Reviews (27)

Over 20 Years Later, And I Still Love It!
When I first saw Fame, I loved it. Although I was in the age range of the characters back then, I never went to a performing arts school, but I always found it fascinating, and my short stint at a NYC school was extremely exciting. Just something about the setting.

I was always curious how I'd feel about the movie in 10 or 20 years. I can now say that I consider this one of my all time favorites. It still moves me like it did in 1980. Sure, there are a few things about it that are dated, but I love the characters, can absolutely relate to seeing Rocky Horror for the first time, and the mood is captured perfectly.

And to this day, the scenes with "Out Here On My Own", "Is It Okay...", and "I Sing The Body Electric" give me chills.

A wonderful coming-of-age Musical
On its release "Fame" resonated for me because I was 18, headed for NYC, and full of many of the same hopes and dreams as its characters had. I also saw it with a group of friends, all of us recent high school grads, and whether we were off to study medicine or law, music or architecture, the movie captured the essence of what its like to be on the way to new dreams. The score is brilliant through and through, and the performances nuanced, sweet and special. From the auditions at the outset of the movie to the final sweeping "Body Electric" the film is powerful for anyone who came of age in the 70s. We can all relate to seeing "Rocky Horror" for the first time, doing the "Time Warp" and being on the losing side of love. And, those of us with overbearing mothers could understand Doris's embarrassing moments with her own backstage mom. The film has guts, emotion, and passion to spare, and still stands as one of the last great musicals Hollywood produced. This one deserves a full re-release on DVD, and is far superior to later spin-offs like "Footloose" and "Flashdance." They all started here, with "Fame."

Fame
This is a very good musical movie. It has so much going on. You can almost feel what each characater is going through in the movie. I can watch it over and over. I never get tired of it.

Film at it's best.
Fame is by far my favourite movie. It has made me cry and laugh all at once. I can definetly identify with the characters. If I were you I would get my copy fast.

It needed Debbie Allen for more than two lines.
Full of energy and spirit, but in the end a bit corny and very melodramatic. I attended a school of the arts in Washington, DC, and at that time we were all thrilled to see a film which paid tribute to the special institution we had to endure for 8+ hours a day- though there was not one moment, in the four years I attended, that anyone danced in the streets and on top of the cars!! I actually preferred the television show, which did not take itself as seriously, and created much broader, fuller, characters than the 'types' presented in the film (the ambitious over-achiever, the militant hood, the ingenue, the comic, etc.) All in all, it was passable, but could've been better. And recheck the movie; Debbie Allen is only in a small opening scene judging the dance auditions. She has been quoted as saying that her role was originally much larger, but producers felt it too closely resembled the Coco role, so it was finally reduced to two lines in the film's first fifteen minutes. She did, however, star in the TV show, and got to dance and choreograph on-screen. ... Read more

Reviews (15)

A Good Watch!
I recommend this movie for its beautiful romantic story with historical backdrops (WWII, Japanese interns, etc), great chemistry between the 2 leads (Dennis Quaid and Tamlyn Tomita) and the lovely photography. Dennis Quaid looked so handsome and wholesome here (I don't understand - how could Meg?!)

Tamlyn Tomita shines here as well (she's also adorable in movies like "Karate Kid" and "The Joy Luck Club").

Romantic & Unforgetable
I really enjoyed this movie because it made me feel. It was romantic, tragic and educational. I don't know how accurate it is because I wasn't there and didn't live through it, but from what little I learned about it in high school it seemed accurate enough. It's not all about the camps we kept Japanese-Americans in. It's a love story. If you like love stories, you'll like this one.

Wish that there is a DVD on this movie!!!!
I'm sure that many people living in other parts of the world that couldn't play NTSC version would love to have a chance to see this great movie!

Come See the Paradise
Only the best movies deserve a five star rating. In my opinion this is a very good movie that most people will enjoy. Only wish that is were available on DVD.

A beautiful movie about America's tragic and shameful past!!
I cannot figure out for the life of me, why on earth, 20th Century Fox has not put this movie on DVD![.]??? Could it be, because it brings to light, a very shameful and repulsive event in America's tragic past? Or could it be because, Fox are anti-Asian? Hmmm....Hey, Fox, if you are listening, put this movie on DVD![.] Let America be reminded of how senseless we can be, how terrible we can be. Case in point, the two worthless G.I.s that were aquitted in Korea of running over two defenseless Korean girls when they were clearly guilty of negligence! But, hey, the US Army takes care of their own, don't they[.] Nice job you two, hopefully you will rot in hell... And we wonder why other countries hate us,...ha....get a clue![.] ... Read more

Reviews (77)

I missed McCourt's narrative
Oh, well. Maybe next time. Being one of the legions of fans of the book, I also came to the film with high expectations, and most were statisfied, at least as far as cinematography and acting go. Emily Watson was very good, and the three boys playing the various stages of Frank were wonderful. I question the film's attempt to positively portray some of the characters, for example the grandmother who, by McCourt's account, was a mean-spirited old woman who treated the children quite badly. However, in a tale so oppressive, I guess there must be some redeeming traits, at least in Hollywood.

What I missed most of all was McCourt's rambling, Joycean narrative and light tone which makes the book such a joy. His accepting, wistful, voice permeates every aspect of the written story and, more than any of his personal triumphs, it is this calm, all-forgiving voice, looking back from many years later, which is the shining ray of hope in the end. I sorely missed this, and found myself overcome by the appropriately squalid scenery.

Another problem I have with the film is the uninspired score by John Williams. Is this man even going to try anymore? Some of Hollywood's younger composers surely could have provided a more interesting and evocative accompaniment. Williams' dull ideas, repeated ad nauseam, had no more place in this film than his quasi-klezmer tunes had in Schindler's List.

Overall, Angela's Ashes was a fine effort in film, made anemic by the absence of McCourt's narration. It was inevitable that a book so popular be snatched up by Hollywood, but I will not go out of my way to see it again. I'd rather let the written word carry me away...

WHAT ASHES? SHOULD PERHAPS HAVE BEEN LEFT AS A BOOK
I have not read the eponymous book, and after watching this despondent drivel I probably won't. One can just hope that the book did a more honest job of potraying Angela's memoirs.

The film is set in Limerick, which, from the looks of it, is in the middle of an incredibly wet rainforest. Two brothers grow up with a mother who struggles and begs to keep her family alive and together. The predictably antisocial father squanders every bit of money he ever earns on truckloads of alcohol.

We are shown slices of life in the coming-of-age up process, and how Frank finally gets the money to leave Ireland and come to America. The boys were no cherubs, but they survived without getting into too much trouble, and became literary lions in America. That's pretty much it.

The acting is good, especially by the boy who plays the teenage version of Frank McCourt. The cinematography stretches and scampers to be oh-so-noir, and is thus overwrought with dark pigmented colors almost all of the time. Background music is run of the mill, one that you would typically expect from movies of this nature.

What boggles me though is the touchy-feely title of the book/movie: Angela (the mother) does not die. Or did I miss something? Where are the ashes?

Does justice enough for me!
Overall, I think the film does justice to the book as justice as a film can do. Obviously, the film cannot convey the powerful emotion though to the viewer as well as the book does. The actors did a brilliant job, especially Emily Watson and teenage Frank McCourt, played by the attractive Michael leg. The film won my commpassion just as the book did. The sogginess of the settings perhaps slightly puts you off a visit to Ireland. Though it is also enriched with history, and the acrhitectual structures are simply amazing. The ending leaves you hanging, as when the film came to a conclusion I felt deeply unsatisfied. Someone tell Mr.Parker to get of his behind and make something of the sequel 'Tis!

Mediocre movie of a classic book! READ THE BOOK!
Emily Watson is one of my favorite screen actresses and here she does not disappoint. She gives a wonderfully undertated performance. Robert Carlyle is also very good as he usually is. The boys also give really nice performances.

The filmmakers do bring the wet locations to life - very much as they are imagined in the book.

The major thing missing is the "tone" of the book. The book is hilarious - you laugh at the innocence of the boys point of view. Share his triumphs and sad at the set backs. That is what does not work about this movie.

