Amazon.com

The extended edition of The Lord of the Rings: The Two Towers adds 43 minutes to the theatrical version's 179-minute running time, and there are significant, valuable additions to the film.Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil.Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son.And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up The Return of the King.While the 30 minutes added to The Fellowship of the Ring felt just right in enriching the film, the extra footage in The Two Towers at times seems a bit extraneous--we see moments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor.But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there. The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended editions have set a new standard for expanding on the already-epic films.--David Horiuchi ... Read more

Reviews (1869)

Stupendous!
"They don't make movies like that any more." This is reference to Cecil B. DeMille's spectacular remake of THE TEN COMMANDMENTS. I mention one of the few universally acclaimed film epics of all time because with THE LORD of THE RINGS-THE TWO TOWERS,
Director Peter Jackson has staked unchallengable claim to motion picture immortality. Visually the movie is staggering in technological excellence. It seamlessly combinines sweeping photographic grandeur with superlative integration of CGI and modelwork(Claymation & Superdynamation)that humbles even the work
of IL&M, and would have made Ray HarryHausen proud.

Thematically, the story is truly grand and has raised film making--again--to the level of Mythological. Those familiar with Tolkien's literary epic--with rare exception--have been astounded by this director's monumental artistry in cinematically incarnating one of the greatest "stories" ever written.The cast(humans;creatures; monsters;)is brilliantly essayed.(Sean Astin deserves particular recognition as Frodo's "guardian" friend, SAMWISE). The complex plotting is clearly delineated;and ACTION(quest development;battles; epic romance interludes)ranges from apocalyptic to majestic. THE LORD of THE RINGS-THE TWO TOWERS magnificently continues what was begun in THE FELLOWSHIP of THE RING. Peter Jackson has created a unique work of film making that is both artistically wonderous and breath taking entertainment.It is a stupendous achievement.(10 Stars)

Incredibly, once again, Peter Jackson does the impossible
From gliding through the Misty Mountains and reliving Gandalf's battle with the Balrog to the Battle of Helm's Deep, the climactic scene of The Lord of the Rings: The Two Towers, I think that, even though Frodo Baggin's (Elijah Wood) quest is still unfulfilled, a group of hard-working New Zealanders have once again created an epic adventure confection of a movie, full of fantasy, courage, imagination and flair. J.R.R. Tolkien would not have been disappointed.

The Lord of the Rings: The Two Towers, since is a continuing of a story, doesn't stop to introduce us to the quest or the characters from the first part, The Fellowship of the Ring. Beginning right where the first left off, Frodo (Elijah Wood) and Sam (Sean Astin) must continue their quest to Mount Doom and destroy the evil One Ring. Hunting them done is the rascal Gollum (Andy Serkis) but promises to lead them in to Mordor secretely. In Fangorn Forest, captured hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd) escape from the Orcs and are rescued by Treebeard (voiced by John Rhys-Davies), an ancient ent.

Meanwhile, Aragorn (Viggo Mortensen), Legolas (Orlando Bloom) and Gimli (John Rhys-Davies) enter the country of Rohan. After the miraculous return of Gandalf (Ian McKellan), the four see King Theoden (Bernard Hill). But the king isn't doing too well. He's doing practically everything his servant Grima Wormtongue (Brad Dourif) is telling him. Wormtongue is in league with Saruman (Christopher Lee) and therefore is kicked out of Rohan. Aragorn, Gandalf and Theoden must discuss Rohan's plans to counter Saruman and Sauron.

Saruman is preparing for war, as we've also seen in The Fellowship of the Ring. He has been crossing orcs with goblins, breeding the dreadful Uruk-Hai to launch against Men of Gondor and Rohan. Gondor has it's own problems holding off Sauron's evil army. It all comes down to Saruman against the country of Rohan: A war of 10,000 Uruk-Hai against hundreds of Rohan people. Can Men claim a victory against Barad-dur and Orthanc, the union of the Two Towers?

The Two Towers, for me at least, had a quicker pace and sharper sense of movement than the more-episodic Fellowship of the Ring. Peter Jackson easily presents a film that will keep your attention for the full three hours. In many ways, The Two Towers is a much livlier film than it's predecessor. It takes a deeper look into it's character's own problems, dreams and future, covering many subjects: The war for Rohan, the war for Gondor, the war for the ents, and possibly the most important, the fate of the One Ring.

If The Fellowship of the Ring was a beautiful-looking movie, The Two Towers easily surpasses it visually. With the use of a program called MASSIVE, Peter Jackson and company takes flawless computer animation and simplistically adds it to real-life to create a stunning world. The Battle of Helm's Deep is one of the most memorable scenes of all time, while it uses a fantastic blend of live-action and computer animation. I say it's already got the Best Visual Effects Oscar in the bag. Not just because of the CGI, but with the camera trickery to make the hobbits small and the great backdrops.

I am appalled by the number of reviewers saying that this isn't faithful to Tolkien's book. Everyone should know that books and film are two different media, and should be treated as such. Many things in Tolkien's story would've gone horribly wrong on screen. As Peter Jackson said, if you were to film LOTR page by page, faithful to everything, what you would get is a mess. Many don't realize that what works in a book will NOT work on film. Be happy that you actually have a LOTR movie. Many filmmakers would not have been up to transferring Tolkien's story to the big screen. Jackson did make a few unnessesary changes, but he's a brave filmmaker to actually take on LOTR and still make something this good. Quit whining.

It might need a bit more humanity, but I'd say the chemistry between characters is much more alive and vivid in The Two Towers than with The Fellowship of the Ring. The relationship shared by Gollum and Frodo, or more importantly, Gollum and Sam, works wonderfully. Aragorn trying to convince King Theoden to go to war and the characterization involving Gimli was exceptionally. The Return of the King will see a lot more of this.

The Lord of the Rings: The Two Towers continues Tolkien's trilogy with very few missteps. It is on every count as good as the first, and in many ways, even better. It could possibly be the most sinister film ever, a banquet of monsters and beasts. It's doing so much better at the box-office than the first, and it easily surpasses it in spectacle. It's still unclear how it will do at the Oscars. Being a sequel, it might not get nominated for Best Picture. However, I'd say it has already sweeped the technical awards. It certainly deserves it.

This is the best of the three!!
Usually, the second movie in a trilogy is the weakest. It doesn't have the freshness of the first movie or the finality of the final movie. The Two Towers, however, is the exception to the rule. For lack of a better phrase, it rocks!!! The extra material included in this extended version DVD really fleshes out the movie. After you watch it you'll wonder why Peter Jackson left it out; it makes the movie complete. The fight scenes at Helm's Deep are great, and you forget that a lot of what you're seeing is computer generated. Several new characters are introduced, but you feel like you've known them all along. The best part of the movie is the addition of a Boromir/Faramir scene. Of course, I could be biased. I love Boromir (Sean Bean). This movie is a cinematic masterpiece. It's great!!!

Excellent
Not just pasting in deleted scenes, this version was assenmbled from scratch with additional material that add to the depth of this movie. THIS is the version to buy for watching at home.

You haven't seen LOTR until you've seen this!
OMG! I love this movie so much, I never put it back in the case...it's always in the dvd player. If you at all liked the original theatrical version, you HAVE to get the extended version. The addded footage completes the story and fills in character developement. And you HAVE to listen to the cast commentary. Dom and Billy are hilarious. And the bonus disks are well worth the money. Forget that...added Viggo footage makes it WELL worth it. Plus, the box is beautiful. ... Read more

Amazon.com essential video

There's no getting around a simple, basic truth: watching Lawrence of Arabia in any home-video format represents a compromise. There's no better way to appreciate this epic biographical adventure than to see it projected in 70 millimeter onto a huge theater screen. That caveat aside, David Lean's masterful "desert classic" is still enjoyable on the small screen, especially if viewed in widescreen format. (If your only option is to view a "pan & scan" version, it's best not to bother; this is a film for which the widescreen format is utterly mandatory.) Peter O'Toole gives a star-making performance as T.E. Lawrence, the eccentric British officer who united the desert tribes of Arabia against the Turks during World War I. Lean orchestrates sweeping battle sequences and breathtaking action, but the film is really about the adventures and trials that transform Lawrence into a legendary man of the desert. Lean traces this transformation on a vast canvas of awesome physicality; no other movie has captured the expanse of the desert with such scope and grandeur. Equally important is the psychology of Lawrence, who remains an enigma even as we grasp his identification with the desert. Perhaps the greatest triumph of this landmark film is that Lean has conveyed the romance, danger, and allure of the desert with such physical and emotional power. It's a film about a man who leads one life but is irresistibly drawn to another, where his greatness and mystery are allowed to flourish in equal measure. --Jeff Shannon ... Read more

Reviews (278)

DVD the best looking version yet
Apart from the slightly soft, washed-out picture quality during the opening credits of the movie, the DVD edition of LAWRENCE OF ARABIA is superb. The movie itself is spread onto 2 discs, with the disc break occurs just before Intermission. The Overture, Intermission, and the exit music are all played to a black screen, as per director David Lean's original wish. The picture quality looks as fresh and clean as, quite frankly, any film made in the 90s. In the dramatic shot where Lawrence appears on the far horizon after he rescued his Arab companion, the higher picture resolution of DVD makes it possible for us to notice his tiny figure whereas on VHS tapes or laserdisc it is so small it is almost impossible to see. Anyone who is serious about watching this film should get this DVD instead of any other version in order to appreciate the opulent cinematography and majestic atmosphere of this epic.

