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"Naked girls and lots of blood, that's what Vampyres is about," says Joseph Larraz in the notes to the film. He rewrites the vampire myth to make his bloodsucking lovelies the restless ghosts of lesbian lovers murdered while making love in their shadowy castle. Reappearing nightly in the twilight forest, they lure men to their castle for blood feasts until the brunette vampire, Fran (Marianne Morris), falls for her latest victim (Murray Brown) and decides to keep him alive, a sex slave she slowly drains dry. "You're playing a dangerous game," warns blonde Miriam (Anulka), perhaps just a tad jealous. As the local cops watch a veritable wrecking yard of car crashes fill up the sleepy back roads (all with naked dead men behind the wheels), you have to wonder if anyone finds this a bit suspicious. It's a slim story filled with misty forests, candlelit castle interiors, and the above-mentioned blood and naked flesh. Larraz adds a few poetic flourishes--blood dripping down pale faces, clouds crawling past a castle--but, more important, gives the living dead girls a genuinely passionate relationship and a zest for nightlife. The DVD features commentary by Larraz and producer Brian Smedley-Ashton. --Sean Axmaker ... Read more

Reviews (32)

Kind of a mix of Hammer and Jean Rollin
A pair of bisexual women (Marianne Morris and Playboy playmate Anulka) living in a dark, decaying mansion have a craving for blood and sex. Hitchiking in long black cloaks, they lure men home and then take them to bed, slash them with knives, and dump the bodies, making it look like a car wreck. They like one guy so much they keep him around for days and he knows something bad is happening, but he's not sure what. Some people camping nearby also suspect that the women are up to strange things.... The violence is strong even though there's more blood than gore, plenty of sex and nudity, and some very lyrical, beautiful scenes. The ending throws a whole new, darker twist on the proceedings and ties it all together nicely. It has kind of a "Hammer Films" look to it, but the storyline is more along the lines of Jean Rollin. Even though the budget was small, this is a quality-looking film. The DVD looks great and contains a commentary track with producer Brian Smedley-Aston and director Joseph Larraz that's worth listening to - it's informative, and Larraz is hilarious and pulls no punches - ya gotta love the guy, even though he admits he's become a dirty old man (the comment during one of Anulka's nude scenes had me rolling on the floor). :) It's one of the most entertaining commentary tracks I've heard on a DVD, and a quality film besides.

Bosoms and bloodshed, a potent combination!
VAMPYRES (UK 1974): A motorist (Murray Brown) is lured to an isolated country house inhabited by two beautiful young women (Marianne Morris and Anulka) and becomes enmeshed in their free-spirited sexual lifestyle, but his hosts turn out to be vampires with a frenzied thirst for human blood...

Taking its cue from the lesbian vampire cycle initiated by maverick director Jean Rollin in France, and consolidated by the success of Hammer's 'Carmilla' series in the UK, Jose Ramon Larraz' daring shocker VAMPYRES pushed the concept of Adult Horror much further than British censors were prepared to tolerate in 1974, and his film was cut by almost three minutes on its original British release. It isn't difficult to see why! Using its Gothic theme as the pretext for as much nudity, sex and bloodshed as the film's short running time will allow, Larraz (who wrote the screenplay under the pseudonym 'D. Daubeney') uses these commercial elements as mere backdrop to a languid meditation on life, death and the impulses - sexual and otherwise - which affirm the human condition. Shot on location at a picturesque country house during the Autumn of 1973, Harry Waxman's haunting cinematography conjures an atmosphere of grim foreboding, in which the desolate countryside - bleak and beautiful in equal measure - seems to foreshadow a whirlwind of impending horror (Larraz pulled a similar trick earlier the same year with SYMPTOMS, a low-key thriller which is all mood and very little action, until it erupts into a frenzy of violence during the final reel). However, despite its pretensions, VAMPYRES' wafer-thin plot and rough-hewn production values don't really amount to very much, and while the two female protagonists are as charismatic and appealing as could be wished, the male lead (Brown, past his prime at the time of filming) is woefully miscast in a role that should have gone to some beautiful, twentysomething stud. A must-see item for cult movie fans, an amusing curio for everyone else, VAMPYRES is an acquired taste. Watch out for Bessie Love, star of the silent era, in a brief cameo at the end of the movie.

Originally released on DVD by Anchor Bay in incomplete form (29 seconds of carnage were accidentally omitted from one of the climactic sequences), Blue Underground's definitive disc - beautifully presented and packaged - restores all the missing footage to its rightful place. Picture quality is as good as the low-budget film stock will allow, though it's still a little grainy in places, and the mono sound is adequate. Extras include trailers, interviews with Morris and Anulka (both are older and wiser, yet still radiant), and a lively audio commentary with Larraz and producer Brian Smedley-Aston, along with an unexpurgated version of Tim Greaves' much-admired booklet 'Vampyres - A Tribute to the Ultimate in Erotic Horror Cinema', here presented in DVD-ROM format which this writer was unable to access.

NB. Blue Underground's DVD includes an insert which replicates vivid artwork for an Italian release print (OSSESSIONE CARNALE), featuring a prominent Techniscope credit. However, the movie wasn't photographed in any kind of scope format, and viewers are assured the disc's 1.85:1 ratio is correct.

87m 29s
1.85:1 / Anamorphically enhanced
Mono 2.0
Optical mono [theatrical]
No captions or subtitles
All regions

AESTHETIC, SATANIC, INDULGING
YES, THIS IS A FLIM THAT RISES ABOVE THE REST IN THE VOLATILE TIME OF EROTIC VAMPIRE FILMS IN THE EARLY 1970'S. TWO VOLUMPTOUS, BEAUTIFUL VAMPIRES USE THEIR FEMININE TALENTS AND THE AGE OLD ONE NIGHT STAND AS A FACADE TO LURE OVER-ANXIOUS MEN TO THEIR BREATHTAKING, DECREPIT OLD COUNTRY HOME. THE MEN FALL ALL TOO EASILY FOR WHAT THEY THINK WILL BE A SEXUAL RENDEZVOUS WITH TWO STRANGE, DARK WOMEN. AFTER THEY ARE ENTERTAINED, THEY FALL VICTIM TO SAVAGE DEATHS, BLOODLETTING, AND HUMILIATION. THE BRITISH COUNTRYSIDE AND THE BREATHTAKING OLD HOME CREATES A SUPERIOR AMBIENCE THAT IS CONDUCIVE FOR AN UNFORGETTABLE, EROTIC, LURID FILM. THIS FILM WILL LEAVE YOU WANTING NEVER TO RETURN TO REALITY. DARK, EVIL, BEAUTIFUL, IMPERATIVE.