Also they left out a characted in the book (the little girl in the hospital) which was one of my favorite parts.

Skip the film - read the book.

Wonderful Book, Awful movie
I loved this book so much. I was so in depth to every page. I read the book for my junior class book chat. I am so happy that I picked that book to read. The movie on the other hand, left out so many details. I recommend not watching the movie after reading the book. It will dissappoint you. Go ahead and watch the movie if you never read the book it might be very good to you. I am not much of a book reader, but I love to watch movies but this movie was really not good. Sorry to Mr. Frank McCourt who wrote such a wonderful book that his movie had to be so bad. ... Read more

Amazon.com

This wrong-headed adaptation of the very funny (and scatological) novel by T. Coraghessan Boyle was written and directed by Alan Parker, who doesn't seem to have much of a clue. It's not a botch, just a movie that hammers its efforts at humor too hard. The focus is split between three story lines: the life of cereal tycoon John Kellogg (Anthony Hopkins with buck teeth), who has created a health spa for the wealthy that focuses on regular cleansing of the digestive tract (as well as applications of electricity); the troubles of an unhappy young couple (Matthew Broderick and Bridget Fonda), who come to the spa hoping to cure their marital ills (Broderick gets the worst of the deal); and the efforts of a young hustler (John Cusack), who is trying to break into the breakfast-cereal business but gets taken by an even bigger hustler (Michael Lerner). There are subplots about Kellogg's children but they add little. For all the doo-doo and enema jokes, the joys of this movie are distinctly scattered.--Marshall Fine ... Read more

Reviews (36)

Hilarious, but where's the big picture?
Quite simply, this movie is hysterically funny. Well written, evenly paced and contains one of the most catchy soundtracks ever recorded. Chances are, if you're looking at this page for the DVD, you've seen the movie. If not, you can read the other reviews for the particulars because I'm going to focus on the technical aspects of the DVD. Besides, this is my second-favorite movie of all time, so any attempt to review the plot would be extremely biased and I know this movie isn't everyone's cup of tea.

First of all, the movie itself looks beautiful. They did a great job on the digital transfer... the compression isn't all that noticeable and everything is crisp and clear. Audio is par for the course. Nothing too special here, but nothing lacking.

However, one question begs to be asked: why, in these days of "Enhanced for 16:9 televisions," is a DVD being released containing ONLY a full screen version? The fact that they have "Full Screen Presentation" bulleted as a special feature shows just how far Columbia/Tristar missed the boat. The lack of widescreen is the only reason I've deducted a star from my rating. As for the other special features, don't be fooled by the "Bonus Trailers," which are all for other movies.

Should you get the DVD? Certainly! If you love this movie, you'll enjoy watching it with a clean digital picture (especially if you've had the tape for years and it's getting worn out.) But if you've been waiting all these years for a widescreen version, you're going to have to keep waiting. This DVD can only be described as a visual and audio upgrade from the videotape, but not a definitive version of the film.

Uneven, not for everyone, but still pretty good
It's uneven because the movie can't quite figure out what it wants to be. It's a comedy, mostly--I burst into laughter several times. Yet, at times it's sad, and at other times it's almost horror, as when people start dying through electrical contraptions gone bad, and possibly through anorexia. It's also pretty scatalogical, what with all the enemas and obsessions with bowels (that's why it's not for everyone). It's a pretty good satire of John Kellogg, of Kellogg's Corn Flakes (who, by all accounts, was a thoroughly strange fellow), and it does a good job of sending up the kind of obsessive vegetarian anti-fur silliness that exists even today (there is an amusing scene when Kellogg shows the audience his "vegetarian wolf"). Anthony Hopkins, with buck teeth and glasses, is unrecognizable, as is Dana Carvey as his rotten-toothed adopted son. What the movie says clearly is that people who are this obsessive-compulsive over their health have sexual problems, and come from dysfunctional families. It's pretty funny, but certainly not for everyone.

Don't read the book first...
I made the unfortunate mistake of reading The Road to Wellville before watching the movie. I think it would be less forgiving if I had watched the movie first, then read the book, but the inconsistencies in the movie vs. the text are so blaring that I just lost all interest in the movie.

The screenwriter took many liberties with the text to make this movie a more "adult" film, and I found this really disheartening since this is not what T.C. Boyle intended it to be. I'm not against "adult" movies (i.e. nudity), but there a few things that occur in the movie that do not occur in the book at all.

The ending of the movie was to most "let's tie this up real quick-like" ending I've seen in awhile, and in fact, the ending (where all the main characters meet to watch the "san" burn down and then slowly walk away) didn't even happen like that.

I know, I know.... it's like comparing apples to bananas to pineapples, but I just want others to know that if you've read the book, don't bother with the movie. If you haven't read the book, then you'll probably get a bit of a kick out of the really quirky movie. Laura Flynn Boyle plays an excellent patient with "green sickness" (this was before she became unusually thin). There is a great cast of actors involved as well. Nice to see them play characters outside of what they normally do.

Blah. Not necessarily awful, just blah.
The Road to Wellville (Alan Parker, 1994)

I have thought for years that the novel upon which The Road to Wellville was based was written by the loathsome Garrison Keillor. Well, my copy showed up in the mail the other day, and I found out the novel was written by the far more easily-digested T. Coraghessan Boyle, so I decided I wouldn't exile the wife to the living room to watch this alone as I had planned.

What a horrible mistake.

The Road to Wellville chronicles, supposedly, the doings of a number of folks in the late nineteenth-century, all presided over by cornflake inventor John Harvey Kellogg (Anthony Hopkins). The story centers, if there can be said to be a center, around the Lightbodies, Eleanor (Bridget Fonda) and Will (Matthew Broderick), who come to Kellogg's sanitarium in order to recover from an unspecified disease of Will's (his wife confides in someone later what it is, and it's something of a major plot point). Also weaving through the tale is that of Charles Ossining (John Cusack), who gets involved with Kellogg's outcast adopted son George (Dana Carvey) and a crook named Bender (Michael Lerner, the "lost another loan to Ditech!" guy). And we haven't even begun to cover the principal actors yet, much less the cameos.

You may already be able to see where I'm going with this. If so, feel free to skip to the end of the review.

I've always considered Alan Parker an inconsistent director, but while mulling this travesty of a film over, I realized why. The movies he made early in his career that worked so very well (Midnight Express, Fame, The Wall, etc.) are movies where a lot of stuff is going on, and the viewer is being bombarded by stuff from every direction at all times. That's how the movies are written, and they succeed very well.

The movies he's made since then have had scripts that are more focused (or, in the case of The Road to Wellville, were in desperate need of more focus), but Parker is still using the same technique. And we're still getting bombarded when we require focus. Simply put, there's too much going on in any two hours of Alan Parker celluloid, and whether or not it works has to do with the material rather than the director or the actors. After all, Parker has a history of getting fantastic actors to work on his films (perhaps another thing; in every movie Parker made until Birdy, he was working with a cast of unknowns. Starting with Mississippi Burning, he started getting the A-list) and do things that could very well destroy their careers. I'm amazed that, after this mess, Hopkins, Broderick, Cusack, and a number of others survived with their careers intact.