The disc has over 100 minutes of old and new documentaries and news footage about the making of the film, plus two well-designed DVD-ROM features (for Windows PC only): a interactive map showing the various journeys undertaken by the real T.E. Lawrence, and a "split-screen" feature that simultaneously plays the movie and shows you text of behind-of-scene information of the particular chapter of the movie that is playing. Since the DVD lacks a second audio commentary, being able to watch the film while reading facts about it is not a bad substitute.

The included "booklet" is a reproduction of the 1961 program given to theater goers, we are told. A nice touch: the disc case resembles Lawrence's diary in the movie.

Arabian Winner
Lawrence Of Arabia is one of the biggest and grandest films ever made. Director David Lean crafted a stunning epic that tells the tale of World War I British soldier T.E. Lawrence. Lawrence joined the various desert tribes of Arabia against the Turks and the desert battle scenes are breathtaking. Peter O'Toole is amazing as Lawrence in what would be a star-making turn for him. Omar Shariff, Anthony Quinn and Alec Guinness provide strong support, but this is Mr. Lean's film through and through. His direction provides sweeping shots of the desert vistas and gives the film its big look, but he also allows the story to flow and we really get inside the complicated head of Lawrence and see his psychological foibles. The film is beautifully transferred to DVD and it brings justice to the film that had previously suffered on video transfers. The movie was a major success as it swept through the 1962 Oscars winning Best Picture and Best Director, but Mr. O'Toole lost out on what would be the first of his of his seven unsuccessful Best Actor nominations.

Conservatives support slavery? This movie makes the case
Hi. My name is Steven Thulen. You might know me from such reviews as "Bowling For Columbine" and "My Life." I am here today to talk to you about "Lawrence of Arabia." While this may shock and astonish you, I will offer a long-winded review without actually discussing this film.

I am that good.

First, a history lesson. In the year 1492 Columbus sailed the ocean blue. He landed in Haiti and raped the native there, then enslaved them. Later, many Africans were captured and made slaves by white people. White people continued to terrorize other races throughout the latter half of the 19th Century.

Finally, World War I took place. During that war, many people died, including white people. Some people who were too cowardly to serve in the world fled to California, where they became subpar sports writers. Later, World War II took place. In that war, white people dropped atomic bombs on Asians.

Peter O'Toole was probably gay and acted really well in this movie.

STEVEN THULEN
AUTHOR OF "JIMMY KEY: BASEBALL'S BATMAN"
(...)

The Greatest Historical Epic Ever
LAWRENCE OF ARABIA is, without a doubt, the greatest historical epic ever filmed and the crowning achievement of David Lean's career. It's also the film that makes best use of the majestic desert landscape with shots of extraordinary rock formations, dunes, shimmering "mirages," and caravans making their way across seemingly endless sands.

LAWRENCE OF ARABIA tells the story of T.E. Lawrence and his adventures in the Middle East during World War I as he led the Arab revolt against the Turks. It is loosely based on Lawrence's book, THE SEVEN PILLARS OF WISDOM.

Even though there are battle scenes in LAWRENCE OF ARABIA, this film is, first and foremost, a character study of Lawrence who was, by anyone's account, a fascinating figure. Even the battle scenes serve to enhance the character of Lawrence rather than detailing the horrors of war and we see Lawrence's dark, embittered side as well as his heroic one.

Although Peter O'Toole wasn't David Lean's first choice to play Lawrence (both Marlon Brando and Albert Finney were offered the part), I can't imagine anyone else in the title role.

Omar Sharif is impressive as Sherif Ali Ibn El Kharish. Prior to this film, he was a virtual unknown, but LAWRENCE OF ARABIA launched Sharif on a long career that made him instantly recognizable the world over.

Even though O'Toole and Sharif weren't well-known when they starred in LAWRENCE OF ARABIA, the film's supporting case is certainly stellar: Alec Guiness, Anthony Quinn, Jose Ferrer and Claude Raines.

Although I think LAWRENCE OF ARABIA is best viewed on a large theatrical screen, this doesn't mean anyone should pass up the DVD. It's just too good for that, especially the Director's Cut (but do make sure you get the widescreen edition; this film demands it).

Don't watch LAWRENCE OF ARABIA expecting to get a history lesson. Watch it to learn more about the fascinating man who was T.E.Lawrence. If you do, I can't see any way you'll be disappointed.

Read the book, then watch again in awe.
I have seen this masterpiece many many times, but only after reading T.E. Lawrence's book "The Seven Pillars of Wisdom" this year do I now begin to understand. This movie is a product of two of the century's greatest minds, one an author and soldier, the other a film maker. The power of Lawrence's descriptions of the desert matches the great cinematography. No film could fully project the power of the inner thoughts of this most introspective man; for that you absolutely need the book to fill in the gaps. Many of the scenes take on a much deeper meaning once you have read the book in detail. The Columbia Tri-Star two-DVD edition is faultless, something I will always treasure. I find it hard to believe that someday a better movie could possibly be made, but we can hope against hope. ... Read more

Reviews (95)

4.5 stars -- more enjoyable than "Titanic."
"The Poseidon Adventure" is the quintessential disaster movie -- the very best of the disaster film genre that reigned through the 70's and early 80's.

This particular disaster flick involves a ocean liner capsized by a tidal wave (on New Year's Eve of all times!)and the ten survivors who struggle to make it up to the hull (which is actually the bottom of the ship) to possibly find a way out through the stern. Being that everything is upside down presents major obstacles to the cast.

The pic features a stellar cast, including a young Gene Hackman and a fit Ernest Borgnine, who are constantly at each others throats because, as the Hackman character points out, they're two of a kind and Borgnine simply doesn't like what he sees in the mirror. The female cast includes Pamela Sue Martin (Nancy Drew), Carol Lynley and Stella Stevens, all well-cast as scantily-clad babes in distress. Also, Shelley Winters does a nice job as an overweight heroine. Red Buttons, Roddy McDowall and Leslie Nielson (in a serious role as The Captain) are also on hand.

The sets of the sinking, upside down ship are absolutely outstanding. The scene wherein the ship tips over showing the party-goers fall/slide to the ceiling is superb.

The characters are great and you really start to care for them. Okay, there is admittedly some silly dialogue, but I KNOW people who talk like this in real life, so it's not as campy and unrealistic as some criticize.

Hackman as the fiery-passionate rebel preacher is excellent. His real struggle is ultimately with his Creator, who he "has it out" with at the end. Unspiritual people will no doubt tend to laugh at this scene, but it powerfully portrays humanity's grappling with the universal question "Why does a righteous God allow evil and hardship to exist?"

The "Preacher" is nicely balanced out by the Pamela Sue Martin character who loves him and the Borgnine character who despises him; but observe Borgnine's nice change-of-heart at the very end.

It's interesting to note that, even though some say this flick has campy aspects, everyone highly rates it. "The Poseidon Adventure" is just a very entertaining and moving motion picture. It's got "cult movie" written all over it.

I find it of interest that many reviewers state how they like "The Poseidon Adventure" better than "Titanic." "Titanic" is hailed as one of the greatest, most popular pics of all time, yet all these folks say they prefer to see the former. I'd have to agree. "Titanic" is a good flick, there's no doubt; but given the choice I'd much rather see "The Poseidon Adventure."

the mother of all disaster movies
Irwin Allen's THE POSEIDON ADVENTURE is regarded as being the forerunner of the myriad of disaster movies that reigned supreme at the box-office through the 70's and into the 80's.

In this enjoyable and quite campy film, we see the "stock characters" that would become a fixture in the disaster movie genre; the Jewish couple (Jack Albertson and Shelley Winters), the swashbuckling ah...priest? (Gene Hackman), the rowdy policeman and his ex-hooker wife (Ernest Borgnine and Stella Stevens), the nervous little singer (Carol Lynley), the bachelor (Red Buttons), the leggy teen (Pamela Sue Martin) and the know-it-all little brat (Eric Shea).