Share Pleasures of the Flesh...and Horrors from the Grave!
Okay, 1974's VAMPYRES admittedly has numerous nude scenes--full frontal female nude scenes, in some cases--that was a prerequisite for the sexploitation horror pouring out of Europe in the 1970s. And yes, the two female players have hourglass figures, ample bosoms, and beautiful faces. However, this British indie film, directed by Spanish auteur José Ramón Larraz, has a cinematic aesthetic that makes it stand out above its contemporaries as a horror film of true quality. Larraz does a fantastic job of directing, working in close conjunction with cinematographer Harry Waxman to ensure that nearly every shot of every scene is a balanced, well-framed image. In keeping with the spooky atmosphere of the moldering English manor house and surrounding grounds used for location shooting, production designer Ken Bridgeman maintains the perfect ambiance throughout. And unlike many other buxom sexploitation actresses of the era, erotic stars Marianne Morris and Anulka (Dziubinska) can actually act, and they do a superb job in making the eponymous characters both scary and sympathetic.

In addition to the outstanding efforts of cast and crew, the tight, well-written script is refreshingly new--even from this vantage point of some thirty years hence. Avoiding the usual vampire clichés, these VAMPYRES are really more like ghosts who have some inexplicable but insatiable desire to feed on the blood of the living. They don't have fangs, they can tolerate moderate sunlight, and instead of resting in musty old caskets, they sleep in a wine cellar during the brightest of the daylight hours. They also can eat, drink liquids other than blood, and seem to genuinely enjoy sex. And they even sometimes have sympathy for their victims, a characteristic that may lead to their ultimate downfall.

The myth of the vampire has always been regarded as sexual in nature, especially the intimacy of the flesh-penetrating bite on the neck. VAMPYRES carries this metaphor to the extreme, with heterosexual vampiric coitus portrayed as an intensely passionate, rigorous event that includes feasting on the blood of the non-vampiric partner. And the eponymous characters in VAMPYRES don't gently suck from two pricks in the neck; in the midst of sexual passion, they tear open their victims and lap up the crimson liquid with ferocious, writhing pleasure.

In short, VAMPYRES is an excellent British erotic horror flick that is superior to most others from its era of origin, and it can even stand up against many straightforward, non-sexploitation horror films. It is well written, well acted, and has high production values throughout--and all this in spite of a low, low budget. Director Larraz and his co-scripters have take an idea that they could play for camp or sheer sexploitation and, instead, deliver a thought-provoking look at indiscriminate and promiscuous sex, physical obsession, and guilt. And on top of that, they still throw in lots of delicious T&A.

The DVD from Blue Underground is a great buy. Not only does it present a widescreen restored director's version of this excellent film--transferred primarily from the original negatives--but it also has lots of cool extras. It offers a feature-commentary track with director José Ramón Larraz and producer Brian Smedley-Aston that is both hilarious--due to Larraz's frank use of English colloquialisms--and informative. And there are also recent interviews with Marianne Morris and Anulka Dziubinska, the film's beautiful stars; a lost scene recreated via production stills; U.S. and European trailers; and more. This is a piece of erotic artistic cinematic history that any serious horror fans will want to add to their collections.

Too slow
Even allowing for the fact that this film is low budget, and from the 1970s, doesn't make up for its monotony. Its mix of sex and cheap blood effects may have seemed avant-garde to some back then, but it sure doesn't cut any edge now. Except for a few thrills at the end, this film is like a long walk to nowhere (in fact, there are too many scenes in this movie of just that - long walks).

It's too bad really, because in the right hands, the story of two vampire seductresses luring passersby to their castle could have been creepy fun.

Not enough story, and bad direction make this a "passerby". Current interviews with the lovely female stars prove to be the most interesting part of this package. ... Read more

Reviews (233)

A great movie, if a bit overrated.
The Insider

Score: 84/100

Whatever your personal opinions are about The Insider, you must admit that it is a well-made movie. If you dislike it, you can't exactly say that the effort wasn't a large amount for all the cast and crew. Because it was, and you can tell just by watching every minute of this long but rewarding crowd-pleaser starring New Zealand's Russell Crowe, in a performance that got him nominated for an Oscar. The film also earned 6 other nominations, and didn't win one of them, since there was too much competition. A shame, because this is such an intelligent and observing movie that you can't help but be intrigued.

This film tells the true story of Jeffrey Wigand (Crowe), a former tobacco executive, who decided to appear on the CBS-TV News show "60 Minutes." As matter of conscience partially prodded by producer Lowell Bergman (Al Pacino), he revealed that, the tobacco industry was not only aware that cigarettes are addictive & harmful, but deliberately worked on increasing that addictiveness. Unfortunately, both protagonists of this story learn the hard way that simply telling the truth is not enough as they struggle against both Big Tobacco's attempts to silence them and the CBS TV Network's own cowardly complict preference of putting money as a higher priority over the truth.

It's amazing how well this did with the critics, since it didn't get much attention at the box office or at home-video rental stores. But people, intelligently, liked Michael Mann's thrilling and dramatic film that, if sometimes a little boring for some audiences, manages to deliver first-rate performances from the cast and be memorable and vivid in your mind. The Insider's script is a majorly clever one, it literally blew socks off global viewers for it's pure sense of intelligence, the film was written by Michael Mann (we can't get enough of him) and Eric Roth (his promising co-writer).

In short: The Insider is a must-see in all aspects.

Gripping ethical study of doing the right thing
Combining a human drama and a capitalist dilemma, The Insider is a tour de force in its display of the paradox between corporations keeping corporate "secrecy" and telling the truth. Russell Crowe and Al Pacino deliver powerful, unforgettable performances as a CBS news producer(Pacino) and a big tobacco whistle blower(Crowe). The story encompasses the personal descision made by former tobacco exectutive Jeffery Wigand who blows the whistle on his former tobacco employers at a high personal cost, while simoultaniously nakedly exposing the conflict in many news rooms between telling the truth and corporate interests. The Insider digs deep into media ethics, asks the question as to who really is in charge of what we as a public see and hear and makes one wonder if our beloved capitalist country has become a corporate "Frankenstein." This film is a hit anyway you cut it, and will have audiences,not to mention journalism students, debating the messages in this for years to come. Kudos to director Michael Mann and to an outstanding supporting performance by Christopher Plummer who delivers a PLUM of a performance as 60 minutes anchor Mike wallace.

TOBACCO AVENUE
One of those films that I always meant to watch and only now, years after the fact, I get around to doing so, and I am a little disappointed. Docudrama about top tobacco corporate vice president who aligns with TV's "60 Minutes" to expose tobacco company standards is too narrow-minded in scope to encompass all the havoc the tobacco empire exposes on the world, relying on the sympathetic plight and near ruin of the family man executive whose behavior borders on paranoia and insecurity. Al Pacino as a "60 Minutes" producer and Russell Crowe as the reluctant crusader executive both seem overdrawn as characters, Pacino in his familiar nervous edgy urban guy persona and Crowe as the weakling confused executive both grow tiresome after a while. Still, the movie moves along briskly and a surreal sequence where a hotel wall becomes an imagined memory invokes the sometimes hopelessness of tobacco addiction. But why does the film feel the need to mercilessly pick on "60 Minutes"'s Mike Wallace? I seem to be missing the inside word here.