Yes, this is a mess. Provides a few good one-liners here and there, but is basically the grown-up version of the unfunny teen sex comedy (and I can never say that without saying "American Pie and its sequels are not funny, and if you think they are, you're wrong"). Will probably be enjoyed by those who thought Scary Movie was a laff riot. Everyone else can safely stay away without feeling like they've missed anything. **

Does no one get this move?
Let me first say that the only reason this movies got made was because it seemed an interesting script to the Hollywood execs. Luckily enough it was shopped to enough big stars that it made at least a little splash in Hollywood. Part historical record, corrupted by the industrialism of America, and part comedy. Not one review I read captures the truth of this movie. I must admit I should read this book first, but having studied Eastern and Western medical practices for over a decade, I understand the premise behind the book, movie, and Dr. Kellog's, somewhat, misguided health practices themselves. The truth behind them is real, despite what your doctor wants you to belive, "become an slave to the pharmaceutical companies." I emplor all that read this to discover the power of "food combining" and a fitness related lifestyle. Your health and longevity depend upon it. Please read anything by Daniel Reid, and any author he recomends. I myself am working on writing a series of books that tackle this problem and many more. This movie is nothing more than Hollywood taking liberty with a, slightly, misguided idealist from almost a hundred years ago. He had the right idea, just a little early for what we really need in this day and age. ... Read more

Amazon.com

Writer-director Alan Parker's feature debut Bugsy Malone is a pastiche of American movies, a musical gangster comedy set in 1929, featuring prohibition, showgirls, and gang warfare, with references to everything from Some Like It Hot to The Godfather. Uniquely, though, all the parts are played by children, including an excellent if underused Jodie Foster as platinum-blonde singer Tallulah, Scott Baio in the title role and a nine-year-old Dexter Fletcher wielding a baseball bat.Cream-firing "spluge guns" sidestep any real violence and the movie climaxes cheerfully with the biggest custard pie fight this side of Casino Royale (1967).

Unfortunately for a musical, Paul Williams's score--part honky-tonk jazz homage, part 1970s Elton John-style pop--lets the side down with a lack of memorable tunes. Nevertheless, Parker's direction is spot on and the look of the film is superb, a fantasy movie-movie existing in the same parallel reality as The Cotton Club and Chicago. A rare British love letter to classic American cinema, Bugsy Malone remains a true original; in Parker's words "the work of a madman" and one of the strangest yet most stylish children's films ever made. --Gary S. Dalkin ... Read more

Reviews (78)

A classic discovered all over again! Bravo!
I first saw this film as a child at the matinees. For years I held on to random memories of what I had seen knowing for certain only the title of this picture, Bugsy Malone, and that the cast was all kids. One day two years ago, I found a copy in the store and had to buy it. Previously, I had never seen a copy anywhere and hadn't seen it since the original viewing. Watching it for the second time was an experience I can't even discribe. It brought back scenes I didn't know I remembered. This movie is one of my favorites. When I've worn the tape out, I will rebuy it. My hope is that it will be released on DVD soon.

Adorable Movie
Totally cute, all actors around the age of 12, scott baio is at his prime, it's easy to see why jodie foster becomes so big later in life, cute songs, extremly well done for a childrens musical but great entertainment for all-A must see for drama majors

DVD Version
One of the best movies I saw this year.
If you want it on DVD, you can order it from www.amazon.de as I did (but check shipping costs).

A really fun movie...
Just watched this again yesterday. What a great movie. My son, 11, watched it with me and wanted to watch it again today. It's cute, fun and, as much as I don't care for Paul Williams, the music is infectious.

My only problem is that it portrays the kids in very adult settings and costuming and roles. Fat Sam's is a speak-easy, and though they're running sarsparilla instead of whiskey it's still an adult setting. Jodie Foster's almost alluring when she sings "Tallulah", and considering she's about 12 when she did the song I'm a uncomfortable with that.

Overall I would recommend it. From the proper perspective it's innocent and memorable.

Great film
Why not on DVD? I first saw this film with my daughter in Amstedam, Holland. It packed the house! ... Read more

Reviews (168)

A great adaptation of the stage musical
Sir Andrew Lloyd Webber's and Tim Rice's musical telling of the life of Eva Peron successfully makes the leap from stage to screen. Alan Parker ably directs a fine cast, which includes Antonio Banderas as Ché, Jonathan Pryce as Juan Peron, and Madonna as Eva Peron. The acting and the voice work are very good, and Madonna surprises you with her talent.

The music is equally wonderful, keeping the rock opera feel of the original stage show. Also, the new song "You Must Love Me," written by Sir Andrew and Tim Rice, flows nicely with the original music and won a deserved Academy Award for Best Original Song.

Costumes, acting, sets, visuals and music all combine to create a great movie experience. A note of caution to some, though: this is sung through with very little spoken dialoque. I remember seeing this in the theater and listening to some people complain about it and walk out of the movie. Stick with it, and you will definitely enjoy it!!

Flawed, but still excellent, adaptation.
Watching the movie of Evita was my first real experience with the musical, and that puts it in a different light for me, I suppose, than with many others. The points I make, though, I still think are valid.

The casting of this movie was quite good...the stars of the show pulled off their roles magnificently. Antonio Banderas, in the lead as the narrator, Ché, sung surprisingly well. He also acted out the part superbly. While he's no Colm Wilkinson, there's an undeniable charm to his portrayal. Even with the abbreviated material he's given to work with, he pulls it off with style, which says something for a role with magnificent performances by Colm and by David Essex. He's not vocally better than either, but he plays the part to a T, and his songs seem HONEST. Also, he's a better Ché than Mandy Patinkin, but I suppose anybody who tried to actually play the part would be.

Madonna is the surprise of this movie. She sings quite well, and given the rock feel of the show, is fairly appropriate for the part of Eva Peron. She's also visually very similar to photographs of Eva, and looks very convincing after the scenes where she is supposed to be young. However...the point of the musical is that Eva Peron is a manipulative (rhymes with witch). Madonna scared me here by seeming VERY sympathetic to her character. Still, her performance is excellent, if not up to Antonio Banderas's. Jonathan Pryce put in an outstanding performance as Peron, too.

A caveat emptor: the musical was actually made less harsh for the movie version, so that it could be filmed in Argentina. It was very nearly worth it...not entirely, mind you, and the addition of "You Must Love Me" seemed entirely out of place in a musical about a man and a woman who mutually USE each other. Still, her "Don't Cry for Me Argentina" was manipulative to the audience just as the speech was meant to be to the crowd. And the two Ché tours de force, "Oh What a Circus" and "High Flying, Adored" are more or less in tact, and done wonderfully. The re-adaptation of "The Lady's Got Potential" was excellent, and "And the Money Kept Rolling In" was toned down a lot, but Banderas had a LOT of fun in the number.

The movie's worth seeing if you like Evita, or are thinking you might be getting into it. Don't watch for Madonna's big numbers, watch for her and Banderas performing, for once, like they really mean it.

Madonna did fine...admit it!
Don't Cry for me Argintina was the song that got me into musicals and so I have always loved Evita. In my opinion Madonna did quite an excellent job playing Eva. Most of you have a problem with her because she is Madonna. I am not a fan of what she does outside this movie, but I will defend her performance in this movie. She was not off-key at all and I have never heard Elaine Paige or anyone else sing "Don't Cry for me Argintina" with such emotion and clearness. She was Eva standing up singing that song. "You must Love Me" was another beautiful song that I have never heard been done better. When I heard Elaine Paige wailing these two songs on PBS I had to shut it off, she wasn't bad and she is a good singer, but when it comes to Evita no one can top Madonna. This movie was unfotunately hammered by critics and got a bad wrap.

Don't Cry For Us at the Ocars
Now first let me state that this one of my favorite movies. I have also researched into the life of Eva Peron. The movie is about 95% true. Madonna stars in movie as the title role of Evita. This movie is the story of Argentina's former first lady, Eva Peron. This film starts from the end and then goes from beginning to end. It shows how she went to Buenos Aires with a tango singer. It shows hows Eva took on lovers to get jobs, and even helped her husband, who is played by Jonathan Pryce, get the presidency for 2 terms. She and her husband did have 2 weddings, one was in a church and one was a civil ceremony. Eva also traveled while she was first lady. She got woman the right to vote. She also did start a foundation. She did help build houses, hopitals, and schools. When her husband went for his 2nd term as president, the people rallied for her to be vice-president. Eva Peron did had many Christain Dior, over 100 furs, and a jewelry collection comparable to Cleopatra's. Sadly, Evita died when she was just 33, of uterine cancer. This movie won some Acadmeny awards and a gloden globe, I believe

Wonderful to watch but unfulfilling
One of the interesting sidelights to this movie is the fact that Oliver Stone wrote part of the screenplay. While watching it I kept wondering what part? Stone, whose edgy, over the top indictments of oppression, corruption and especially military stupidity, wouldn't seem to be one to celebrate the elevation of Eva Peron to something close to sainthood, which is what this movie does. Maybe all his work ended up on the cutting room floor. Or maybe it was obscured by Andrew Lloyd Webber's music. Certainly we do not see the decamisados (Peron's version of his friend Mussolini's Blackshirts) torturing anyone, and although the "disappeared" are mentioned in passing, there is no retrospective that allows us to see just how widespread and horrific were the murders committed by the Peronists.