Mind you, the ship was bound to sink with Leslie Nielsen (AKA Frank Drebin) at the helm...

When the SS Poseidon capsizes in a tidal wave on New Year's Eve, this motley bunch of survivors try to climb to the thinnest part of the hull to escape. Climbing up a huge Christmas tree to begin the adventure, the Priest first makes some convienient "alterations" to the women's outfits. First he orders Stella Stevens to take off her evening gown and put on a short pink shirt; then he orders Pamela Sue Martin to take off her red mini-skirt, which she does, only to reveal a matching pair of red hotpants beneath!!

Then sit back and watch as our vaccuous and totally unbelievable band of dim-wits try to thwart the crumbling wreckage that is continually exploding around them. I mean really, what is Stella Stevens thinking that she can climb through vents and up ladders in silver stilettos?!!

Featuring the theme song "The Morning After" (mimed convincingly by Carol Lynley) and some marvellous miniature effects techniques.

My Favorite Disaster Movie!
I have written a review of The Poseidon Adventure before but that was before I got the DVD and in that review I basically was reviewing the movie so I thought I would write a new review. I received the DVD for Christmas and just watched it a little while ago and though I do think that they should release a new special Edition DVD with anamorphic widescreen and more extra features I'm pleased with this letterbox widescreen for now but will definitely think of getting a special Edition DVD if one is ever released. I enjoyed watching this movie and I think this is the best disaster movie I have ever seen and the whole cast is great. Gene Hackman (The French Connection), Ernest Borgnine (The Dirty Dozen), Shelley Winters (Night of the Hunter), Stella Stevens (Where Angels Go, Trouble Follows), Jack Albertson (Chico and the Man), Pamela Sue Martin (Dynasty), etc. If you are looking for great extra features on this DVD you will find that this is a bare bones DVD and the features are rather sparse and are only the trailer and a couple of short biographies and filmographies of only a couple of the actors from the cast and I hope that if a new DVD is released that it will have more special features that will include a biography and filmography of the whole cast and also cast interviews, deleted scenes and all of the usual extras. Well anyway until a better DVD comes along I'm actually content with this one.

SPECIAL EDITION!
Come on, everybody, just keep chanting it 'til we get it:
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!

ALL STAR DISASTER CLASSIC!
As far as disaster flicks go, it's hard to find one as effective and engrossing as THE POSEIDON ADVENTURE. Director Ronald Neame, and the astute guidance of Irwin Allen, forged this riveting tale of a world turned upside down. Remember, they didn't have CGI back then, but the set builders and other technical crews gave us a ship turned topsy turvy by a monstrous tidal wave. While all the performers did very well, my favorites were Stella Stevens as the foul-mouthed ex-hooker starting a new life with her cop husband; Ernest Borgnine as Rogo, the aforementioned cop who brought all his trademark bluster, and innocence, to the role; Roddy McDowall, the oh-so-polite steward who always called everybody sir or ma'am; and Jack Albertson, the devoted husband of the doomed Shelley Winters.
THE POSEIDON ADVENTURE will always be one of (if not the) best disaster films----it has all the necessary ingredients and yes, it even had THE MORNING AFTER.
A good film!!!! ... Read more

Amazon.com

Before making the original Halloween into one of the most profitable independent films of all time, John Carpenter directed this riveting low-budget thriller from 1976, in which a nearly abandoned police station is held under siege by a heavily armed gang called Street Thunder. Inside the station, cut off from contact and isolated, cops and convicts who were headed for death row must now join forces or die. That's the basic plot, but it's what Carpenter does with it that's remarkable. Drawing specific inspiration from the classic Howard Hawks Western Rio Bravo (which included a similar siege on disadvantaged heroes), Carpenter used his simple setting for a tense, tightly constructed series of action sequences, emphasizing low-key character development and escalating tension. Few who've seen the film can forget the "ice cream cone" scene in which a young girl is caught up in the action by patronizing a seemingly harmless ice cream truck. It's here, and in other equally memorable scenes, that Carpenter demonstrates his singular knack for injecting terror into the mundane details of daily life, propelling this potent thriller to cult favorite status and long-standing critical acclaim. --Jeff Shannon ... Read more

Reviews (51)

One of the Top Independent Films Ever
Being a fanatic of John Carpenter, specifically the Halloween series, hearing about this movie made me eager to check it out. I read the raving reviews here on Amazon dot com and decided to take a slight risk and purchase the DVD. Well, I sure was blown away. Movies now a days are never made like this, especially in the way that the characters act. The portrayol of the evil gang members is superb along with the portrayol of the "good guys" in the movie, one in particular being Austin Stoker who plays the main role. This movie is action packed and many parts will leave you shocked. The soundtrack is another great aspect of this film, and way ahead of it's time considering that this movie was made in the 70's. The special features include a very comical interview with Carpenter and Stoker done very recently where some lucky fans got to ask the pair questions regarding this movie along with asking about other John Carpenter classics. Assault on Precinct 13 proves that John Carpenter can make a masterpiece out of a budget no matter how high or low that it is. If you like any work that Carpenter has done then I highly reccomend this film. This is only the second movie he released, but it's deffinatley one of his best.

Lucky 13
Before he scared the heck out of us with the original Halloween, director John Carpenter tried his hand at the action genre, with Assault On Precinct 13. Like Halloween, this movie was made on a shooestring budget, but doesn't let that stop it from being darn good.

A vicious Los Angeles gang called Street Thunder takes over an all but abandoned police station. This, as a group of convicts are being transnsported, awaiting time on death row. Now, a handful of cops must join forces with these criminals, to survive the seige.

The action comes fast and furious. Carpenter makes the most of limited sets and really goes all out. The tension of the film is sustained throughout and played in favor of any real character development. Of course, the infamous, anti-establishment cynacism that Carpenter is known for is ever present. The movie is really like a modern day-in the 70's at least-western. Most of the characters are a tough hombre`s. Strong performances by Austin Stoker as Bishop, Darwin Joston as Wilson, Martin West as Lawson, Tony Burton as Wells, and Laurie Zimmer as Leigh, highlight the film. The climax rivals most gunplay scenes in any of the more recent actioners. Assault is dsated only by its wardrobe and hairstyles but holds up rather well--just the same.

The special edition DVD has a fair amount of bonus material. Most of which, will provide enjoyable insight, into how it all came together. Carpenter provides another straight forward audio commentary for the film. He is low key about it all--but quite candid. The "new" video Q&A with Carpenter and star Austin Stoker at the American Cinematheque is also well done. I wish there could have been a few more participants though. The music score, written by Carpenter is a real treat and it's cool to have it isolated. Both behind the scenes stills and lobby card galleries are here, as is the theatrical trailer, and a couple of radio spots. Not bad if you ask me...

Assault On Precinct 13 may not be my favorite Carpenter film. But it's still worth a look, especially for those keen on the action genre

Before you see the Remake make sure you see the original 1st
Yes it is being remade for release in 2005! But before you go out and see that you MUST see the original. Carpenter's 1st studio film!
Based on Howard Hawks Rio Bravo, it tells the story of a police precinct under siege, where Police and prisoners have to fight side by side in order to survive. Great acting by Austin Stoker and Darwin Joston. Excellent direction and music by John Carpenter. Not to be missed!

A cult action classic from John Carpenter!
A police station in L.A. called Precinct 13 has two police officers, two women and two convicts including a traumatized victim are being trapped by street gangs who are surrounding the place making it a living hell for them. They have to find a way to get out, defend themselves and make those devils go away.

An intense, exciting, gripping action drama classic from John Carpenter which happens to be his second movie after "Dark Star". This movie offers loads of action, brutal violence including a on screen child murder, gunfire, an interesting storyline and cool music by Carpenter.

This movie became a cult classic over the years yet still has a strong following including being one of the greatest action movies in movie history. The DVD here is a nice special edition with great transfer, and cool extras like Poster-and-still gallery, trailer, radio spots and interviews, if you love John Carpenter and action movies then add this to your collection.

There is going to be a big budget remake due out next year with Ethan Hawke, Ja Rule, Lawrence Fishburne, Brian Deheney and John Leguizomo.

Also recommended: Die Hard, Night of the Living Dead, Dawn of the Dead, From Dusk Till Dawn, The Rock, Con Air, Shaft, The Siege, The Peacemaker, Lethal Weapon, Scarface, Commmando, Passenger 57.

