that this is a film that will not only leave you on the edge of your seat, but it's also just as frightening as other thrillers like "The Ring" and "The Sixth Sense"! With intense direction by James Mangold ("Cop Land", "Kate & Leopold", "Girl, Interrupted"), "Identity" has a brilliant all-star cast led by John Cusack ("Grosse Pointe Blank", "Con Air"), one of the most versatile and distinguished actors ever seen on film, in one of his finest performances yet!

"Identity" takes place on a dark and stormy night. By mysterious circumstances, 11 strangers are thrown together at a decaying hotel, trapped between flooded roads and hindered by downed phone lines. Included are: Ed (Cusack), an ex-cop turned bodyguard/chauffeur for an aging movie starlet named Caroline Suzanne (Rebecca DeMornay), Ginny (Clea DuVall) and Lou (William Lee Scott), a quarreling young newlywed couple, a convicted killer (Jake Busey) on his way to prison and his police escort named Rhodes (Ray Liotta), Paris (Amanda Peet), the prostitute with a heart of gold, and a young boy (Bret Loehr) with his mother (Leila Kenzle) and stepfather (John C. McGinley). Oh, and the buggish hotel clerk named Larry (John Hawkes). Everyone has a secret and a problem that complicates their otherwise nighmarish stay at this generically dismal hotel. The young mother, while fixing a flat tire, gets hit by the movie star's limo, with no hospital in sight and no way to call for help. The convict is being transported to a higher-security prison and must spend the night handcuffed to a toilet. But, as with almost all assemblies of wildly disparate individuals, people start dying horribly. Meanwhile, in another part of the state, a judge awaits the arrival of a mentally ill death-row convict who is contesting his death sentence. The storm outside provides the backdrop fro some scary stories and is the odd connection between the killer in the judge's office and the unknown murderer stalking the hotel where the guests check in...but don't check out!

Director James Mangold, once again, has assembled a fine cast. John Cusack emerges from the pack as the central figure in the fight to stay alive. At 37 years old, Cusack is finally maturing vocally and physically into more of a grown-up. And that's one of the things that I like about Cusack and his films. Ray Liotta, however, carries with him the predestination of scariness. In other words, you would love to hate his character in the film. If he's not in a simpy comedy ("Operation Dumbo Drop", "Corrina Corrina"), chances are he's going to scare the living daylights out of you. There's a twist here, and he's not the villain one would expect from a Liotta-laden film, but it's not very long before he peers those "Clockwork Orange"-y eyes into the sight of an impending kill. Rebecca DeMornay amuses briefly as the washed-up starlet. Upon checking in, the hotel clerk observes, "Hey, didn't you use to be that actress?" The same could be said of DeMornay, who spent the late '80s and early '90s getting A-list work in titles like "Risky Business", "Feds", "The Hand That Rocks the Cradle", "Guilty As Sin", and "Backdraft", but disappeared from prominence and into TV and straight-to-video film. Very sad, but nice to see her back in a major release. In addition to the other supporting players are Alfred Molina (upcoming "The Amazing Spider-Man") and Pruitt Taylor Vince ("Trapped"), in which they gave great performances as well.

The plot is not unlike Agatha Christie's 'Ten Little Indians' (political correctness has swept the play version of this story into a new name that hints at its story: 'And Then There Were None') where characters drop off one by one until the murderer is revealed. This is the same device used in just about every horror movie, though more obviously adhered to here than most: The killer's trademark is to leave the victim's hotel key under (or in or around) the body. It's a countdown--10, 9, 8, 7... And like "The Sixth Sense", "Identity" lulls you into thinking how exactly everything works and then turns you upside down until you are fooled again into thinking that you've figured it all out.

In conclusion, "Identity" is refreshing in that sense. It's a slasher movie, yes; but an intelligent one and one that both frightens and provokes. Not in a "Sixth Sense" way, as there are no heartstrings to pull, but just on the right level that will make you think (though not too hard) and scare you witless without giving you nightmares. It may, however, give you pause when considering where to stay for the night when you have a flat tire in the middle of nowhere, standed in front of a Bates-y motel. Call Triple-A. "Identity" is, without a doubt, a great DVD addition when released!