Anyway, Madonna, who certainly fits the part like a glove, stars as Evita, and she gives the performance of her life. Yet somehow it is unconvincing, or I should say, somehow the film doesn't really get to the essence of the woman who rose from poverty to the pinnacle of power in Argentina, a woman extravagantly loved by the common people of Argentina even while she was a party to the fascist oppression. I don't think this is Madonna's fault. Her voice is good, not great, of course, but her dramatic skills are very much in evidence, skills that have always been underrated, although I'm not sure why. If you watch her in this and in Desperately Seeking Susan (1985) you can see that she has a range easily exceeding that of most actresses. I think that ironically it is the very quality of common origin and common appeal that the Argentines so loved in Evita that the critics hold against Madonna.

Antonio Banderas plays Che, who narrates and attempts to objectify the events while symbolizing both Evita's alter-ego and the man who would really be her proper mate were it not for her rapacious political appetite. Che's character and his dramatic role (from the play by Tim Rice) is perhaps the most important artistic achievement of the musical after Webber's beautiful and inspiring music. Banderas is winning and enormously vivid in the part, and he sings well and expressively.

Jonathan Pryce plays Peron with more dignity and humanity than history might allow. His sensitivity as an actor combined with a modest demeanor seemed to me so unrealistic as to be almost a miscasting. Yet he is perhaps as compelling as anyone on the screen and he certainly looked the part. Interesting is Jimmy Nail as the cabaret singer Magaldi. He combines sleazy good looks with a kind of vulnerable persona that seems exactly right.

Well, what can be said about the music except that it is one of Webber's great triumphs and so very typical of his work. It is beautiful, stirring, moving, enchanting and memorable. Who can forget the haunting, plaintive refrain of "Don't Cry for Me, Argentina" or the gorgeous simplicity of "You Must Love Me"? While Madonna's voice would not fill up a concert hall or take her by itself to the Broadway stage, she does an outstanding job with Webber's songs. A natural performer (Madonna's key talent), her expressive interpretations range from the ordinary to the transfixing. I very much enjoyed her efforts and predict that critics in the future will be kinder to her than today's critics.

The ending seemed too drawn out and then when the screen faded to black and the credits began to run it seemed almost abrupt and without resolution. I also did not like the way that Madonna (38 at the time) seemed no younger in the earlier scenes with her hair dyed pitch black. I think director Alan Parker should have given us more of an illusion of youth, perhaps spared her some of the closeups and fuzzed out the lines under her eyes. Strange how the golden blonde hair and exquisitely applied makeup in the remainder of the film made her look younger. All directors should know what Madonna learned many years ago: blonde hair usually makes a woman look younger because those with naturally light-colored hair are their blondest as children. Like big eyes and relatively big heads, blonde hair is a signal of youth that arrests our eyes.

Despite the flaws this is an engrossing cinematic experience, and for Madonna fans, Banderas fans, and in particular fans of Andrew Lloyd Webber, it is a film not to be missed. ... Read more

Amazon.com

Albert Finney (George) and Diane Keaton (Faith) play well against each other in this rather bleak and (for director Alan Parker) subdued story about a middle-class California couple trying and failing to be "grown-up" about divorce. George is a successful writer who has found another woman.After he walks out, Faith takes up with the handsome working-class stud who is building their tennis court (played by Peter Weller).Her new relationship is just something to ease the pain; George's might be more, except that he is drawn back again and again to his own house, his own wife, and his three daughters--especially the eldest (Dana Hill), who angrily refuses to forgive his dereliction.Increasingly unbalanced, and finally violent, he tries to bully his way back into their lives while maintaining his new life. The movie is too slow, and the surprisingly clichéd emotional atmospherics (a lingering shot of Finney in a boat on alake, clutching his head in grief) sometimes make you feel you have stumbled into a bad made-for-TV event.But the story's the thing--that and the two fine leading performances. --Richard Farr ... Read more

Reviews (7)

Breaking up is hard to do
This is truly an insufferable movie to watch, as Finney and Keaton struggle desperately to salvage this abysmal movie. It never ceases to amaze me how Hollywood has such a difficult time portraying real-life relationships on the silver screen. Here we have the struggling writer who finally pens an award-winning novel. The only problem is that he no longer has any contact with reality. He is torn between an affair and his wife and four daughters. When called on his affair, he storms out of the house as though he were the one who had been wronged. But after his wife manages to put back the pieces and now seems to have a reasonably healthy relationship with a younger man, back comes the irate husband, not because he is unhappy in his new relationship but because he is damn mad his wife can be happy without him. Finny and Keaton fail to make this stormy relationship work. The scenes are implausible and by movie's end it is unbearable to watch, especially as the older daughter tries to make sense of her childish parents. She shouts a few explicitives for Hollywood sake. The F-word was quite popular at the time, but the outbursts ring hollow as does the whole movie.

It is what someone imagines a divorce being, not what it actually is. The settings are too idyllic for a struggling writer. Here they are living in a huge Victorian house in a romantic town in Northern California, yet the daughters sleep two to a bed. He has a writer's cabin by the surf, where he is able to break away from the din of bringing up family, and ultimately pursue his affair. When it all comes crashing down, it does so in the most incredulous ways with the quintessential home wrecking, good old fashion fights, and the damn typewriter which he carts out around like some talisman that will magically restore his relationship with his older daughter. This movie fails on all counts.

Honest, harrowing movie about divorce
What's remarkable about this movie is that it depicts domestic issues with the intensity of a war movie or courtroom drama, and yet it's never forced or fake.

The editorial review misses the mark; the "emotional atmoshperics" are pitch-perfect (for example, the shot of the boat that the reviewer mentions is a calm, almost meditative long-shot, whereas most movies would have ruined the moment by trying to over-dramatize it).

When I first saw this movie, what struck me was the way it shows domestic violence. In a bad movie (like "Enough"), only evil people are violent. What's truly gripping about "Shoot the Moon" is that we get inside George (Finney's character) so deeply that we understand exactly how his eruptions occur, and part of their shock is that we understand how they destroy his chances of reconciling with his family. His family can survive his inability to control his temper-- it's his own life that he's ruining.

I hope I haven't made this sound unrelentingly bleak; there are lots of lively, funny moments as well, and the performances are wonderful. But it shows a painful divorce with more honesty and emotion than any other Hollywood movie I can think of.

Powerful
One of the main reasons I rented and then bought this movie was because Diane Keaton was in it. Together, she and Albert Finney make this movie a truly devistating, powerful story of a couple who find that after fifteen years of marriage, it's over. Both performances were incredible, as was the performance of the oldest daughter, played by the late Dana Hill. She gave such a powerful performance, as a girl who didn't know whether to love or hate her father for leaving the family.

What made this a true gem was the relationship you see between Diane Keaton's character (Faith Dunlap) and her four children. You can automatically see how much she loves them and that she wants to protect them. At the same time, however, Albert Finney's character (George Dunlap) is taking the divorce in two separate directions: he's happy to not be living with his wife, but he misses her at the same time. You can immediately see that he loves the children as well and they love him.

The part that was very difficult to watch was when he (Finney) wanted to give Sherri (Dana Hill) her birthday present and she didn't want it. He got into the house anyway and locked Faith out and beat down his daughter's door and just let his rage out on her. It was so difficult to watch him to this, and the reaction of what he did, or realized what he did to his daughter brought tears to my eyes. Especially when Faith comforted her daughter and George saw that the two had a special relationship.

I would recommend this movie to people over the age of 18, since it is very powerful and has a lot of adult language and adult situations.