Killer movie, but even better, AWESOME music soundtrack
after everything's been said or written about this movie, that's the one part I felt I must highlight; the music for this movie was credited to Carpenter, and in the DVD format, it just rocks, just gives the speakers a serious workout. For a 1970s movie, or for any decade, for that matter, it's awesome. ... Read more

Amazon.com essential video

This is the restored, 209-minute director's cut of Wolfgang Petersen's harrowing and claustrophobic U-boat thriller, which was theatrically rereleased in 1997. Originally made as a five-hour miniseries, this version devotes more time to getting to know the crew before they and their stoic captain (Jürgen Prochnow) get aboard their U-boat and find themselves stranded at the bottom of the sea. Das Boot puts you inside that submerged vessel and explores the physical and emotional tensions of the situation with a vivid, terrifying realism that few movies can match. As Petersen tightens the screws and the submerged ship blows bolts, the pressure builds to such unbearable levels that you may be tempted to escape for a nice walk on solid land in the great outdoors--only you wouldn't dream of looking away from the screen. --Jim Emerson ... Read more

Reviews (239)

Subperb Movie
I consider Wolfgang Petersen as one of the most talented visionary directors in the history of the cinema. 'Das Boot' is an instant classic and one of the greatest movies I have ever had the honor of viewing. The atmosphere, characters, situations, and attention to detail make this movie a must watch...especially since the DVD has English dubbing for you non German speakers. The story is simple...but OH So powerfull. A submarine sets off from port on its dangerous voyage of seek-and-destroy. At first, the mariners are eager and youthful...but as time passes and they sink their first ship, they become aware of the horrors of war and age into old men from within. Soon after, they receive a special order to penetrate the narrow Gibraltar Strait and thus set off for what has become one of the most memorable collection of events in movie history.

'Das Boot' captures the dissilusionment that grows like the mold within the submarine, the horror of the submarine moniker 'floating coffins', and the human spirit that prevails.

If this movie does not touch you, if this movie does not move you, if this movie does not inspire you, then you must be cold- dead.

REAL, POWERFUL DESPITE CRAMPED FEEL & CHEESY DUBBING
Be warned, regardless of the paeans you've heard sung to the movie, it is very 80s. It will begin VERY slowly, and won't let up until the end. A quasi-documentary format doesn't really do much to assuage the expectations you may have from a real Movie either.

We watch like bystanders as a German crew steers a U-Boat into the war. The movie is almost entirely indoors (inside a U-Boat, i.e.) which lends it an extremely cramped feel. Filmed in steadycam, the picture moves straight across the claustrophobic hall of the submarine. There is barely enough place for one man to stand and this feeling is expertly conveyed to film thanks to Jost Vacano's excellent cinematography.

As you may imagine with any movie of this general cadre, the theme actually couches a strong anti-war message. Our protagonist Capitain may have been under the reign of Hitler, but he didn't really look up to him. Barbs at almost everything related to the Fuerer abound. The strongest message is delivered in the film's denouement when the crew of our U-Boat faces the biggest dilemma: to save the drowning enemy men because they are human beings, or to let them shrivel and die because they are enemies. Poignant!

Caveats:

(1) A lot of the miniseries look blatantly filmed in a studio, nearly like like the opening sequence of Gilligan's Island. As much as I admire the realism, these cheesy effects do bring down the movie.

(2) If you don't mind subtitles, then watch the movie in its original Deutsche with English subtitles. The English dubbing is horrendous.

(3) Like all documentaries, there isn't much place for character development. Most of the characters are basically one-note and have little to no personality.

None of this undermines the sheer power of the movie's message, and the claustrophobia conveyed on film. I wonder if the flick is as legendary as it is toted to be, but it's a must-have gem in any true war-movies collection.

Best War Movie Ever!!!
This is most definetly the best war movie I have ever seen. I have never seen anyone that has not taken interest in war after watching this movie. I have seen this movie many times and each time I learn something new. It is interesting to see how the other side was during WWII. I recommend this movie for anyone that has time to watch it.

The ultimate submarine movie
Ok. Step one, turn out all lights and isolate any external sound. Step two, crank the subwoofer UP. Step three, set the language to "german." Step four, get a couple of buckets of seawater to pour over one's head at the proper scene (this is optional).

No other submarine movie comes remotely close to depicting the claustrophobia and violence of undersea warfare as Das Boot. Before the movie, I had little sense of the suicidal missions that thousands of German seaman were subjected to even in the early years of WW2 - and for that matter, the equally ruthless way that speeding Allied convoys left the crews of sinking ships behind to freeze and drown in the North Atlantic. It was a particular act of courage and skill for the director to confine most of the action into a literal steel tube barely tall enough to stand in.

Das Boot MUST be watched in the original German, much like Pat Buchannan's "Kulturkampf" speech as the 1996 Republican Convention. For weeks after the seeing the movie the first time, I kept hearing "Alla-a-a-r-m!" and the ka-BWANG of exploding depth charges. Jurgen Prochmow has been wasted in a number of movies (e.g. "Dune"), but he beats out Connery, Gable and the rest as the best Captain around, alternatively ruthless and caring for his men.

This movie is so head and shoulders above subseqeunt films like U-571, any comparison would diminish the accolades this movie deserves.

The best epic german film ever made
Wolfang Petersen may be proud for all the eternity by this achievement. This film (just ten millions dollars in 1981)is a superb film.
You know so well when you're in front a masterpiece. That sensation which remains in your mind and your soul , a must reference and above all, it becomes an unforgettable memory in your brain.
The film is full of tension; claustrophobic, dramatic and powerfully haunting. The sequences of action are very well made; the script is very related to the book.The cast is outstanding. The handle of camera is BREATHTAKING, the camera is a sliding eye, nervous, it retains the anguish, the hopeless and that deathly taste you feel when you share the destiny of these man under that huge water pressure.
That film broke the walls of the standard market and soon became from 1982 in a classic film.
The question about if this film is anti war film is out of discussion. I don't think even if this issue is important. You must feel the evil experience of these men sent to a almost safe death in a sea surrounded by enemies forces.
Watch this movie.
And you'll understand why U-571 even his special effects is just a worthy tribute to Das Boot, the masterpiece of Wolfang Petersen. ... Read more

Amazon.com essential video

In one of the many classic collaborations between director Akira Kurosawa and his leading man Toshirô Mifune, this 1958 film tells the story of a warrior and a princess trying against all odds to return to their homeland with their fortune. Along the way, they are simultaneously assisted and thwarted by two itinerant and not too bright farmers with their own designs on the treasure, giving the story a subtle comic bent. The Hidden Fortress combines an epic tale of struggle and honor with modern comic sensibilities, creating a masterful addition to world cinema. --Robert Lane ... Read more

Reviews (63)

Fun Kurosawa classic
Somehow Kurosawa always manages to imbue his films with an artistry that surpasses the often straightforward (but not simplistic) plots. The Hidden Fortress is no exception. Apparently an inspiration for George Lucas in his Star Wars film (though the similarities are slight), this sees Toshiro Mifune in another heroic role as he attempts to smuggle a princess across the border with the aid of two squabbling peasants (memorably played by Kamatari Fujiawara and Minoru Chiaki).

It's an entertaining, engrossing adventure, with Toshiro Mifune's stoic general butting heads against the peasants (and the princess) at every turn. Fujiawara and Chiaki pretty much steal every scene they're in, with their bickering and squabbling and amazing amount of greediness shining through at every opportunity. The black and white cinematography is gorgeous, there's ample doses of humour, a standout fight scene - what else could you ask for? Sure, it doesn't have the majesty of Seven Samurai, the depth of Throne Of Blood or the black humour of Yojimbo, but The Hidden Fortress is nonetheless another example of why Kurosawa remains one of the greatest directors in history.

It's Kurosawa so you've got to see it
Most people have only heard of The Hidden Fortress through association with Star Wars. It is quite common for reviewers to say that Lucas owed The Hidden Fortress a great debt. However, you should not go into this movie thinking you are going to see some martial arts version of America's most sucessful trilogy (if you want that take a look at Crouching Tiger Hidden Dragon). The Hidden Fortress is all Kurosawa and you are better off anticipating something like Yojimbo or 7 Samurai. The main similarity to Star Wars is that the tale is told from the two most insignifigant characters. The film follows two useless pesants around (much like Star wars follows around R2-D2 and C-3P0) while the action happens surrounding them. There are other similarities, but this is the most striking. As always in Kurosawa movies, there are shots that are angled a certain way to provoke a certain effect that you will probably recognize as having seen a thousand times in modern movies, but the thing that is remarkable here is that chances are this is the first time they were used. Mifune gives a typically great performance so this movie is definately worth checking out, just don't take the Star Wars comparisons too seriously. The influence is there, but if you bend over backward trying to make connections you'll miss the best that both movies have to offer.