WAY OVERRATED HYPOCRISY
"Issues" liberals may be people of conscience with good intentions who give of their time, energy and money for a variety of causes to better society, usually by helping disadvantaged kids or the afflicted. Hooray for them. They cannot get too much applause for that. But they jumped on the anti-tobacco bandwagon, which is in my view real hypocrisy. First, Hollywood always displays macho men and femme fatale women smoking cigarettes and looking cool. Tobacco has been around for centuries. It is a legal product that people want. The fact that it is bad for you is simply common knowledge, yet trial lawyers, the biggest Democrat special interest group, file nefarious multi-million dollar class action lawsuits and tort claims against tobacco companies, as if some plaintiff who smoked for 50 years before getting lung cancer was forced by the company to do so.
During the Clinton years, the Democrats jumped on this issue like there was no tomorrow, actually making government ads against legal American tobacco corporations and the tobacco industry in a move that cannot be legal, civilly and maybe Constitutionally. These ads typically show a couple of (always) white tobacco execs plotting to poison kids, then laughing about it. Turn this ad around and direct it at anybody else and the hue and cry would be endless. These companies contribute enormous taxes and employ thousands. I myself was addicted to chewing tobacco (Copenhagen) for 16 years. I knew I had to quit, tried several times, but went back to it. I knew the dangers of snuff and that it was a disgusting habit. Nobody dragged my arm. I chose to do it, chose to quit, girded my will power and accomplished this task. Period. Just like George W. Bush when he quit drinking.
Speaking of alcohol, this is worse than tobacco. It causes drunk driving deaths and has to be as unhealthy as smoking cigarettes, but it is not a target. On top of that, the real kicker is that if you go to Hollywood parties, or hang out at certain industry hot spots in Studio City, Universal City, Beverly Hills, or Santa Monica, you will find movie executives puffing on huge cigars like the one Bill Clinton asked Monica to use as a phallic. Such hypocrisy.
Russell Crowe played a tobacco exec a few years ago opposite Al Pacino in "The Insider", a film that never got anywhere. The crux of the film was that Brown & Williamson, a tobacco road company with a long, venerable tradition in old Carolina, had...shock...hid the fact that cigarettes are bad for people. For decades.
Really? Bad for people?
Basically they went out and advertised their product like any other capitalist organization, in an effort to get people to buy it. People buy tobacco for the same reason I used to buy it. They know it is bad for them. They joke and call them "cancer sticks." Oh, but kids are being duped, they say. There is no group of individuals on Earth more acutely aware of the danger of smoking than kids, to my knowledge. When my daughter was six or seven she was all over this issue. These same anti-tobacco crusaders are the same ones who will argue six ways from Sunday that marijuana should be legal, too. Let them stop abortion before stopping smoking.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM

"I'm an Insider Too"
We all know that it's sometimes worth it to take a second look at a film you may have been dismissive of before. To say, I didn't "get" THE INSIDER the first time I saw it would be something of an understatement. I didn't see it as all that revelatory--"'Big tobacco' corrupt?" "Big media craven?" "Mike Wallace has an ego and a temper on the scale of Mt. St. Helens?" Quelle surprise! There was nothing particularly new about all that. In fact, the only big news was that Russell Crowe was going the DeNiro route and altering his physical appearance for the sake of his art. (OK, OK, not as extreme but he did put on a few pounds and donned a less than flattering grey toupe.)

Maybe it was something I ate that first time, though, 'cause the second time around, I have to admit, it was pretty riveting. This time out, I found the moral dilemmas facing Crowe's whistleblower and Pacino's muckraker TV producer pretty darn fascinating--despite the fact that I knew how it was all going to turn out. Oh yeah, and I finally got the fact that the title is supposed to be a little ambiguous and that,yes, Pacino's Lowell Bergman character is an "insider" too.

Sometimes I'm a little slow, but eventually, if I'm lucky, I catch on. THE INSIDER is a quietly powerful and effective film. Apparently, it didn't manage to convince Russell Crowe to quit smoking, but--as a morality tale and as sheer drama--it's still pretty darn effective. ... Read more

Reviews (74)

Beyond this place there be dragons
"Out of Africa" stands out as one of the most spectacular movies ever made. At the 1985 Academy Awards this movie won seven Oscars including Best Director, Best Cinematography and Best Picture. It deserved all seven!

It is filled with romance, scenery, real-life struggles and the inevitability of fate. It is a journey into Africa and into love. The escape is in the hand of fate. This movie presents Africa as a paradise. The natural environment is harsh, yet unspoiled in this movie.

This is based on the true story of Danish writer Isak Dinesen/Karen Blixen (Meryl Streep) who left Denmark to marry German Klaus Maria Brandauer/Baron Bror Blixen (Klaus Maria Brandauer) and start a dairy in Kenya.

Some women do enjoy the security of a man looking after them, however Karen is different. She seems to desire companionship and offers her fortune in exchange for marriage. Her husband changes his mind about the dairy and instead they use her money on a risky venture to grow coffee. This is not a marriage based on an intense romance, in fact, Karen is marrying her lover's brother.

Soon after they arrive in Africa, it becomes apparent this is not a satisfying marriage for Karen. Not only is her husband unfaithful to her, he gives her syphilis. Disease is not the only threat, she also has to fight floods and fire. There are lions which apparently try to attack Karen and Denys although I thought that was pretty unlikely in the situation.

I didn't like the "hunter" aspects or when the two lions are killed, but if you watch at the end, I think even the lions forgive the hunter. When I've seen lions during the day they were normally napping in the shade. Apparently they had trouble getting the lions to act aggressive and there is information on the DVD explaining these details.

Karen finds acceptance in big game hunter Denys Finch Hatton (Robert Redford) who loves her ability to tell stories. He starts the stories and she completes them. I think he is impressed by her confidence and creativity. He sees who she really is. Her husband is obviously blind to this beautiful goddess he has taken to Africa.

She in turn is delighted by this interest and slowly allows him into her world. While Denys and Karen are a perfect match and as close to soul mates as possible, Denys is unsure of commitment and explains how a piece of paper won't make him love her more. Meryl Streep and Robert Redford have chemistry, chemistry and more chemistry in this movie! They mostly share a few kisses, yet their relationship is on such a deep level, I think it could survive if they just told each other stories.

What Karen seems to truly desire is a man who will sacrifice to be with her. She wants to be of value. Denys tells Karen she has confused "want" and "need." This is an excellent portrayal of the gender differences. Man wants to be free to come and go and woman wants security, love and commitment. She wants to be treated with respect.