A Keaton Gem
The disintegration of a marriage is usually red-flag matter when it's treated as an entertainment piece. But "Shoot the Moon" is, for some unknown reason, an underrated and under-appreciated (when it was released) showcase for the dynamic Diane Keaton and Albert Finney. Their marriage goes bust in this one, and in the anguish of both characters we feel likewise. The emotional fallout of the breakup of any marriage, even if its end is mutually sought, is acutely conveyed here, and Keaton and Finney manage to make us care about their characters, even if one is someone we might not otherwise want to care about. The film was one in a handful that Keaton did in her post-"Annie Hall" days but which helped catapault her to greater heights as a serious and accomplished dramatic actress ("Reds" quickly followed "Shoot the Moon" for Keaton, which garnered her a second Best Actress nomination). Why this film didn't generate more buzz when it was first released is inexplicable, but it's a hidden gem. When it's done, we have to appreciate its honesty: there's no "happily ever after" that neatly ties this one up.

An Unending Relationship
This movie is about a man and woman who have lost intimacy and passion in their marriage. Infidelity leads one of them to leave after being found out. This in turn leads to a pending divorce and how many times a week they get to see their children. Sounds familiar but this movie has a certain flair to it. It has alot of creativity and underlying emotions that can be seen by exceptional acting. This movie shows how it might feel to go through a separation from someone you have known and loved for a long time. It isn't just an easy thing and this movie points that out. Each partner grieves and gets angry and bargains, just like when you are dealing with death. The cinematography is quite nice. The relationship the children have with their parents is original, and highly entertaining, especially how they interact with Keaton. The house they live in is so cozy and warm, I wish I lived in it. The ending really hits home and leaves you wondering if she will forgive him? I guess the viewer gets to answer the question. Not your typical run of the mill movie fare with a pat ending and everybody smiling when they walk out of the theater. It is not about happy times, this movie represents separation via divorce reality, the harsh reality!

Lisa Nary ... Read more

Amazon.com

An irresistible, comic drama from director Alan Parker (Evita, Mississippi Burning), overflowing and alive with passion, humor, and music, The Commitments showcases some old R&B standards in a new light. A headstrong, fast-talking, ambitious young Dubliner (Robert Arkins) fancies himself a promoter of talent, and sets about assembling and packaging a local Irish R&B band. His group of self-absorbed, backbiting, but stunningly talented individuals begin to succeed beyond his wildest dreams, until petty jealousies and recrimination threaten to scuttle the whole deal. A moody, vivid, and soulful exploration of the Dublin club scene as well as a showcase for some wonderful unknown actors, the film (and its wonderful soundtrack) also features the actual band covering classic soul tunes from the likes of Otis Redding and Sam and Dave. It's that combination of soul and soul music that makes The Commitments a special little film. --Robert Lane ... Read more

Reviews (74)

Roddy Doyle's modern Irish classic
Quite simply, this is one of my all-time favorite films. Based on the first book of Roddy Doyle's Dublin trilogy, The Commitments is more than a story of a bunch of Irish kids forming a soul band. From the harsh realities of poverty to the power of the Irish spirit, this movie is a portrait of life in working class Dublin, and is true to Doyle's book in every way. It is raw and irreverant, extremely funny but also poignant. One of the remarkable aspects of this film is the cast of virtual unknowns - all actually Irish, thank goodness. Andrew Strong, who plays the lead singer, was only about 16 when the movie was filmed, and he did his own vocals. In fact, the cast is extremely musically talented and appears on two very good soundtrack volumes. The one familiar face belongs to veteran actor Colm Meaney (Miles O'Brien on Star Trek TNG/DS9). Meaney also appears in the two other films from the trilogy, The Snapper and The Van. Rent them all and have an Irish film festival! If you want to be entertained with great soul music while being magically whisked away to Dublin, by all means buy this video so you can watch it over and over again.

A MOVIE WITH SOUL
First off, I usually don't like soul music, R&B, whatever you want to call it. I can like anything but bluegrass, country, and rap. But I must admit that, even if you don't normally like soul, this movie will make you a believer. I had to watch this film in my college film class. I must say that I was VERY impressed, and even more so after I heard the following from my film teacher concerning this film: 1-The lead singer(the chubby one, can't miss 'em) was only 16! but he sang GREAT! Like a pro, even. 2-This movie is full of first-time actors, and that is because it was open-audition for all or nearly all parts. With that in mind, someone did a great job in casting this movie. This is one of those movies that keeps your eyes riveted to the screen. There's some comical moments, as well as some normal moments as well. At times you feel like you're watching a live music video. A very well done film, that reminds me in some respects of the Blues Brothers, which I also like. Apart from the language, there isn't much to the R rating. Overall an outstanding film about a bunch of Dubliners singing music that is normally associated with African-Americans. Buy it today and enjoy!

The Soul of the City
Alan Parker once again put together a previously unknown cast and has produced a fantastic movie with some stellar individual performances.

"The Commitments" is the story of the struggle to escape unemployment and poverty, set in Dublin but equally relevant in any major city this movie chronicles the efforts of a new band to achieve fame and glory. The band choose soul music as their vehicle out of the ghetto at a time when James Brown is just a memory adding spice to an already engaging tale. After a faltering start the band start to pull it together only for their lack of discipline and focus to abort their chances at the very moment when real opportunity is at their door.

The music is the star of the show with fantastic numbers such as "At the Midnight Hour", "Mustang Sally" and "Try a Little Tenderness" littered through the movie. The musical performances of Mary Doyle Kennedy (Natalie)and Andrew Strong (Deco)and the acting of Robert Arkins (Jimmy) are really superb.

This movie is enhanced by this new format on widescreen DVD, but what makes it work is the screenplay, great acting and wonderfull music regardless of format.

Say it Once, Say it Loud!
"The Commitments" is a raucous and joyful celebration of music. It's a gloriously simple and lovable tale, told with passion, profanity, and a deep understanding of how music can infect even the most despairing life with joy. About time the movie got its proper release on DVD.

If you've never seen "The Commitments" because you cringe at the notion of white Dubliners singing American soul tunes, well, I hear ya. I fully expected watered-down music along the lines of Michael Bolton butchering Percy Sledge. However, I was wrong - the music, in the context of the movie, is pure and genuine, and performed by young actors who understand that you don't have to pretend to be anything you're not to get soul. Besides, Jimmy Rabbitte, the mastermind behind the band, gives them all a thoroughly convincing speech that assures the lads and lasses from Dublin that they, too, are qualified to sing soul.

The movie - well, it's wonderful. Hilarious, free, sometimes moving, life-affirming. I almost wish the movie let the characters develop a little more before the inevitable and mythical ending, but then Joey the Lips gently reminds me (and Rabbitte), "this way, it's poetry." He's right - this is the proper ending for these guys, and the movie.

The DVD offers some great extras, including a revealing making-of doc, where we learn that director Parker combed the nightclubs of Dublin nightly, looking for fresh talent. I also love the 10-years-later feature, where we get to revisit our old friends again. These are suitable extras for a movie that just plain makes you feel glad to be alive - how much more can you ask of a movie than that?

Howzit? Deadly!
I was excited to find out they were releasing this movie again with some more behind the scenes interviews. I was surprised to see that the cast they did recently interview, looked relatively unchanged. It was like seeing a long lost friend. I remember seeing this movie the first time in the theatres being shocked at their monumental use of the f-word. This time, it just seemed to be natural. Maybe it's because I'm in my thirties now and it takes a lot to shock me or maybe it's because I've had a chance to read the short story the movie is based on. Roddy Doyle's adaptation of his story of a Dublin soul band was, for the most part, straight out from the page. There were a few parts that could have made it into the film, and a few parts in the movie that didn't need to be there, but on the whole I LOVED IT AGAIN! Seeing these actors come together as a real band was fun. I hope they re-release the last of the Barrytown Trilogy, The Van to DVD soon also. ... Read more

Amazon.com

Based on William Wharton's transcendent novel of the same name, this film is about many things: friendship, war, and, of course, birds. The framing device is an effort by a horribly scarred combat soldier (Nicolas Cage) to break through to his best friend, Birdy (Matthew Modine), hospitalized after seemingly being driven mad by fighting in the Vietnam War. Cage then flashes back to their boyhood, where Birdy, a canary aficionado, was considered the school weirdo but managed to be a solid companion nonetheless. Directed by Alan Parker, it works best as a coming-of-age story, but misses the bizarre psychological transferences of the book, in which Birdy imagines himself within the world of canaries he creates in his bedroom at his parents' house. Modine is fine as an out-of-it misfit enraptured by his own little universe. --Marshall Fine ... Read more

Reviews (24)

Birdy.
Character-driven film which explores the friendship between two young men, one of them relatively normal (Cage) but physically scarred by 'Nam (could have been any war)...and the other (Modine,_Full Metal Jacket_) who more and more sees the world through the beady eyes of birds, with as consequence gradual alienation from his 'fellow men and women'.