Mediocre, for Kurosawa
Granted, Kurosawa's mediocre is any other director's masterpiece, but still, I thought this 1958 effort fell somewhat short. It doesn't have that incredible narrative crispness that the best Kurosawa has--"Seven Samurai," which is nearly an hour longer, feels about half the length of this film. No, the major point of interest in "The Hidden Fortress" for me was its inspiration of "Star Wars." This won't go down as one of my Kurosawa favorites.

Grade: B-

A change of pace from Kurosawa
A number of people, when they discuss this Kurosawa film along with The Seven Samurai and his other films, treat it like a bastard at a family reunion. Apparently, they were expecting a "HIGH DRAMA" or "BADASS" movie. If they were, then they deserve to be disappointed.

The Hidden Fortress is NOT an epic that gives great insight into the code of the samurai or other such nonsense. It's a fun romp through the misadventures of several bungling "heroes": Two greedy, cowardly peasants, a knight very similar to the young Obi-Wan Kenobi, and a bitchy, aloof Princess Yuki of Akizuki (a name that sounds like something from Dr. Seuss). They are trying to smuggle the Akizuki treasury (gold bars hidden in firewood) and the princess to safety. But greed, lust and stupidity keep getting in the way.

This movie is more of an old-style caper film than a samurai epic. The dumb, double-dealing characters are more from The Lavender Hill Mob than MacBeth. What makes the characters more interesting is that the two peasants don't hold a monopoly on greed and harebrained "cunning plans" that would make Baldric from The Black Adder proud, and the knight and the princess don't hold all the courage and nobility cards, either. In fact, the two peasants come up with a plan that literally saves their necks.

The way the film is told from the point of view of the two lowliest characters was quite novel and an obvious influence on George Lucas when he made the first Star Wars. The Hidden Fortress is a great movie in its own right, though.

To people with open minds without preconceived notions of what should and should not be in a Kurosawa film, The Hidden Fortress is a great movie.

Hidden Gem
I enjoyed this movie immensely...simply because I judged it on its own merit. While its an adventure with a bit of action and drama it is mostly comedy Kurosawa style. Its in a different category and can't be compared to Ran or Rashomon. Those were social commentaries and powerful in their own ways. However this was pure fun and adventure even though Kurosawa sneaked in a little lesson or two in it. I particularly enjoyed the song and dance routine around the the fire Once you get into the story you'll laugh so much that you won't realize its in black & white. As usual Toshiro Mifune delivered. ... Read more

Amazon.com essential video

In every aspect, the extended VHS edition of Peter Jackson's epic fantasy The Lord of the Rings: The Fellowship of the Ring blows away the theatrical version. No one who cares at all about the film should ever need to watch the original version again. Well, maybe the impatient and the squeamish will still prefer the theatrical version, because the extended edition makes a long film 30 minutes longer and there's a bit more violence (though both versions are rated PG-13). But the changes--sometimes whole scenes, sometimes merely a few seconds--make for a richer film. There's more of the spirit of J.R.R. Tolkien, embodied in more songs and a longer opening focusing on Hobbiton. There's more character development, and more background into what is to come in the two subsequent films, such as Galadriel's gifts to the Fellowship and Aragorn's burden of lineage. And some additions make more sense to the plot, or are merely worth seeing, such as the wood elves leaving Middle-earth or the view of Caras Galadhon (but sorry, there's still no Tom Bombadil). The only drawback is that the film is now spread over two tapes, but that's a minor inconvenience. The extended VHS edition is the Fellowship video to rule them all. --David Horiuchi ... Read more

Reviews (3438)

An astonishing masterpiece.
Considered both as fantasy adventure and as an adaptation of a beloved literary classic, Peter Jackson's film of "The Lord of the Rings: The Fellowship of the Ring" sets new standards for cinematic excellence. Everything about this film feels exactly right, from the casting to the screenplay to the special effects. The last are amazing, putting to shame anything George Lucas has come up with, and yet they always serve to advance the story; unlike Lucas, there's never any hint that Jackson is merely playing with his toys. Jackson shows great respect for Tolkien's text, but not slavish devotion. Certain characters--such as the lovable Tom Bombadil and Frodo's poisonous Aunt Lobelia--are missing, and Tolkien would be chagrined to find that the little poems and songs he loved to write are nowhere quoted. But if Jackson gives short shrift to Tolkien's whimsy, he more than makes up for that by giving us Tolkien's intensity, pathos and moral vision absolutely undiluted. Above all, Jackson never forgets that Tolkien's chief emphasis was always on the characters he created. Jackson casts wonderful actors to play those characters and--again unlike Lucas--he actually allows them to give performances. How wonderful to find the great Sir Ian McKellen, a uniquely commanding and charismatic actor, as Gandalf, or the charming and touching Elijah Wood as Frodo. You can go straight down the list--Viggo Mortensen as Aragorn, Sean Astin as Sam, Ian Holm as Bilbo, Cate Blanchett as Galadriel--and find nothing but perfection. This is one of the very few big-budget blockbusters that unqualifiedly deserves its success, and all we can do now is look forward with excitement to the release of "The Two Towers" in 2002 and "The Return of the King" in 2003. Like the books they came from, these three fillms will be cherished by future generations.

The Wonders of Middle-Earth
The fate of Middle-earth lies in the hands of Elijah Wood in the grand fantasy epic "The Lord of the Rings: The Fellowship of the Ring". When the forces of evil storm the mystical realm of Middle-earth to reclaim the Ring of the Dark Lord, Sauron, the brave Frodo (Elijah Wood) and the wizard Gandalf (Ian McKellen) embark on a quest to destroy the One Ring that could doom the land. With the help of a fellowship of good friends and powerful allies, Frodo faces incredible dangers and the fierce minions of the Dark Lord. "The Fellowship of the Ring" is an astonishing epic tale of good versus evil. Director Peter Jackson delivers the wonders and emotional intensity of J.R.R. Tolkien's classic with such stunning amazement. The movie includes exceptional performances by Viggo Mortensen, Elijah Wood, Cate Blanchett and Ian McKellen as the wizard Gandalf. It also contains amazing special effects, beautiful backgrounds and a superb music score.

"The Lord of the Rings: the Fellowship of the Ring" is certainly one of the best DVDs of the year. The splendid fantasy adventure is presented in standard full screen format. The DVD has marvelously flawless picture quality and a great 5.1-EX Dolby Digital sound. If special features are a must then this DVD is a welcome addition to any collection. Its supplemental material includes numerous behind-the-scenes featurettes, trailers including a preview of the upcoming "The Two Towers", a music video, DVD-ROM extras and impressive interactive menus. Overall, "The Fellowship of the Ring" scores an "A".

Awe-struck
I'm still reeling from this film! The performances, costuming, props and special effects, direction, and cinematography are astounding. There were times whilst viewing this film when I was on the edge of my seat or grabbing my seat to hold on; times when my heart was pounding; times when I was moved to shed a tear by either sadness or greatness. The movie captures every part of human emotions, wraps them all up, and unleashes them at the viewer at an almost rapid pace; which can, at times, be a bit too much. The Fellowship Of The Ring is a very strong, very powerful, visually stunning, and entirely emotive film. And I give top marks to WETA for the highly notable achievement of creating a thoroughly credible height ratio effect for the Hobbits and Dwarves in regards to the taller races of Middle-earth. Brilliant!

However, as much as I was stunned by this film, the screenplay and adaptions were absolute rubbish! In my opinion, Mrs. Jackson and anyone who worked with her should be fed to the Balrog, along with Peter Jackson himself for allowing it. Their were changes in characters and character, aspirations, and events. Tolkien's dialogue was rarely followed. Some reviewers say this doesn't deter from the story. It does deter from the story! That's exactly what it does. How difficult is it to follow a story and dialogue that has already been written? Editing is one thing and is understandable when approaching a big screen adaptation with time constraints, but arrant changes to a story are not. This I find unforgivable. In addition, no Fatty Bolger playing up appearances in Frodo's new house in Buckland; no Willow The Wisp; no Tom Bombadil; no Barrow-wights; no Rhadaghast The Brown, and very little attention payed to the Hobbits' stealth from and cat and mouse games with the Black Riders in The Shire. In addition, very little of Tolkien's dialogue was covered. The Fellowship Of The Ring is mainly dialogue, and takes place mainly in The Shire. What happened to Peter Jackson's boasting about how closely he was going to follow Tolkien's story? With all its faults, Ralph Bakshi's film follows Tolkien's story and dialogue more closely than Jackson's version does! Jackson is either pandering to his own ego (or his wife's), or just trying to make the film(s) appeal to more people than just Tolkien fans; and the only reason for the latter would be money.