Denys "wants" Karen and Karen seems to "need" Denys. The question is not whether he will realize this in time before he loses her, but whether or not fate will turn their lives into a tragedy or allow them to form a true relationship. As Karen says:

"When the gods want to punish you, they answer your prayers."

Karen seems the surrender to her fate and is able to experience a brief moment of ecstasy in her life even though she is wounded from the experience.

When you view this movie, there are various elements which hint at the ending, yet I didn't recognize them until viewing this the second time. This is a movie I watch every few years because I too once lived on a farm in Africa. It was not quite this romantic because I was still a child. This movie makes me terribly homesick because once we left Africa, we never went back. Africa seems a moment in time, maybe everyone should live there once. When I watch this movie I need a big box of tissues!

The best moment in the movie is when Farah asks Karen to build a very big fire so he will know where to find her. It is a moment so beautiful and poetic, I've not seen anything like it in any other movie. I appreciated this movie more now that I'm in my 30s and married than before when I was single and had just returned from Africa myself. This movie is contemplative and deals with complex issues.

Spectacular Scenery and Emotionally Satisfying.

One Of The Best Romantic Movies Ever Made!
This is undoubtedly one of the finest movies made over the last twenty years or so. Both Meryl Streep and Robert Redford are absolutely terrific in playing star-crossed lovers who are also intellectual soul mates in what has to be one of the greatest and yet saddest of all movie love affairs. This is a dramatization culled from the memoirs written by Isak Dinesen about her fateful decision to leave her comfortable but boring life in Scandinavia behind in favor of a much more dangerous and adventurous try at a new life as a married woman in Africa. Blowing her inheritance trying to support her philandering new husband's ill-advised business ventures, she falls in love with the land, the people, and the times. Indeed, out of Africa comes the experience of a young lifetime.

In fact, the topography of Africa provides the perfect background and the most splendid of opportunities for her to live her life on her own terms, out of the long and suffocating shadow of family and social convention. And the journey taken by Karen Blixen is a long, joyous, and eventful one, a trip that literally takes her breath away with its rich, varied, and enriching experiences. Yet all this adventure has its cost in pain and suffering, and her growth into a woman of substance who eventually finds her way into a dreamy intellectual played so well by Redford also fates her to become a woman bereft of that that means most to her; her lover, her farm, and her place in Africa itself.

This is a lovely film, one that capitalizes by using the dramatic and primitive backdrop of wild Africa in painting a period piece that is unparalleled in its graphic portrayal of life on the very edges of civilization in an epochal time of Africa's evolution to modernity. The cinematography alone is worth the price of the DVD, for anyone who loves nature will recognize Redford's steady hand in influencing the way the fragile yet exquisite sub-Saharan environment is depicted. I have seen the movie a number of times, and each time come away with a renewed sense of how fragile and wondrous the ecology of this part of Africa is. This is a wonderful movie I can heartily recommend. Enjoy

Avoid unless you thirst for empty drivel.
This is the worst film ever to win the best picture Oscar.
All the beautiful cinematography is wasted on a trite plot and tepid performances. When you start to probe further into the rationale of the characters and look for any real themes, the search turns up dust. Out of Africa is as empty as a blind man's sockets. It seems to have something there, but it lies.

To see the same type of film, but with real characters, interesting thematic elements and powerful direction, watch The English Patient.

God, I want my 3 hours back! AHHHHHHH! Die Stupid Movie!!!!!

Out of Africa - Film review
If you're a Sydney Pollack fan you'll sure enjoy this film. Out of Africa, besides the excellent performances of Meryl Streep and Robert Redford, will certainly get your attention with the astonishing landscapes of Africa.
The story is about the life of Karen Blixen, who gets married for convenience and moves to Africa where she starts running a plantation. Things start to go wrong when her husband starts being absent often and cheating on her. Karen, eventually, falls for a hunter, Dennis, but she demands more of the relationship than he is ready to offer. For Dennis his freedom is essential and in the end you're faced with the unexpected.
You can also count on an extraordinary soundtrack and photography, so it is a film that is really worth seeing!

Somewhat overrated star vehicle --- I just don't get it
I assumed that any film that rampaged through the Oscars the way this one did would be rewarding on so many levels. I must be missing something. What I saw was a beautifully filmed but rather ponderous vehicle to two mega-stars who circle around each other like glittering birds that do not want to muss their magnificent plumages. Emotionally, I have rarely found a "romantic" film to be so totally bereft of passion or emotion.

I feel this is largely due to Robert Redford playing Robert Redford pretending to be Finch-Hatton. He just seems to so totally out of place in this film, and I really could care less about his accent. He just never seems to be anything other than Robert Redford. In any case, his character, supposedly a free thinker who is more in touch with the Higher Truths that Nature offers, comes off as as a self-absorbed character who never met an emotion he couldn't throw a wall around. The relationship between Finch-Hatton & Blixen comes off as being so frigid & lifeless that I simply could not relate to it on any level.

Meanwhile, the film lumbers along through the Great War (with the producers assuming that viewers are all well acquainted with WWI in East Africa), treating us to great scenic shots. Yes indeed, the cinematography is great in this film. All the Brits saddle up, presumably to do battle with von Lettow-Vorbeck, and off they go. Then they saddle up, and off they go to someplace else. They spend a great deal of time going off to some distant spot or another. Eventually some people die, as they are wont to do, and then some more people die. One of them ends up being Robert Redford, which proves most inconvenient for the story line, and so the movie lumbers towards its end shortly thereafter.

This is not a terrible film by any means. I find the performance of Michael Kitchen (a fine actor who deserves more notice) as Berkeley Cole to be most noteworthy. Also, the cinematography is quite breath-taking and goes a long ways towards redeeming the movie as a whole. I also derived great amusement (not intended by the producers) of watching the not exactly diminutive Michael Gough play the (in real life) itty-bitty Hugh Cholmondeley, Lord Delamere. I laughed every time Delamere was in a scene.

Is it a good film? I suppose so. Is it a great film? I don't see how one can really say that. Is it the most overrated film to win a slew of Oscars? Hardly --- let's not forget "Titanic" and "Around the World in 80 Days," just to name a few. It is an OK film. I guess I was just disappointed because I went into it with higher expectations. ... Read more

Reviews (68)

No doubt, BEST DISASTER MOVIE EVER!
Firstly, this movie deserves praise for Faye Dunaway's dress that she wears throughout the entire film. But movies shouldn't all be beautiful women in provocative clothing, this movie has it all. Produced by Irwin Allen, who produced "The Poseidon Adventure" before this movie. Allen bested himself in this flick.