There are not many reviews here belonging to Birdy, but it was a hit at Cannes (a while ago) and is generally considered a staple of 'good-film-making'. Anyway, people who come here hoping to learn more about it are likely to be real admirers of fine cinematic art, in my opinion. Possible complaints (NOT mine) would be that Birdy is slow and goes nowhere at all and has a weak ending. To those people, go watch something in which dozens of cars explode for no apparent reason.

Anyway, after the horrors of war (this is not Platoon, however, Birdy is, how to put this nicely, not littered with dead people), Modine ends up hospitalized (I gave nothing away; this is the start of Birdy). Cage tries to pull him back into sanity, and it's through chronological flashbacks (many excellent scenes, by the way) that their friendship is shown.

Fascinating characters, brilliantly written, and great acting. As others pointed out, the soundtrack is indeed memorable.
Unfortunately for me, I realized but late why it was so important that the window should open. Stupid me. I hope you are brighter of mind.

I Believe I Can Fly
This sleeper and not very recent movie should get more recognition than it gets, since it`s a moving, well-crafted piece of film-making above most overhyped flicks around. It focuses the relationship of two friends, one (Nicolas Cage in one of his first roles) that has recently returned from Vietnam and "Birdy" (an excellent Matthew Modine), who is kept in an hospital due to (apparent) psychological disorder.
The pacing is slow (pherhaps a bit too slow during the first half), presenting Cage`s character visit to his friend in order to help him and some flashbacks that showcase their teenage relationship.

As the story unfolds, Birdy`s past is foreshadowed and the viewer comes across his passion, curiosity and obssession with birds, that starts to increase and soon reduces his bonds to other people and experiences.
Birdy has his own little world and soon gets stuck in it, and one of his few contacts with "common reality" is his only friend that struggles to understand his point of view.

Director Alan Parker manages to bring a deep, powerful and subtle movie that expertly deals with isolation, insanity, friendship, freedom, alienation and connection.
The story wisely avoids sappy and easy melodramatic fluff, delivering a strong and honest character study that lies in the range of its two leads. Modine, in particular, is utterly convincing as the fragile, confused and innocent Birdy, providing a compelling portrayal of a youngster that percieves his own peculiar universe.

This picture is also a stunning coming-of-age tale, avoiding predictable and tired cliches and presenting a unique, memmorable and sincere friendship between the two characters.
The slow pacing and the beautiful cinematography help the creation of a captivating, haunting and eerie mood to the movie, becoming weirdly unsettling at times.

"Birdy" has much to recommend and really carries a feel of its own, being a great cinematic experience for those who have ever felt "different", misunderstoodand and seem to be outside.
This is quality cinema. Highly recommended.

Hauntingly and evocative movie of friendship and devotion!
"Birdy" gets my nod as one of the greatest and most compelling movies of all time in so many ways. While it is like many that focus on the effects of the war in Vietnam, this movie is the most unique story of friendship, the effects of military combat, and eccentricity like no other movie of the 1980s or ever for that matter.

Nicholas Cage and Matthew Modine star in "Birdy" as two lifelong friends from the run-down industrial ghettos of Philadelphia where they have played baseball together and 'Birdy' has had a huge passionate obsession with birds throughout his life and has dreamed of being able to fly like a bird. However, the two friends are recruited into the U.S. Army and are involved in the fighting in Vietnam and when they return, both are horribly scarred. One has suffered physical wounds with face wounds while the other has mental scars (Post Traumatic Stress Disorder) and being driven mad from the horrors of fighting in Vietnam, has almost withdrawn into his own 'birdland' and acting like a bird and not responding to outside social stimuli. As a result, Birdy has been hospitalized in a decrepit mental institution. Now Al Columbato must try to get his friend Birdy to be able to emerge from his catatonic state if he wants to leave the mental hospital and return to a normal life. During all of this, we can be able to see the flashbacks into Birdy and Al's past and see how 'bird boy's' obsession with birds grew increasingly strong and started to strain his social life with his friend and others around him but yet see very compelling acts of bonding between the two unlikely friends and how they've gone through so much together even before the war.

The characters are among the most compelling I've ever seen in a drama movie ever. This might be considered a 'coming of age' movie but it's so much more than just your average teen angst movie. "Birdy" delves into some of the strangest and most unique perspectives of obsessive people with their subjects of interests and the things that true friends go through in order to stay bonded forever. The photography is stunningly brilliant and stunning beautiful thanks to ironically, it's relatively primitive filming technology that was used in filming it. The grittiness of the movie while it may be a bit irritating, gives this movie a strangely opaque feel and some of the scenes which are throughout this film are absolutely moving and will tug at your heartstrings. All of the scenes of the birds flying into the air are perfectly filmed and enhance the movie's emotional quality even more. While this movie is very heavy in it's bittersweet plot, there are some really smart and honest comedic elements that are really funny without detracting anything from it's dramatic tone and the funnier parts make this movie ever more bittersweet. Sometimes I would go far enough to say that this almost has high amounts of both even though there is far, FAR more drama. "Birdy" is bizarre, psychotic, happy, sad, dark, bright, and a whole lot of other positive things.

Director Alan Parker creates one of the most compelling movies of all time. While nothing could ever go wrong with this movie, his directing made it so much more powerful, moving, funny in odd ways, and yet very vivid on such high levels unparalleled. This movie centers on some of the more unattractive areas of Philadelphia (At least at the time, I'm not sure about today) like industrial junkyards, landfills, and run down neighborhoods, but centering on one like these areas makes this movie so much more interesting and from my standpoint, aims to dispel the notion that all poor areas are necessarily dangerous and crime-ridden. While it was centered on Philadelphia, this movie reminds me of what many areas of Chicago looked like during my childhood memories: Weed-ridden, extremely gritty, seedy, and depressed (Many of them have seen serious gentrification in recent years), at least at the time.

Nicholas Cage and Matthew Modine in their earliest days of their acting careers are absolutely amazing as Al and 'birdy'. The interactions between the two characters in the movie are absolutely realistic and really bittersweet. While not throwing a beating by any means at his later movies, I personally think that Nicholas Cage's acting hasn't reached the early pinnacle as on "Birdy" but sometimes there's the saying that it's "Never as Good As The First Time" and it surely applies here. Matthew Modine is the most compelling lead in this movie as his portrayal of Birdy is incredible, vivid, and believable. By the way, he's the guy on the album cover of the soundtrack by Peter Gabriel which brings to mind the soundtrack.

The music along makes this movie really vividly bittersweet with really powerful background music that perfectly fits with the movie's really obscure tone with songs like "Under Lock and Key" and "Close Up" which is actually expanded from the 50 second version on the CD and includes the chord progression of it's parent track "Family Snapshot" and it's absolutely haunting and thought-provoking. Most of the songs on the soundtrack can be heard in the background if one listens carefully and it's absolutely haunting and makes the various scenes even more compelling. What's even more unique is how this movie doesn't seem to rely on generic orchestra background music for a change. The haunting music at the beginning has the haunting eerie song "Slow Water" mixed with the song "Quiet & Alone" and combining the two songs makes it so amazing like no other movie opening theme.

"Birdy" wasn't a massive hit in the USA due to it's unconventional nature and lack of a 'formulaic plot' especially when "Terminator" and "Temple of Doom" were riding high, but this has become one of my favorite movies of the decade. If you can find this movie on DVD, then you MUST buy this ASAP. It may be a bit slow paced at first but it allows a lot of character development and allows you to know them very well and "Birdy" will ultimately be one of the most rewarding movies you'll ever see. It is intense without being violent or bloody, or even immensely depressing.