Aside from the above criticism, I was very annoyed by WETA's cheesy computer-generated Cave Troll and Balrog. This garbage belongs in a video game, not an important epic film. What ever happened to employing the talents of real artists like Ray Harryhausen or Jim Henson's Creature Shop? Is it just me, or are today's film makers relying too heavily on computer-generated effects, and using the words "can't be done" or "not within the budget" as a scape-goat to seeking alternative ways of creating effects, like the filmmakers of old had to do?

However all scrutinising aside, The Fellowship Of The Ring is an overwhelming cinematic experience, and one which should not be missed by anyone; with the exception of pre-teens, to whom this film will only terrorise. This is a tremendous Christmas present, and I thank Peter Jackson and everyone involved in its creation for it. It's difficult to believe that there are two more films of this calibre to follow. I look forward to their release, as well as a few more viewings of The Fellowship Of The Ring.

In closing I'd just like to say that Tolkien fans have still not been given a definitive screen version of The Lord Of The Rings. In fact, the only way I believe it would be possible to remain faithful to Tolkien's story and (even edited) dialogue, would be to make a complete mini-series for non-commercial television; basically, a visual accompaniment to the long BBC Radio production. Perhaps one day someone with enough integrity and who cares enough will.

If I could give this more than five stars, I would!!!
"We can make them longer, stronger, better!" When Peter Jackson said this about the extended DVD versions of the films, I'm sure hordes of movie fans disagreed. They were WRONG!! The Lord of the Rings trilogy is quite possibly the best thing that's ever happened to the movie industry, and these extended version DVDs are the best things to ever happen to DVD players. This first installment was great in the theater, but the extended version is better. Several things are explained in greater detail, and you can't tell where new material has been inserted. It's flawless, from the acting to the music to the scenery. I can't say enough good things about this movie. Oh yeah, the extras are nice too.

Will be remembered as one of the best films of all time....
Without repeating the reviews of the rest listed here....I can say that the extended editions add more texture to the story and the documentary DVD's give you more background and understanding of the story.

It made me want to read the books to see what the films couldn't touch upon ...the poetry and descriptions of middle earth are very much on target. I really hope that Jackson gets the chance to do the Hobbit. It would be a crime if it wasn't adapted by him in the very near future. All I have to say to the film makers is ..Lets see the Hobbit before the actors become unavailable to produce the film! ... Read more

Amazon.com

Forget about Kevin Costner's sun-kissed, water-colored,Oscar-winning Dances with Wolves. Black Robe, which was directed byBruce Beresford, a director who gave the world the finest film of the early '80sAustralian new wave, Breaker Morant, and who continually collides cultures and ethnicity in his films (Mister Johnson, Driving Miss Daisy), matchesand surpasses the Costner epic as an expertly crafted, brutal saga of redemption and salvation. In 1634 a youngFrench Jesuit missionary is assigned to trek 1,500 miles through the New France wilderness to a mission settled in Huron Indian country.Black Robe chronicles the journey of Father Laforgue (Lothaire Blutheau) as heleaves his Jesuit brothers and, with the aid of a young translator and guide,Daniel (Aden Young), and eight canoes of Algonquin Indians, moves into the uncompromising Canadian northern territory on a die-hard mission toconvert the natives. Mixing elements of Michael Mann's The Last of the Mohicans and Roland Joffé's The Mission, Beresford offers a restlesstale of Laforgue's conflicted faith juxtaposed against the sublime spiritual harmony withthe land that the Huron and Algonquin already hold. Black Robedances to its own drummer and is tuned into the precarious balance between nature'smystery and spirit and the strident, unyielding religious ethic. The cinematographyby Peter James is relentlessly cruel and bleak, but it absolutely conveysthe obstacles that face the idealistic and blind young priest, who by theend, has faced his own awakening. The film also features one of the late, great composer Georges Delerue's most noble scores. --Paula Nechak ... Read more

Reviews (36)

Horrifying realism, but profound in picturing culture clash.
Quebec 1634. Jesuit missionaries from France venture bravely into New France (Canada) to convert the Indian savages from their paganism. That's the historical background of "Black Robe", a movie based on the book by Brian Moore. It portrays the story of a fictional black robe Father Laforgue, who undertakes an arduous 1500 mile journey at the onset of a harsh winter. Guided by Algonquin Indians, threatened by Iroquois Indians, his destination is the Huron Indians. He is threatened by the elements, but most of all by the Indian paganism which construes him as a demon. The plot, however, is neither memorable nor outstanding - it is merely the background for a careful contemplation of characterization and complex questions about culture clash.

Laforgue's companion is the young Frenchman Daniel, and it is largely through his eyes that we see the clash between cultures and religions. The contrast between the faiths and cultures of the Western Christians and the native Indians is presented from the outset, with alternating shots portraying the "chiefs" of both sides preparing for a meeting. Both cultures fail to understand each other, and believe the other to be stupid and demon-possessed. At first, with Daniel, we are led to believe that the Jesuit's missionary endeavours are little else than misplaced colonialism and cultural arrogance. Laforgue is presented as rather arrogant and ignorant, his vocabulary of "poor barbarians" and "savage people", and his patronizing showing off of Western skills in reading and music and technology (an alarm clock) appears to confirm this impression. When Daniel suggests that the Indians are essentially Christian in their love for each other, and that with regard to their view of the afterlife the Indian beliefs are no harder to believe "than a Paradise where we all sit on clouds and look at God", Daniel seems to be a symbol of modern enlightened man who has realized it was wrong for Western man to force his beliefs on the natives. Daniel's romance with the Indian chief's daughter seems to be an unnecessary artificial intrusion of an unbelievable story of love at first sight, and appeared to be a concession to Hollywood's need to include sappy romance and sex. At this point I seriously wondered whether the movie was an apology for white supremacy and colonialism, a defence of multiculturalism, and another example of historical revisionism which romanticizes the Indians as saints and condemns the white imperialists as unforgivable criminals.

But as the movie progresses, it becomes clear that although Jesuit priests such as Laforgue were sometimes guilty of peddling colonialism rather than the gospel, their simple assessment is not simplistic but accurate: the Indians truly are savages who live in darkness. Daniel's multiculturalism is naïve, and Laforgue's view that it is a clash between two religions turns out to be correct, for he perceives the Indian religions to be work of the devil, while they in turn perceive him to be a demon. In the end, Laforgue is proven to be right, for the Indians show themselves to be true savages, engaged in brutal animalistic behaviour. Their hostility is not just due to the priest's rejection of their beliefs, but is rooted in their very nature. These scenes are not pleasant to see: the movie portrays their primitive behaviour with all its brutality and passion - unrestrained sex, torture, murder. The gruesome blood and gore is not for the faint-hearted and will at times make you want to close your eyes. But these fruits confirm that the apparently simplistic assessment of the black robe is right: "The savages are living in darkness. We must convert them." They need the light of the gospel and renewal of the Holy Spirit, to become like Laforgue, who despite his misplaced colonialism, is sincere in his love to reach out to the lost. The ending, however, is ambiguous on this point, with Laforgue apparently being converted to some of the Indian superstitions as he makes his final trek to the village of the Hurons. The tragic conclusion about the annihilation of the Hurons after they were converted is ambiguous in attributing blame for this horror: is it with the Christians who converted them, or is it with the darkness of their own kind who remained unconverted? Would the indigenous Indians have been better off if they had been untouched by European imperialism? If the movie has weaknesses aside from his dark portrait of brutality, it would be the ambiguity of the ending, for surely although the Jesuit mission work was at times misguided by colonialism, its identification of the kingdom of darkness was never truer.

Although it features wonderful cinematography of breathtaking Canadian scenery, this is not a pleasant movie to watch. Unlike most modern movies, the portrayal of violence and explicit sex is never entertaining, but always brutal, dark and representative of primitive barbarianism. On that point I personally found it rather too graphic and disturbing, and even the depth of the themes doesn't justify being exposed to this kind of darkness. But in the process it raises very complex and thought-provoking questions. The action is not fast and furious, but arranged at just the right places to stimulate contemplation. This is not typical Hollywood, because it gives the subject matter the realism, contemplation and seriousness it deserves. The blood and gore is all the more horrifying, because it is accurate. While this distinguishes it from the usual Hollywood cotton-candy, "Black Robe" is not surprisingly less popular because it requires an audience that can think. The movie is highly introspective, as Laforgue deals with his own struggles against lust and faith. But above all, it raises important questions about culture clash. While it portrays the truth about Jesuit missionaries being somewhat misplaced in their colonialism, it also portrays the truth about the barbarians that they sought to convert. Despite the weaknesses of the missionaries, in the end it becomes clear that as ambassadors of the kingdom of light, the black robes were truly symbols of light in battling against the powers of darkness. This is not an enjoyable movie to see, but it its treatment of colonialism and religion it raises profound questions - even if it doesn't answer them all.