Identity (2003)
Director: James Mangold
Cast: John Cusack, Ray Liotta, Amanda Peet, John Hawkes, Alfred Molina, Clea Duvall.
Running Time: 90 minutes.
Rated R for violence, gore, and language.

One of the most bizarre thrillers to ever hit the screen, "Identity" attempts to pull off a "Sixth Sense" style finale, but fails miserably with a disjointed, confusing story that is well-made and well-acted, but ultimately fails to follow logic. It is a film that jumps into action extremely quick, with a family fixing a flat tire in the middle of the pouring rain on a deserted highway. Ex-cop turned limousine driver John Cusack accidentally hits the mother of the family while she was attempting to help her husband with the fix-up, but they cannot drive to the hospital for medical attention due to the horrific weather. They find a place to stay and tend to the woman's wounds in a ratty, old Bates-like motel.

In all, ten strangers find themselves at the mysterious motel fighting for their lives against an unknown killer that is walking the premises. They are many twists and turns, points fingered at numerous killers, and so many strange occurrences in the last ten or 15 minutes of the film that is it hard to distinguish exactly what is the truth and what is not real. Cusack and Liotta give suitable performances in the lead roles, but certainly nothing spectacular-the rest of the cast is not given much of a personality, mainly used as cookie cutter characters that the audience does not give a flip about if they are slaughtered. "Identity" is a nice attempt at trying to bring some psychosis/schizophrenia terror to the suspense genre, but director Mangold seems more focused on making scary scenes with lightning and down-pouring rain that creating a film that is halfway understandable. Some of the DVD extras are slightly useful, although the extended version is basically the same motion picture. A thriller that had promise, but it does not succeed in establishing exactly what kind of movie it wants to be, loosing its own identity in the process.

Edge of your seat -- but don't give away the ending!
One of the best psychological thrillers made since Jacob's Ladder. This ensemble cast is perfectly blended to offer the right mix of fresh talent (Amanda Peet and Jake Busey) and seasoned veterans (Ray Liota, Alfred Molina and John Cusak) along with Rebecca DeMornay. You will be drawn in with the rhythmic poetry recited in the opening scenes and once the story begins at the desert Motel, you are absolutely riveted. There are key clues throughout to sort of clue you in to the shock at the end, but don't ruin it by talking to others about it! Watching the director's commentary is helpful on the DVD, explaining odd scenes and intricate story lines to the viewer. This movie is one you will want to watch more than once or twice. You get most of the plot only superficially the first time watching, and only on the the second and third go around will you say, "AH HA! Now this makes sense!" IDENTITY is also John Cusak's tour de force, a superb job here in a performance you will not soon forget. Top notch entertainment.

Perfectly Psychologically Thrilling
This film is one of the best in psychological thrillers. It keeps you guessing and re-guessing as the plot moves on and the dead bodies start disappearing. John Cusack is at his brooding best paired with Ray Liotta. This is a movie that could have easily been over-acted, but the cast carries the story line well. There's limited gore and guts but just the right amount of suspense to keep you glued to the the movie. Don't miss out on this one, you'll be glad you spent your time and money on it.

You think you know, but you have no idea.
This movie is hard to talk about because you don't want to give a second of it away. I've seen a lot of movies and I'd give this one a A+. Even if you have your doubts about buying it I would fully suggest you buy and be amazed at this masterpiece. ... Read more

Reviews (231)

So, what's your diag-nonsense?
The movie is based on the real life story of Susanna Kaysen (Winona Ryder), who was admitted to Claymoore, a mental institution, in the late 60's after drowning a bottle of aspirin with a bottle of vodka. She insists this wasn't a suicide attempt, but her parents and psychiatrist don't agree. While at Claymoore, Susanna meets the ohter inmates, Georgina (Clea Duvall), her roommate, who's a pathological liar, Polly (Elisabeth Moss), who everyone calls Torch and has been badly scarred by fire, Daisy (Britanny Murphy), who won't eat in front of anyone, Janet (Angela Bettis), who won't eat at all, and most importantly, Lisa (Angelina Jolie). Lisa is a sociopath. She constantly escapes Claymoore, only to return after having a crisis (or running out of money). She "runs" the place and is a major pain in the ass for Nurse Valerie (Whoopi Goldberg).