This is quite simply the most brilliant and evocative masterpieces of the 1980s and one of histories lost treasures. I could go for a very long time with this review but since there is only a limited space for reviews on here, I have no choice but to end it here.

Visually Stunning
There is so much to love about this film. Firstly, it exemplifies great performances from Modine and Cage. Matthew Modine as Birdy is one of the most wonderful character portrayls on film. Modine creates a painful vulnerability to the character - showing beauty, innocence and alienation all in one. The film showcases the unusual friendship between the two boys - its an intense and unliklely friendship, but at the same time there is a deep understanding and respect. The performances, coupled with the beautiful photography and Peter Gabriel's vivid soundtrack, makes Birdy a special film that has aged rather well.

Excellent original story of true friendship and humanity
"Birdy" is an excellent original story of an unlikely friendship that develops into a deep emotional bond between two male friends, pure and devoid of sexual nature. While there's no female lead in this film, there are female supporting characters (including one whom briefly reveals her "significant attributes"). This film was largely overlooked by mainstream audiences because it doesn't deliver a typical entertainment formula, but, as can be told from the global spread of the reviewers here, it will greatly reward those who seek it out and can appreciate it.

Although many seem to feel the anti-war theme is a secondary part of the story, it seems the film-makers intentionally moved the story into the Vietnam era to make a more contemporarily relevant and potent statement on that level. Attributing Birdy's withdrawal to the horrors of war circa Vietnam instead of WWII certainly makes that statement more acceptable, and Birdy's desire to escape human existence completely into the world of birds seems virtually rational in this context.

As a native Philadelphian, I found it confusing trying to pinpoint which neighborhood Birdy and Al grew up in from only viewing the movie. The graffiti-less El station in the movie looks more like Frankford in Northeast Philly today than 63rd street, yet 63rd street would be much closer to the Southwest Philly area where the movie seems to have been set. The book verifies 63rd Street as the location, and also reveals enough clues to determine that Birdy and Al actually lived in Upper Darby, PA, just outside Philadelphia. (The exact location of Birdy's house could be pinpointed by determining where home-plate was situated in the local play area, as Al verifies that Birdy's yard was adjacent to left-center field, where a right-handed batter would usually place a ball hit out of play.) Even though the movie dwells on unattractive parts of the city, like junkyards and garbage dumps, it adds interest that they filmed in authentic locations in Philadelphia and New Jersey. ... Read more

Reviews (36)

SCINTILLATING HISTORY LESSON (AND A GREAT SUSPENSE THRILLER)
A gut-wrenching thriller from start to finish, the movie's breakneck pace is akin to any topnotch suspense movie of our time, while managing an excellent depiction of the 1960's civil rights struggle in the US as well.

Despite its theme's sombre contours the film never gets all preachy about the subject. Gene Hackman is picture perfect although his vigilante FBI loose-cannon role occasionally gets a bit far-fetched. A salon scene between him and one of the rogue cops who moonlight as members of Ku-Klux-Klan will remain in your memory for a long time.

The racism theme may appear a bit dated to viewers of this generation, but it is integral to the theme (as it was to the actual civil war.) Plus, let's not forget that the movie was made in 1988, and watching it now I still couldn't help getting touched by the identifiable theme. Frankly, I don't really understand what racially oriented quibbles reviewers have with the movie -- this is not some drummed up theme, this is ACTUALLY what happened in Mississippi.

A taut, absorbing, and worthwhile film that you must watch if you haven't already.

Powerful Drama
Mississippi Burning is griping and powerful civil rights era drama that is based on real life events. Three civil rights workers (two white, one black) are missing and feared dead. They were last sceen in a small Mississippi town. The FBI sends down a team of agents led by Willem Dafoe and Gene Hackman. Mr. Dafoe is a young, idealistic agent while Mr. Hackman is one time small town Mississippi sheriff with alot views on how the case should be handled. The two bang heads, before they eventually come to a common ground. The town is segregated and the Ku Klux Klan runs rampant. The film's graphic depiction of racism and hatred is disturbing. It is difficult to image that something this grotesque and reviling could happen in this country, but it unfortunately did. Francis McDormand is the wife of Brad Dourif who is town's deputy sheriff. Despite the fact her husband is knee deep in the missing kids situation and is a hateful and violent man, she rises above it and shows compassion to her fellow man. There is alot of sexual tension between her and Mr. Hackman and it adds a calming touch to the turbulent surroundings. Mississippi Burning is a film that is movie making at it's best. It comments on society, makes you think, educates you and in the end entertains.

The Racial Divide
The filmography of director Alan Parker is an eclectic one. His work covers a large spectrum of genres and themes. This diversity allows Parker to keep his career fresh and invigorated Of course, lots of directors do the same thing, but, Parker is truly diverse. One minute he can do the controversial and very complex Angel Heart, then switch gears to do a lighthearted film, like The Commitments. In 1988's Mississippi Burning, Parker was lucky enough to get a superb cast, willing to tackle some tough material.

When three civil rights activists 2 whites and one black, are murdered in the middle of the night, the small Mississippi town becames a cauldron of racial tension. Two FBI agents are soon dispatched to investigate. Soon the veteran Anderson (Gene Hackman) and his green around the gills by the book partner Ward (Willem Dafoe), find themselves at odds with many of the town's citizens and each other. As the case boils over, the two agents must overcome their differences to solve the case before the town is torn apart.

Parker sucessfully recreates the look and feel, of a small town in 1964, gripped in the throws of a turbulent time in U.S. history. You get a real sense of what it must have been like at that time. Once again Hackman proves why he is a master at his craft. As Anderson, he gives one of his most complex performances, offerng a multifaceted character study. Like in so maany of Hackman's films, he can turn on a dime, portraying a guy that's charming but with a darker side...Da Foe is nicely matched against Hackman in the film. He gives one of his best performances as well. The supporting players, R. Lee Ermy, Brad Dourif, and Frances McDormaand, really shine too. I don't think there's a rotten apple in the entire film

The latest DVD improves only slightly, over the movie only disc, as far as the extras are concerned. While I really enjoyed Parker's audio commentary, aside from the theatrical trailer, I found myself really curious to hear from others who worked on the film. Those ommisions really gnawed at me. Still, Mississippi Burning shows us just how far we have come when dealing with racism...and reminds how far both sides still need to go before it is defeated.

It's worth it to see Hackman do his thing on that alone. All the other good stuff about the movie appears as icing on the cake.

A powerful indictment of Democratic Party's past sins
This film reminds us of the horrors that the Southern Democrats inflicted upon African Americans. As Wayne Perryman reminds us in his book, "Unfounded Loyalties",

"One party and their abolitionist supporters believed the Bible instructed them to lay down their lives for the slaves, the other party and their supporters believed the Bible gave them the right to take the lives of blacks if they rebelled against being slaves.

"On the issue of slavery, one party and its supporters gave their lives to expand it (to Northern states) and the other party and their supporters gave their lives to ban it.

"One party was heavily influenced by the Abolitionists and the radical wing of their party ... and the other party was influenced by the Ku Klux Klan and other terrorist groups.

"One party and its supporters started the Freedman's Bureau and other programs to help build communities for blacks, the other party and their supporters engaged in practices to hinder those efforts and to destroy those communities (Wilmington, North Carolina).

"One party and its supporters established quality schools and colleges for blacks, the other party and their supporters engaged in practices that attempted to close some of those schools or diminish their quality.

"One party passed laws and Constitutional Amendments (13th , 14th , 15th) to include blacks as part of mainstream society, the other party passed laws to exclude them from the mainstream (Jim Crow Laws and Black Codes). ..."

Sadly, many do not know that that "one party" was the Republican Party, while the "other party" was the Democratic Party. I myself didn't know at the time I watched this stirring film. I suppose burning crosses make us assume the bad guys are aligned with the religious right. Unfortunately, the "other party" used a nonsensical interpretation of the "curse of Ham" to justify slavery; fortunately, "one party" saw through it.