If You Liked Last of the Mohicans, Do Not Miss This Film!
Few movies of recent memory arrived with such little fanfare but had such enormous impact on the viewer as did Black Robe. As powerful a tribute to good film making as Dances With Wolves or Last of the Mohicans [1992], this film transports you back to the North American wilderness of the seventeenth century, and gives the viewer a dose of realism that will live in your consciousness for days on end. Epic in it's scope and historically accurate in it's story, this movie captures on film what few others have accomplished for this period of history. If your idea of good cinema is an opportunity to be educated as well as to be entertained, and to relive a time in history long since past, then DO NOT miss this fine film! It is a must see movie for all history buffs... Excellent!

An antidote for the neo-romanticism of the AmerIndian
"Black Robe" is based on a novel of the same title written by the late Brian Moore, who also wrote the film's screenplay. Moore's idea for the plot of his novel and most of the details he used within it came from the Jesuit Relations- a 17th century chronicle of the day to day events of the North American mission of the Society of Jesus. While the Relations' main purpose was to describe successful conversions, miracles, and battles fought against Satan, they are also one of the most important historical records of the lives and customs of many American Indian tribes.

The Jesuits presented a wonderful depiction of the people they were trying to convert. Some of the stories are very funny- one Algonquin hired by the Jesuits to be a translator was asked by his employers for the Algonquin words relating to spiritual and religious topics. The translator instructed them and the Jesuits rushed off to preach to the Algonquins. It was only upon being greeted by the peeling laughter of their would-be converts did the Jesuits realize that their translator had instead instructed them on Algonquin foul language.

However, the Relations also depict a very grim picture of life in the mid 17th century wilderness. Contrary to what another reviewer has written here- adoption was not guaranteed for anyone! Yes, mass adoption later become something the Iroquois practiced, but only after their numbers had been so badly dwindled in their wars of conquest in the 1650-1670's. Women, children, and the elderly could be hideously tortured to death as well as men. The movie, in fact, was edited to avoid showing the Indians practicing ritual cannibalism on that slain boy- a custom that was common among the tribes of Eastern woodlands. To devour an enemy's flesh was to devour his power. The heart of a particularly brave enemy (such as the Jesuit martyr St. Jean Brebeuf) would be eaten by chiefs.

Also in the 17th century, the gauntlet was not the only ordeal for a male prisoner captured alive. If captured a male prisoner would usually have his hands mutiliated in some way- finger joints cut off by either cutting (sometimes with sea shells as shown in the movie) or by biting. Why? A warrior without the use of his fingers was useless- could not pull a bowstring or grasp a knife.

One could say that the Jesuits were biased in their desire to portray the Indians as savages and thus justify their conversion. However, the Relations are reknowned for their candor and there are too many other sources that describe women and children captives being summarily executed for little or no reason. (The famed voyageur and explorer Pierre Esprit Radisson in his autobiography "Voyages" saw with his own eyes- children and women being tortured to death by the Mohawks.)

The Algonquin bands of hunter/gatherers, with whom the French Jesuits made first contact, lived a mean existence by any standard. Theirs was a society that was utterly "christian" in that they shared everything, but also one that could not tolerate those who fell sick or lame. These unfortunates would just be abandoned. Life was hard enough for those healthy and fit. Also, living in a birchbark tent with almost no ventilation for smoke, zero privacy, a bunch of dogs, and lots of unwashed bodies was probably a much, much nastier place than what was shown in the film. (The meanness of these living conditions must have have been very tough on many members of the Society of Jesus because a lot of them came from families of great wealth and privilege.)

"Black Robe," the novel and the film, were meant to be an antidote to the current romancization of the AmerIndians. In recent decades we've taken one myth about the AmerIndians, that of the blood thirsty savage, and replaced it with another, the new age Eagle scout with a bent for ecology. "Black Robe" attempts to hit a middle ground- showing these people as humans who lived in a culture that was governed by different values than our own. They are shown as intelligent and brave, but also as greedy and very cruel. That Europe was awash with blood at the same time is beside the point. Brian Moore was trying to show that North America was never a Garden of Eden- people here still treated people different from themselves very cruelly.

As mentioned above, Moore actually held back in the screenplay certain elements of Algonquin life that could be found in his novel. Their everyday language was peppered by words that we would call vulgar- but to them it them it was just talking. They allowed promiscuity among unmarried young men and women- a fact that was found very enticing by French laymen, but scandalized the priests.

I don't think this movie is some sort of "propaganda" to perpetuate negative stereotypes on AmerIndians. I do think it is an honest attempt to show that these people were human beings whose lives were governed by the harshness of their surroundings. For an Algonquin band of hunter/gatherers living along the St. Lawrence, life truly was a survival of the fittest. Brian Moore simply held up a picture of the cruelty and difficulty of this existence, if some neo-romanticists don't like what they see then so be it.

Clash of Culture
Black Robe

The Black Robe reminds me of those classics during the 1960's of Daniel Boone and Davy Crockett. Another recent image for me is that of the movie the Last of the Mohicans (1992), based on the book of the same title by James Fenimore Cooper. Not to mention Dances with Wolves with Kevin Costner (1990) and directed by Kevin Costner. I happen to love most movies where that Native Americas are depicted in story that is uplifting about their lives. Black Robe was directed by Bruce Beresford, and is based on the novel written by Brian Moore. I found similarities in both Dances with Wolves and Black Robe.

The use of the natural settings of woods and rivers were fantastic and beautiful. The use of rivers as means of transportation is very realistic in Native American culture, especially since water is seen as the source of all life. This film at times seems to be more about the inner spiritual life of Chief Chomina (August Schellenberg) and his quest to follow his vision than about the journey of Father Laforgue (Lothaire Bluteau) to minister to the Indians in Quebec. While the Father did not show much spirituality, he did however have his memories which seemed very stark compared to the chief's visions. The differences of their cultures really did stand out in this movie. The Hurons were used to sharing their resources amongst themselves while Father Laforgue tried to keep things back for later use. Another culture shock for the Father was that of the Natives procreating at night. This bothered him greatly, so much so that he was tormented by it and had to leave his bed. This scene also took place in Dances with Wolves, here again was a white guy (Lt. John Dunbar) sleeping by a Native fire. Yet his reaction to what was happening brought him into a relationship where he married a member of the tribe and became one of them. Whereas Father Laforgue cut himself off from relationship and went off alone to do penance.

One phrase at the end of both films caught my attention: 15 years later. In the case of Dances with Wolves the phrase dealt with the fact that the expansion of white men into Native American territory meant the demise of their way of life. In Black Robe the Native Indians in Quebec who converted to Christianity became too docile and therefore were killed by other warring tribes after Father Laforgue's arrival. Interestingly spiritually they knew that this was going to happen. This film was great, but sadly since it came out not too long after Dances with Wolves, I believe that it was overshadowed by the former film.

For those who want to add to the Native American story collection, it is a great film that could be watched and compared to two other Native American epics: Last of the Mohicans, and Dances with Wolves.

Neo-Colonial Propaganda at its best
To begin with, I think this film is a true cineastic masterpiece. From its hauntingly beautiful score through the breathtaking landscape shots to the meticulous detail observed with any buildings, item of clothing and other equipment down to the last little piece of Native jewellery used, this film let's you immerse into a powerful image of 17th century eastern Canada "as it really was". The film is at its best when it illustrates mutual misunderstandings in the encounter of two completely different cultures.

The film endeavours to illustrate how the French "penetrated" Indian societies as opposed to the Spanish model of total exploitation or the English model of sheer destruction. It centers on the religious activities of French missionaries and decides to filter French military and economic engagements in the raging "Beaver Wars" out of the picture.

The clash of cultures is often illustrated by sharp cuts between Native and European worlds. These are always interesting, sometimes quite amusing. Often they amount to sheer propaganda of "savagery" vs. "civilisation". Indians huddle together, fart and copulate in dark, dirty and stinking wigwams while Europeans walk across beautiful Old World city squares conspiciously devoid of beggars, cripples and the omipresent garbage and sewage of the time. Indians practice primitive shamanism in forests while Europeans stride through light-flooded cathedrals and vow to relinquish the amenities of western Civilisation to salvage the infidels (even if "they" already cut of one of your ears in the process). Europeans do well-mannered house music in aristocratic mansions. Indians do it doggy-style in the dirt. Always, anywhere and with anyone, as the film will teach us through relentless repetition.