Soon after, Susanna starts to wonder if she's indeed crazy or if she's turning crazy by being there. The doctors at Claymoore, Melvin (Jeffrey Tambor) and Dr. Wick (Vanessa Grave) seem to think she's mentally ill, while her boyfriend Toby (Jared Leto) disagrees.

Susanna has to deal with the situation, trying not to spiral into insanity, but at the same time finding a substitute for a home amongst this group of rejects.

As for the acting, it is solid all across the board. Ryder does a convincing job as the lead character and all of the other actresses shine in their roles, especially Murphy, but this is Jolie's film. She steals almost every scene she's in, from the distressed crying on one of her downs, to frighteningly mad outbursts, to maniac lunacy. She earned a well deserve Oscar for her supporting role.

The director, James Mangold, has also helmed films like Cop Land (1997, with Sylvester Stallone, Robert DeNiro and Harvey Keitel), Kate & Leopold (2001, with Hugh Jackman and Meg Ryan) and Identity (2003, with John Cusack, Ray Liotta and Amanda Peet).

"I didn't try to kill myself...I had a headache"
"Girl, Interrupted" is the true story of Susanna Kaysen (Winona Ryder), a young woman who was diagnosed with borderline personality disorder during the 1960s. My favorite parts of the film were the transitions between scenes; the movie flowed beautifully. Susanna signs herself into Claymoore, a mental institution, after a failed attempt at suicide. At Claymoore, she meets a wide variety of different girls, each with different problems. There is Lisa the sociopath, played by Angelina Jolie and Daisy, a loner, played by "Clueless's" Brittany Murphy. Whoopi Goldberg rounds out the cast as Valerie, the head nurse on Susanna's floor. A bit reminiscent of "One Flew Over the Cuckoo's Nest," "Girl, Interrupted" is one of the finest films I have ever seen. Winona Ryder is brilliant, I have never seen her portray a character better.

One Flew over the Girl
Of course any movie made about people in a psychiatric ward will resemble the classic 'One Flew Over The Cuckoo's Nest'. This we also do not know for sure if the leading character is sane or not.

Winona Ryder is great in this movie, though a little too pretty. The best perfomance comes from Angelina Jolie, who is just amazing. The movie is sometimes a little sad, frightening, scary but also moving. The ending is a little sweet but not too sweet. A happy ending with a twist.

The music is great since it plays in 1968, although the theme of the sixties is a little underplayed. It is still a great movie though.

It gives you a new look on how normal some people are.
This is one of the most brilliant movies. The acting is superb, and the story grabs you. Angelina Jolie and Wynona Ryder do really good performances. The movies makes you think about how different people are and not to judge and be more aware of people's feelings. The movie is awesome. I highly reccomend it.

BORDERLINE PERSONALITY DISORDER
Girl Interrupted was on last tonight. You know when the shoplifter reads about BORDERLINE PERSONALITY DISORDER? What a revelation! That's me - well, except for the CASUAL SEX - but the DIRECTIONLESSNESS and the SELF-DESTRUCTIVE ACTS (I quit my job the other day).

All this time I thought I was an existentialist. I was wasting my evenings on Camus and Kierkegaard (my back is like a tightrope dancer's, twisted in my childhood, and therefore it is easy for me. One, two, three - I can walk upside in existence). What comfort: the condition is medical not metaphysical.

All I needs do is clear up my skin. Then I aim to complete those symptoms ... and I'd like to begin with Anjelina Jolie ... and even if she got all serious on me, that would be okay: I'd explain to her: the disorder was what was casual (- it was part of my directionlessness). Not you. My aim is true - I'm an existentialist. ... Read more