The story is relatively simple; the world's highest skyscraper catches on fire. There is a large party on the top floor, and we watch as people fight for survival as the fire creeps towards them. Only Steve McQueen playing a streetwise firehouse captain, and Paul Newman acting as the tower's architect can stop the fire before everyone inside dies. As I was re-watching this film I couldn't help but think of the similar situation faced by many in the 9-11 attack. Their result was not as positive.

throughout the film there are too many people, too many relationships, and too much death to keep track of everything. However, the important people to watch are Fred Astaire, Faye Dunaway, Paul Newman, and Steve McQueen. This is the only real weakness to the film.

Also, for a film that is approaching 30 years old the special effects are still good, and that will make this a good film for a long time. The images of the tower burning, the fires, and the stunts are superb.

At times, the acting in this film can seem a bit stiff. That's early on, however after the first 20 minutes of the film everyone seems to find their place in the film. One of the notable performances is done by O.J. Simpson, who plays as a senior security guard. The interplay between McQueen and Newman is also well done, especially since there was a good chance of major dorkdom in the architect of the "perfect" building versus the blue-collar fireman plotline.

Some may complain that the movie is slow, and maybe by modern "immediate gratification" standards it is, I say that the tension builds, you care about the characters, many of which, and are left at the end of your seat. And I was watching the thing on a computer; imagine what a decent entertainment system will do.

This definitely is an "essential" film.

An epic disaster film! Not to be missed!
I remember first seeing this movie at a very early age. As a child, I loved this movie for it's spectacularity. As an adult (sort of), I love it for the acting performances of it's marvelous cast.

This is a disaster movie. During the seventies this type of movie was extremely popular, with timeless hits such as "The Poseidon Adventure" and "Airport".
Disaster films seemed to have lost their appeal during the eighties but recent hits like "Armageddon" and "Titanic" show that this type of movie is still very popular and here to stay.

In San Francisco, the tallest building in the world, "The Glass Tower" has finally been completed. An awesome superstructure and the new icon of the city.
On the night of the dedication ceremony on the 130th floor a seemingly harmless fire erupts fifty floors below the partying crowd. When the situation grows out of control their pleasant happening turns into a nightmare struggle for survival.

With some of the best actors of that time (Paul Newman, Steve McQueen, William Holden, Faye Dunaway and Fred Astaire to name a few), true drama and an absolutely convincing inferno this movie deservedly took the world by storm!

Got a Match?
Somebody once asked James Garner's character on "The Rockford Files" TV show if there was nothing he wouldn't do for money. He wouldn't kill for it and he wouldn't marry for it, he said, other than that he was pretty much open to suggestions. Paul Newman and Steve McQueen must have been open to suggestions when they ok'd this turkey, and I wish they had said no. The world's tallest skyscraper is burning due to shoddy construction work, and architect Newman and fireman McQueen would like to put it out before the entire cast is incinerated. On top of the building are a million gallons of water in reserve Newman forgot about in all the excitement. Why this 2500 ton weight hasn't gone crashing into the basement we are not informed but the daring duo manage to blow up the tanks and there's your happy ending. O J Simpson rescues a cat and Fred Astaire, after a lifetime of giving the American movies some of their greatest moments, was awarded an Oscar for enduring this production.

A better film than is often assumed
More than 10 years ago, Roger Ebert and the late Gene Siskel did a special edition of their program that examined "The Early '70s: The Last Golden Age of American Film." It was a great show, with a look at each nominee for the Best Picture Oscar for the years 1970-1974, and then which film Siskel and Ebert would have chosen as the winner.

When the duo got to 1974, and a split screen revealed the five Best Picture nominees for that year, Ebert expressed some amusement at "The Towering Inferno's" nomination, when compared with the others ("Chinatown," "The Conversation," "Lenny" and the winner, "The Godfather Part II."). But while it was not the best film in a truly great year for the medium, "Inferno" did deserve to be considered one of the best.

This is polished, professional filmmaking. It was not intended to be a scathing expose of construction politics, or an actor's showcase. "The Towering Inferno" never tries to be anything more than an action spectacular, pure and simple, and on that level, it has few equals.

The film has been criticized for being almost gleeful in its depiction of various deaths, but I'm not sure what those critics would have had directors John Guillermin and Irwin Allen do. The story is about a giant skyscraper on fire, which means that the primary dangers involved are burning, falling, smoke inhalation and being buried under tons of debris. All of these are horrific, and "Inferno" conveys that horror.

The movie takes on a different hue than the Irwin Allen film it's inevitably compared to, "The Poseidon Adventure," the minute Steve McQueen arrives at the scene as the San Francisco Fire Dept.'s battalion chief, O'Hallorhan. Unlike "Poseidon," in which a small band of ship passengers follows a layman toward safety, the "Inferno" disaster is going to be taken on by a competent, experienced professional, leading other professionals. McQueen conveys an authority that anchors the film.

None of the acting struck me as truly bad, even in action-oriented scenes that called for broad playing. Aside from McQueen, my favorite performances were those of Susan Flannery and Jennifer Jones. Flannery makes the most of a small but memorable part as Robert Wagner's love interest, while Jones, looking very good for a woman of 55, plays the kind, heroic love of Fred Astaire's con man character.

Fred Koenekamp's cinematography received a well-deserved Academy Award, as did L.B. Abbott's special effects. The song "We May Never Love Like This Again," sung by Maureen McGovern, also won an Oscar, though I found it to be forgettable. "The Poseidon Adventure's" similar "The Morning After" is much better (which will certainly be faint praise to some).

John Williams' Oscar-nominated score would have been a perfectly reasonable choice as the winner, though Jerry Goldsmith's evocation of film noir classics for "Chinatown" was probably the year's best. Carmine Coppola and Nino Rota wound up winning for "The Godfather Part II."

Williams is in majestic form here. The main title is appropriately busy and exciting, the love themes for the Paul Newman/Faye Dunaway and Astaire/Jones duos are poignant, and the finale is one of the masterpieces of the art. This is a justifiably a favorite score among film music buffs, and Williams' greatest triumph, in my opinion, until "Star Wars" in 1977.

"The Towering Inferno" is a must for action film fans, and the finest representation of the "disaster film" genre.