This film is also a great example of how history is being rewritten or dumbed down. While many films have shown lynchings and other abuse of African Americans, they usually leave you with the impression that the bigots were "Bible bashers" ... as you can see, this is only half the truth. Very rarely are we reminded that it was Republicans who laid their lives on the line to defend blacks, based on their Christian faith.

Willem Dafoe is, as always, fascinating to watch. His gesture of futility during Hackman's interrogation of a suspect is priceless. Perhaps the shameful past that the Democrats are trying to forget - indeed, most youngsters today do not need to forget, they haven't even been taught - will spur them onto greater deeds that may even outshine the "one party".

Insidious, particuarly if this is the only source
"[A]n excellent depiction of the 1960's civil rights struggle in the US," a reviewer called this. Read Coming of Age in Mississippi by Anne Moody, see Eyes on the Prize, get it from the library. While it may be "based on a true story", the story is very unrepresentative and the story here historically was insignificant compared to what blacks themselves--and _other_ whites--did as far as voter registration, the "Freedom Summer," etc. As critic Pauline Kael argued, "...the movie hinges on the ploy that the FBI men can't stop the Ku Klux Klan from its terrorism against blacks until they swing over to vigilante tactics.

Amazon.com writes:

As critic Pauline Kael argued, "...the movie hinges on the ploy that the FBI men can't stop the Ku Klux Klan from its terrorism against blacks until they swing over to vigilante tactics. And we're put in the position of applauding the FBI's dirtiest forms of intimidation. This cheap gimmick undercuts the whole civil rights subject; it validates the terrorist methods of the Klan."

This becomes irrelevant to more informed readers when they realize that FBI men usually were one of the major obstacles of the civil rights movement.

Once again, Anne Moody's book is the place to start on Mississippi specifically. It's a story at least as gripping. It makes more sense in the context of the rest of the movement and the 60s, so these are other places to look:

Eyes on the Prize (Eyes on the Prize II gives how and why the civil rights movement ended/disintegrated) videos, companion book, and document reader.

Parting the Waters by Taylor Branch--Martin Luther King, but we really don't know much about him and this also deals with the movement in general. Sweeping, along with Eyes on the Prize, frames much of the movement.

The Children by David Halberstam--Black students taking on Nashville.

Making Sense of the Sixties--A PBS video series on the sixties. Try to find it at your library.

These all are only a few of the books/videos that I think everybody should read and watch to be familiar with this very relevant, passionate, and tragically forgotten part of history. A true understanding of the civil rights movement destroys the audience for this kind of film--though the bias may be unintentional, it reflects ignorance--and gets us focused on major questions of life in America today.

Some of you may be surprised to find that these books are at least as gripping as this movie. But if you'd rather watch something, Eyes on the Prize is the ideal place to start. The violence there is real, there are civil rights workers who happen to be victims of violence (that is, drawn out as real people through interviews), and the violence on the blacks is not absurd (again, realistic as it may be, the framing makes it absurd), reminiscent of Birth of a Nation. ... Read more

Reviews (109)

Emotionaly brutal but excellent film.
Midnight Express is the true story of Billy Hayes who is thrown into a turkish prison for trying to smuggle hash out of the country.During the five years he spends in the prison,he suffers emotional,physical and mental torment.The prison is run by a brutal guard played by Paul Smith who seems to have a good time beating the prisoners which makes him a symbol of cruelty.Among with Brad Davis' great performance as Billy Hayes is John Hurt and Randy Quaid who both deliver really great performances as well.Brad Davis I think was overlooked by the academy which surprised me because he displayed his character with so much emotion that you had to feel sorry not just for his character but also for him.Midnight Express is the kind of prison film that makes other prison films too hard to compare.The Shawshank Redemption was also a film I enjoyed but wasn't as gut wrenching or emotional as this film.Midnight Express is in my opinion a film that is too horrifying to ignore which means that this film should not be ignored.It shouldn't be watched for entertainment value.That isn't why this film was made.Midnight Express I highly recommend.

Alan Parker's masterpiece
This is an absorbing and arresting film. Since the first minute of the opening sequence , the dramatic mood will live in our heart .
The inner tension in the airport is perfectly made , the fear , the insane atmosphere in the turkish jails , the language obstacle , the hopeless , the dramatic sense when the Turkish Court gives the veredict in the middle of a bitter political conflict are a true landmark in its style.
John Hurt (Max) plays an unforgettable role as the addict friend of Billy Hayes (Brad Davis) and his performance is only overcome for The elephant man two years after this film.
Magnificent script and extraordinary performances.
A winner.

Lighten Up Folks, Its Only A Movie
I have read some of the reviews posted here for this movie and they almost laughable. People need to lighten up a bit and stop being so goddam politically correct. This true life story is a Hollywood dramatization folks. Its purpose is to entertain. And I for one am not ashamed to say that I would watch this movie just to look at Brad Davis in the buff. Nuff Said.

Very current film
Some might think that this 1978 film is out of date. In fact,
not only is it a riveting film, but it is very current. On page A21 of the February 25, 2004 Washington Post in a story entitled "Turkey's Human Rights Record Is Taken to Task," reporter Nora Boustany writes of hearings on Capitol Hill before the US Congressional Human Rights Caucus that while Turkey now has laws forbidding torture, these laws are not enforced; torture continues in Turkey. Hence, everyone who cares about human rights should buy this film.

Come on, now!
This is one of the best prison films alongside "Papillion," "Death and the Maiden," and "Kiss of the Spider Woman."

It's purpose is to juxtapose foolish freedom with insane ancient cultures. The result is tragic, terrifying, and almost beyond comprehension in it's cruelty. And if you don't believe prison life in Muslim countries isn't still like this, you must be crazy! (Read "Not Without My Daughter;" the film doesn't even begin to touch on the horrors she survived in Iran).

One cool note: you can see the REAL Billy Hayes acting in a play about prison life filmed at San Quentin!! It's called, "The Cage" and it's only available on half(dot)com. Hard to believe that he'd want to recreate the "sadism of prison guards and the inmates' frenzied cruelty to each other" (Variety) only 15 years after escaping the Turkish prison! ... Read more

Reviews (36)

SCINTILLATING HISTORY LESSON (AND A GREAT SUSPENSE THRILLER)
A gut-wrenching thriller from start to finish, the movie's breakneck pace is akin to any topnotch suspense movie of our time, while managing an excellent depiction of the 1960's civil rights struggle in the US as well.

Despite its theme's sombre contours the film never gets all preachy about the subject. Gene Hackman is picture perfect although his vigilante FBI loose-cannon role occasionally gets a bit far-fetched. A salon scene between him and one of the rogue cops who moonlight as members of Ku-Klux-Klan will remain in your memory for a long time.

The racism theme may appear a bit dated to viewers of this generation, but it is integral to the theme (as it was to the actual civil war.) Plus, let's not forget that the movie was made in 1988, and watching it now I still couldn't help getting touched by the identifiable theme. Frankly, I don't really understand what racially oriented quibbles reviewers have with the movie -- this is not some drummed up theme, this is ACTUALLY what happened in Mississippi.

A taut, absorbing, and worthwhile film that you must watch if you haven't already.

Powerful Drama
Mississippi Burning is griping and powerful civil rights era drama that is based on real life events. Three civil rights workers (two white, one black) are missing and feared dead. They were last sceen in a small Mississippi town. The FBI sends down a team of agents led by Willem Dafoe and Gene Hackman. Mr. Dafoe is a young, idealistic agent while Mr. Hackman is one time small town Mississippi sheriff with alot views on how the case should be handled. The two bang heads, before they eventually come to a common ground. The town is segregated and the Ku Klux Klan runs rampant. The film's graphic depiction of racism and hatred is disturbing. It is difficult to image that something this grotesque and reviling could happen in this country, but it unfortunately did. Francis McDormand is the wife of Brad Dourif who is town's deputy sheriff. Despite the fact her husband is knee deep in the missing kids situation and is a hateful and violent man, she rises above it and shows compassion to her fellow man. There is alot of sexual tension between her and Mr. Hackman and it adds a calming touch to the turbulent surroundings. Mississippi Burning is a film that is movie making at it's best.