The clash of belief systems is personalised in an encounter of the dignified Jesuit priest with an Indian shaman - impersonalised by a ridiculously behaving and profounfly vicious yellow painted dwarf. What could have been an interesting example of Indian attitudes towards disabled and retarded people - worshipping people who are different as a manifestation of the divine instead of confining them to the margins of society - is turned into just another example of the film's leitmotif - the savagery of the barbaric Indian.

When the film was released a New York Times critic lauded the fact that this historical film got by with portraying American colonial history"without villains". Without white villains that is, of course. Set in a time when the Thirty Years War was raging through central Europe where entire populations of large cities were laughtered to the last woman and infant while seeking refuge in churches and when one third of Germany's population was slaughtered by armies of fellow Christians, the film centers entirely on what it presents as a realistic portray of "Indian savagery". When the Algonquin party with its European guests is captured by Iroquoians (the Algonquians speak neither Algonquian nor do the Iroquois speak Iroquoian but all happen to speak Cree here in fact but who would notice anyway) the male captives are forced to run the gauntlet in their captor's village. Once, badly battered, of course, they had survived this indeed pretty brutal initiation procedure, I , having at least a superficial knowledge of Iroquois culture, prepared myself for wittnessing the usual next step, the adoption of all captives into the tribe. I soon learned that the makers of the film seemed to have an agenda which would not permit such a less than traumatic ending.

It is towards the end that an ambitious yet heavily slanted portrayal of culture clash tilts into point-blank atrocity propaganda. Portraying matriarchic Iroqois societiy with its democratic decision making processes as a male-commandeered dictatorship is in itself a surprising failure given Beresford's claim to show everything "the way it really was". One wonders if this distortive rendering of Iroquois social life occurred unintentionally. How could they get such basic things so wrong? However, this appears like a lesser evil compared to the what we are supposed to learn of the treatment of captives by Iroqois. Captured women and children were regularly adopted into the tribe. In fact the Iroqois waged numerous wars on neighbours and absorbed their vanquished foes through something that amounted to genocide by hostile takeover, if you like. There was a time when 25,000 out of 35,000 Iroquois were adopted former enemies. The biggest indian killers of the time were disease, not war. Tribes replenished their thinned-out ranks with captured enemies and could hardly afford to kill them "unnecessarily". Male captives were in for a tougher ride and were only adopted after having endured the gauntlet.

The film shows none of this. Instead, the captured boy has his throat cut before his father's eyes for no apparent reason - exept "Indian savagery" which is, by definition, beyond any rationality. The captured woman is announced to be tortured to death the next day. The same fate awaits the male captives - although they just passed the initiation rite. One previous commentator hoped that the research done for the scenes in the Iroquois village was profound. Well, it was not. In fact, the makers of the film got everything beyond mere outfits wrong here. This is certainly not "a sensitive and earnest portrayal of Indians" as one previous reviewer reasoned.

At the end the film raises "the profound question" if it was right to bring the light of Christianity to the Hurons since they were later on "annihilated" by their heathen Iroquois enemies (in reality parts of the survivors were adopted into the tribe, others formed the influental Wiandot nation). What the film fails to mention is that it was hardly a Christian "turn the other cheek" attitude that brought about the demise of the Hurons but the fact that only partial conversion of the Hurons occurred which split the disease-stricken nation at a time of war when unity was most needed and that the French had chosen the Hurons as their allies and prime proxy fighters in the Beaver Wars against their Iroquois enemies - and finally let them down militarily when the Hurons needed their support (For some reading check out http://www.tolatsga.org/hur.html).

How to rate such a film? Five stars for its technical merits. One star for its often distortive, elaborate defamation of Native culture. I think that the latter weighs more heavily than the former. Two stars. See it. Carefully. I rented it. I wouldn't buy it. ... Read more

Reviews (40)

Before There Was "Heat"
I had to write this review after reading so many rave reviews of "Heat", which is overrated compared to "Thief". It makes me wonder how many of those customer reviewers are adolescents or young adults who have not seen this picture.

This motion picture is somewhat similar in plot to "Heat", but with considerably less violence (until about the final 30 minutes). James Caan is at his best as an ex-con trying to play his cards close to the vest when he makes a deal with a mob leader that ends disastrously. I find myself agreeing with the customer reviewer who wrote that this was Caan's best acting performance ever. The intensity and feel of "Thief" make it a far superior movie to "Heat", with excellent supporting performances from Willie Nelson, Tuesday Weld, and Jim Belushi.

Especially noteworthy is the performance of Robert Prosky as Leo, the mobster who thinks he's got Caan's character under his thumb only to get his comeuppance. Look for Rick Rossovich and Dennis Farina as Leo's hired muscle.

In addition to a great plot and great performances (hallmarks of almost every film Mann's ever done) is a soundtrack by Tangerine Dream that really rocks! Rent or buy this movie, and if you like it, start your quest for the soundtrack album immediately! You'll be glad you did.

Don't get me wrong here, "Heat" was a good movie. "Thief", however, was done first and done better

James Caan At His BEST!
In his finest role to date, veteran actor James Caan plays Frank, an ultra-cool, independent jewel thief with some very definite plans. Frank reluctantly gets involved with a mobster who changes all those plans. Frank is "Joe the boss of my own Universe" as he tells Leo (Robert Prosky)upon their first meeting. Unfortunately for Frank, he'll soon find that Leo has become the boss of his universe once he agrees to "freelance" for him. To get free, Frank has to dismantle the picture perfect life he tried to assemble, and start over again. ................ This film has a wonderful noir mood with all the atmospheric rain soaked Chicago streets, earthy dialogue and colorful characters. These come in the form of crooked DTs and mobster henchmen to name a few, peppering the screen with non-stop action. These characters feel very real, and keep you riveted throughout. ............ Director Michael Mann, who also created "Heat" and "Man Hunter" as well as the "Miami Vice" TV classic of the 80s, did some of his best work in this film. The soundtrack from "Tangerine Dream" is no less than outstanding. The entire score really enhances every scene. I especially love the wonderfully sensual sounding lead guitars during the exciting culmination of the story when Frank faces Leo solo to take back his independence. .......... Willie Nelson as David Okla, master thief that taught Frank his craft, and Dennis Farina in his big screen debut (with BLACK hair!) as one of Leos henchmen are two of many interesting faces and characters along the way. .............. Since this is one of my favorite films, I can truly say, if you have never seen "Thief"... you've been robbed of a truly great film viewing experience.

The revenge is a wonderful dish
The thief is a modern film noir. James Caan gives his most powerful performance to date. Cool, analytical with a hard debt that it must be paid.
There is a film that I still remind very close related, titled Point Blank and directed by John Boorman. The starring in that film was the hard Lee Marvin. I have the inner conviction that Thief was inspired by that one. Please acquire both of two. I have them in my personal collection.
This is the opera prima of Michael Mann as director. Well effort and amazing script.
One of the top ten cult movies from the eighties.
A must in your collection!.

Great 80s film
James Caan does a great job at playing a master thief approaching middle age. Contrary to a superficial viewing he does not glorify the criminal life. His best scene is where he is describing the sense of waste he feels about his life and time in jail. James Caan really carries this scene over better than many actors of today would.

Oldsters will also remember that this is the first peice where James Belushi stepped out of his brother's shadow. He surprised a lot of people with a good dramatic role as James Caan's partner instead of a comedy.

Great Tangerine Dream score. Bit of trivia, the film has a song over the closing credits that was not by Tangerine Dream that is very good but not by Tangerine Dream. This song DOES NOT appear on the CD version of the Thief soundtrack, although it was included on the older cassette and LP releases. You can hear it on this movie release though.

THE SIGNATURE STYLE OF MICHAEL MANN
James Caan in black Armani leather looking better than he did in THE GODFATHER; Tuesday Weld looking angelic; Chicago lit up in neon with non-cliched corrupt cops, desperate crooks and the underbelly of the Midwest. Michael Mann imprinted his signature style on this fierce tale of a career criminal caught in the nightmare of a dream gone bad and a life that could never exist. THIEF is distingushed by its incredible visuals and hard dialogue... the most frightening of both is an exchange between a silent, face up Caan and Robert Prosky (fantastic as Leo) in a back alley shop with an acid bath at arms length. THIEF is the prototype for the new era film noir and Mann a skilled and worthy architect of the genre. Dennis Farina makes his acting debut as a shotgun toting mobster. ... Read more