The Glass Tower - tallest building in the world... on fire.
After a long vacation, away from the hectic city life, Doug Roberts (Paul Newman) returns to San Francisco in order to participate in the opening of his newest architectural wonder, The Glass Tower - tallest building in the world. The seemingly perfect skyscraper has one big flaw as James Duncan's (William Holden) son-in-law has received kick backs to ignore Doug's requests on the top-of-the-line electrical circuitry. The installed electrical circuits cannot handle the electrical use of the Glass Tower and on the opening night a fire begins on the 81st floor, which Fire Chief Michael O'Hallorhan's (Steve McQueen) men try to get under control while the opening party is taking place on the 135th floor. Towering Inferno has an immensely talented cast (e.g., Faye Dunaway, Fred Astaire, Richard Chamberlain and many more), however, the cast cannot enhance the cinematic experience. Overall the film is hurt by the many scenes that go on ceaselessly as the director attempts to create suspense through tedious climbing and rescue scenes. This occurs through occasional lapses in realism in the film, such as the ending, prevent the audience from receiving a top notch suspenseful drama. Instead the audience is left with an epic rescue mission that seems endless, and leaves the audience with a barely acceptable cinematic experience. ... Read more

Reviews (4)

One of the best epic westerns
Ford is perfect for this role, and the story is told very well. Fantastic cinematography, including wagons and horses racing to claim land and Ford's strong moral stand at a party with big-time politicians trying to change his views. Timeless and powerful. I loved the ending and Anne Baxter's performance. A great plot with suspense and unpredictable consequences. Very handsome movie, with strong cast.

Magnificent film, one of the best westerns, very artistic
Ford is perfect in this role. The cinematography, including the wagons racing to claim their land, was outstanding. Anne Baxter gives a great performance as the woman Ford leaves for another woman. Great suspense and drama, bold sweeping action, and a wonderful plot perfectly cast and filmed. An essential part of any western collection. I haven't seen the original Cimarron yet, but I cannot imagine telling the story any better. The ending is great too, powerful and patriotic. This is a timeless classic of epic proportions and beautiful storytelling.

Cimarron
I'm glad this is back in print - it's been a while since I've seen it, but it is a classic Glenn Ford role - the deep, rightous, but haunted cowboy. This is definately not a chick movie - the thought processes and emotions that Ford's character explores are no more understood by actual women than they are by his character's wife. My favorite scene is his return from the Spanish American War, and I also thought the ending was well done.

Character of Courage
Clancy (Glenn Ford) portrays the atypical hero of an era gone but not forgotten. His penchant for fun adventure and excitement, always accompanied by goodness and virtue, soon find him at odds with his beautiful new wife. Even though their newspaper business flourishes with potential and periodic problems Clancy's internal restlessness drives him on to War and remote engagements while his dutiful wife attends to the newly founded entity set in the heart of Oklahoma immediately after land rush. Nostalgic movie goers who rarely see the raw character of courage so eloquently presented in films today will relish this return to the adventure of a "humble and reluctant hero." Prepare to shed a tear or two and enjoy a hearty laugh. But Cimmaron will not quickly retire from your memory once you've watched it. ... Read more

Reviews (18)

Indiscreet is Indescribable!
Indiscreet is one of my favorite Cary Grant movies of all time!
Ingrid Bergmand & Cary Grant are at their all time most charming selves in this light-hearted romantic comedy. Bergman, who has shown her talents in suspenseful thrillers such as Notorious, is surprisingly outstanding in comedy! Will Anne (Bergman) who plays a famous stage actress and Phillip (Grant) an international financier get together? In the course of finding out, you will be delighted with the amusing interactions & banter which so accurately characterize men & women in romantic relationships. Ingrid Bergman is stunning and stylish and her apartment is to die for. Grant is debonair and charming as always. The lines in this movie are timeless! A favorite scene includes watching Grant dance with Bergman at a ballroom type function. This is a movie you can watch again & again and love even more each time.

A nice romantic comedy...
Although this is not one of my all-time favorites, it is still a funny and charming film. In many ways, it is not as good as many of Cary Grant's earlier screwball comedies...but that can also be a matter of personal taste. The script is not as witty and frantic as the screwball comedies, but the movie is more romantic and is given a real sense of warmth by the affectionate behavior of Cary Grant and Ingrid Bergman.

Essentially, Indiscreet is the story of a romance between actress Anna (Ingrid Bergman) and diplomat Philip (Cary Grant). There are several surprising twists and turns, and to explain anything more would be to give too much away.

Anyhow, one reason Indiscreet is such a nice film is that the real life friendship and warmth between Cary and Ingrid comes though very well, and they are very believable together! Indiscreet also has several funny scenes, especially the one in which Cary does a hysterical tap dance at a fancy ball. The two stars seem to be having fun, and you will too while watching them. This film is good for the whole family, and is very enjoyable: highly recommended.

A GREAT DUO STARS IN AN ELEGANT COMEDY.
Cary Grant and Ingrid Bergman are always delightful to see in a movie, because they were two of the greatest actors of their era. "Indiscreet" isn't the typical romantic comedy, because it's much more subtle than that kind of movies. Cary Grant appeared in a lot of excellent comedies like "Bringing Up Baby", "His Girl Friday" or "The Philadelphia Story" to name a few, but Ingrid Bergman wasn't the usual choice to cast in a comedy, perhaps because her specialty were the dramas ("Casablanca", of course). Well, despite that Ingrid did a great work in "Indiscreet".

In this movie our classy duo must overcome adversities of all kind, and to be honest, I didn't laugh out loud with "Indiscreet", but I was interested in the plot at all time. Perhaps a different casting would have resulted in a very standard movie, but Cary and Ingrid can make a good movie even better.

So if you are interested in movies where Cary Grant appears, or you are interested in Ingrid Bergman's filmography, well, "Indiscreet" is a good choice. Good movie.

Warning - watch out for this one!
This is a great film. Cary Grant and Ingrid Bergman really click and it's a shame they only made two films together. However, I can't recommend buying this particular VHS release of Indiscreet. Hello! - it's recorded in the EP (SLP) mode and also letterboxed and a lot of quality is lost - very blurry. Strange that the other films in the Cary Grant Collection released by Republic are recorded in standard SP, digitally remastered and all that. This one is strictly for the bargain bin at K-Mart.

Also disappointed by DVD quality
I was excited by this movie coming out on DVD because this is a wonderful movie but the quality of the DVD picture and sound was awful. The content of this movie is 5 stars, as far as I am concerned, but the quality of the DVD is 1 or 2 stars. ... Read more

Amazon.com

Boasting some of the most impressive swordplay in the history of samuraiepics, Sword of Doom is a visceral masterpiece of violent style andpowerful substance. Illustrating the timeless adage that "an evil soul wields anevil sword," this highly stylized classic is driven by the fierce and fearsomeperformance of Tatsuya Nakadai as Ryunosuke, a sociopathic samurai whosesoul--and sword--are vicious instruments of evil. Having mastered a highlyunconventional style of fencing, Ryunosuke welcomes an exhibition match at afencing school run by master swordsman Shimada (Toshirô Mifune, in a small butpivotal role), where he kills his opponent after promising not to. Flagrantlyviolating all codes of honor, Ryunosuke eventually finds himself challenged fromall sides; even his own henchmen rally against him, and director Kihachi Okamotostages confrontations that are as beautiful as they are graphically violent. AsRyunosuke descends into pure, bloodthirsty insanity, Sword of Doom endswith a freeze-frame that's unforgettably intense. --Jeff Shannon ... Read more

Reviews (31)

Excellent Film and Action!
SWORD OF DOOM is one of the masterpieces of samurai, and action, cinema but certain aspects of it are difficult for non-Japanese audiences or viewers not familiar with the historical background of the subject.

Toshiro Mifune, who gives a fine performance as fencing master Toranosuke Shimada, once said in an interview, "We [the Japanese producers and filmmakers] know that many samurai films are shown outside of Japan, but we make no attempt to cater to that market." SWORD OF DOOM is a perfect example. It was made for Japanese audiences who are familiar with the original story which had been filmed and staged many times and was well-known. The Japanese audience is expected to be as familiar with the plot and historical details as an American audience watching a film about the Civil War or the Old West is expected to be.

Here are some plot points that may make the film a bit easier to understand for new viewers or for other viewers who previously watched it and got tripped up on some details. I know I did the first time I saw it theatrically. If you found the film difficult on the first viewing, give it another chance. And maybe these notes will help!

* In one scene, the main character Ryunosuke Tsukue changes his name to Yoshida after killing an opponent during a duel. The name change isn't explained in any detail. A subtitle simply identifies a sign outside his house as "Yoshida." Some characters now refer to him as Yoshida and others as Tsukue. Again, remember that Japanese audiences are probably familiar with the change.

* Tsukue first meets Shimada at his fencing school. Tsukue wants to challenge the student who won his match with "a splendid Do attack." This referrers to Kendo, the Japanese martial art of fencing. In Kendo, participants wear headgear and leather armor and fence with bamboo swords. Only certain areas on the body are legitimate striking points: the top of the head, the forearms, and the sides. When Tsukue defeats his opponent, Shimada says, "Men. He won." He's referring to a point scored, not addressing his students!

* In one scene, a title informs the viewer, "The Shinsen Group is formed!" The Shinsen Group (Shinsengumi) were a para-military group of swordsmen who vowed to protect the Tokugawa Shogunate which was losing its once vast power. Shinsengumi fought against anything that might weaken the Shogunate; including foreign influences and internal factions. The Shinsengumi have been portrayed many times in movies and TV shows. In some cases, they are portrayed as self-sacrificing patriots loyal to their country. In others, they are portrayed as a fascist military group killing anyone who opposes them or the Shogunate. Toshiro Mifune starred in and produced an excellent film about them called BAND OF ASSASSINS (SHINSENGUMI). Hopefully, AnimEigo will eventually release this.

* The final scene. What exactly happens? Does Tsukue kill dozens of men and then die? Does he survive to face the brother of the man he killed? Or is the entire battle only in his deranged mind? It's the last scenario. When Tsukue ran out of men to kill, his warped mind invented more. Of the three versions I've seen, (this version, a trilogy of films made in the 1950s by Tomu Uchida and another trilogy made in the 1960s by Kenji Misumi) this is the only version that doesn't explicitly show that Tsukue is imagining the final battle.

* What does happen to Tsukue? If you'd rather not find out, skip to the next paragraph. Tsukue is blinded during an explosion and becomes more of a sympatric figure. The avenging brother finally has a chance to settle with him during a violent storm. He hesitates to kill the nearly defenseless Tsukue. A flood washes Tsukue away to his death.

SWORD OF DOOM is a fantastic film to watch. The director, Kihachi Okamoto, was one of the most impressive visual stylists working in film. The final scene holds up beautifully today. The acting is excellent all around. Nakadai as Tsukue gives one of the screens best performances. Few actors could create such disturbingly nihilistic characters as Nakadai does in this performance. The character is a perfect contrast to Mifune's Shimada. Both are highly skilled swordsmen but Mifune knows that "an evil soul is an evil sword."

Now this is what a film should be...
This is perhaps the greatest non-Kurosawa (Director of: Seven Samurai, Yojimbo, etc..) Samurai film ever! (a) It has some of the greatest looking swordplay I've ever seen. (b) The protagonist is a bad guy (read: anti-hero) who looks and acts pure evil. (c) Toshiro Mifune is in it (though his part is short, he still takes out about 20+ guys in less than ten minutes). (d) Finally, it has what I would call the greatest samurai movie ending ever (what can I say, I like not knowing what exactly befalls the villain)! If just one of these does not make you want to buy this film, you're insane! My only complaint is that there is no DVD version!

Great movie, but abrupt ending!
I really enjoyed the heavy atmosphere and fight scenes in this movie, but was disappointed with the abrupt ending. I would have also liked to see more character development, particularly concerning Ryunosuke. It would have been interesting to see what the cause of his "evil" tendencies was. Overall, it was a very interesting, enjoyable movie and exposes the audience to other Japanese samurai films not directed by Kurosawa.

2 good fights, no story
First of all, I have to say that it was a very strange film. It was so poorly edited that transitions between scenes taking place in different times and places were unclear. You are watching one scene and then suddenly it's a year later, suddenly it's winter or suddenly you are with some group of people who just showed up in the film out of the blue. The film had a very strange pace -- slow moving scenes cut together like some sort of montage, some sort of loose collection of subplots that never meet.

I wouldn't have been so disappointed with the way the movie played if it wasn't for the compelling performances in it. The screen presence of Tatsuya Nakadai (Kagemushu, Ran) made it hard to look away. Though he was reserved there was an underlying madness that screamed out at every moment. His slow gait brought a horror element to every scene. It was a splendid performance wasted on a choppy film with no real story to tell other than, "This guy is evil."

[warning: spoilers]

I mentioned that the subplots never meet, that isn't entirely true but it seems so, especially at the end. There is no revenge, there is no answer - you are just left with a man gone mad. It's like they ran out of film. The final fight is brilliantly laid out, the villain lashes out like a drunk surgeon and it is a bloodbath. Then suddenly, the movie ends right in the middle of all this chaos. The character is forever trapped in a burning nest of vipers. He will forever be tormented there in my mind. Interesting but not satisfying.

The best moment in the film is the sword fight between Toshiro Mifune's character and forty assassins. Toshiro Mifune (The Seven Samurai, Yojimbo, Sanjuro, Rashomon) plays the head of a martial arts school who is training the brother of a man that the main character killed. When attacked by assassins, Toshiro slices them to pieces Yojimbo style and berates their leader. Then, he walks away unharmed.

There is never a duel between the main character and the brother of the man he killed. There is never a duel between him and Toshiro Mifune. The girl at the end isn't rescued. It isn't clear if the villain dies or not. We don't know what happened to his baby. Virtually all the subplots are left wide open. The film seems unfinished. It's crazy. I don't care what kind of statement we are supposed to get from that, there is no excuse. It's lazy. I didn't like it. I liked the two major swordfights. The rest of the movie looked cool but had nothing to offer. Watch Sanjuro again and don't bother with this film unless you really want to see the two sword fights. Toshiro's fight with the assassins was quite spellbinding.

film noir meets chambara
this film is a classic. the entire aesthetic of the film reminds me of the classic brooding dark film noirs of the forties and fifties. the antagonist of the film is doomed from the start, his evil ways eventually end up being his undoing, but not before tallying up a huge body count. sword of doom is definately a must see for samurai and film noir fans alike. ... Read more

Reviews (10)

great performances
5 stars just because the performances in this movie are so good. Uma Thurman especially. She plays it soooo well. Juliette Lewis has a boring part but still she makes it look interesting. The mother character (whoops whats her name?) Is really good too. The story is of two women trying to find love in bars in New Jersey, set in the 80s. Uma is really screwed in the head and has a habit of hurting those who care about her. Shes really high strung. Juliette Lewis is her sweet friend. Uma lives with her mother (?) Who is also sweet and sensible.

BRILLIANT...
This movie was unsettling and hard to watch...I mean that in the best way. Uma Thurman in particular was so pathetic, so clueless and vulnerable....just desperate for acceptance...it was hearbreaking. Watching her character feign happiness and mold herself and her ideals to whatever man happened to be paying attention to her at the moment had me riveted. I have never been so impressed with Uma Thurman...FABULOUS STORY...watch it.

A Major Bummer
Hysterical Blindness centers around three New Jersey women's search for love. Deb Miller (Uma Thurman) has major insecurity issues because her father abandoned her and her mother when she was thirteen, which made her really needy, neurotic and loose. Beth (Julliette Lewis) is a high school dropout and became an unwed mother at sixteen. Deb and Beth hang out at Ollies Bar, a seedy meat market where the guys are only out for one thing. They foolishly think that the man of their dreams with walk through its door. Beth's daughter Amber is more adult that she is and clearly the kid cramps her style. Deb's mother Virginia (Gena Rowlands), a waitress at Skyways Restaurant, finally finds love with Nick Piccolo (Ben Gazzara) only to loose it when Nick dies of a heart attack.

Director Mira Nair claims that this movie was a dark comedy however I found nothing comedic about it though it certainly was dark and very depressing. It ends with no real climax the characters just go with their lives as before. The best part of the movie was the romance between Gena Rowlands and Ben Gazzara. I think the actors did a good job in their roles but the director just didn't come across with the story. If you must, rent it don't buy it!

Quiet Desperation.....
The performances in this movie are brilliant, but, it also gave me the creeps. I say this because it was so dead-on accurate in portraying the neighborhood I grew up in, and, the lives of "quiet desperation" that many there lived. At the time in which this movie takes place, I was working in a factory in upstate New York. The mentality displayed in this picture, of "you're born, ya work, ya party...." is how most of the people I was around at that time unquestioningly and comformingly lived their lives. I am not crazy about most actors today, but, Uma Thurman and Juliette Lewis have always been two of the few exceptions. In this made for HBO film, they immerse themselves so totally in their co-dependant characters that there is not a sign of a *star*, nor that they are performing...they simply "are" the two lost, searching souls with nowhere to go, and no way to get there if they did. The '80's were such a tacky decade, and these girls have it all "down". Watching them flounder, knowing that they want more out of life than their circumstances have thus far allowed, but not having a clue as to how to begin change, is painful to behold. As are their sad attempts at intimacy and self validation with disinterested men who want nothing more than quick sex. Watching Uma Thurman almost beg a creepy, cavalier one night stand who's just using her to "talk to me..." is heartbreaking. When she asks the bartender "what's wrong with me?", it is not a casual comment, but, a cry from the depths. Gena Rowlands is wonderful also as Thurman's waitress mom, who probably was an early training ground for her daughters bad habits, and lack of self esteem. These are not bad people, but, they want desperately to connect, and just don't know how. Also watching Thurman's character, after another night of rejection, crawl into bed with her mother in a desperate and pained reaching out for unconditional comfort, is a very emotional moment. This movie is about depressing lives, but, is ultimately hopeful, and shows that change, growth, and possibilities can sometimes begin with something as simple as a new living room set. And, the slow realization that, while we're all vulnerable, true happiness begins from within, and, with knowing thyself. I happened upon this movie by chance, and it surprisingly and completely cast its spell on me. A wonderful character study, made into something very special because of the portrayals of Uma Thurman and Juliette Lewis. Watching actors like this is almost an honor. If this sounds like a too extravagant appraisal, it is also because it is so rare. A wonderful experience.

Just great
If you grew up in the 80s and want a little nostalgia this movie is it.The girls in this story makes you feel ashmed to be watching them they are so out of touch with anybody else in this world.We all know people like this and wonder how they keep existing.The acting is excellant.The story gets a little slow at times but you won't be able to stop watching. ... Read more

Reviews (7)

Good work, beautifully done
I was fortunate enough to see this lovely film in a theatre, rather than as a video/DVD rental.

Not much of obvious consequence seems to take place, but gradually we realise that learning and growing is taking place.

This beautiful film transports us all back to the days when we found that one teacher who inspired us to learn and grow. For me (more than 40 years ago) it was a young Miss Dey, and for the fortunate kids in the Auvergne it was Georges Lopez.

This is inspirational stuff and should not be missed.

Awesome & Incredible Captivation!!
When friends invited us to go with them to see a French documentary with subtitles, I wasn't sure what to expect...but dry and tedious came to mind. I couldn't have been more wrong!

I could watch this movie over and over and still get something more out of it each time. It ended too soon! The cinamatography is nothing short of spectacular. It is landscape photography come to life. It is portraiture with voices. And if you don't fall in love with Jo Jo, you have a heart of stone. You will become so drawn into this gem that you will feel as if you are sitting in the classroom yourself and observing what is happening first hand rather than watching a movie. And you will wish that every student in the world could have Mr. Lopez for a teacher. This movie should be required viewing for every teacher everywhere...and those who are not inspired by it should consider another profession.

It is difficult to appreciate this movie on all levels in one viewing...the artful cinematograpy, the beauty of the landscapes in all the seasons, the faces of the children, the wisdom of this wonderful teacher. This is on my list of most memorable movies...and I have a very short list. There aren't enough words to say how highly I recommend this. I'll be first in line to buy the video!

Etre et Avoir is a joy to watch
It is a pleasure to see the everyday events of classroom life in rural France unfold in all its varied details -- some momentous, some apparently trivial -- in Nicolas Philibert's gentle documentary.

It is a privilege indeed to see M Lopez at work, softspoken and consistently calm in manner, with a genuine affection for his students, and yet also having authority and commanding real respect. The schoolchildren themselves, making up a delightful cast of characters, both amuse us and move us.

A real joy.

The Best School
I don't know how we can clone M. Lopez, the incredibly great teacher in this one-room schoolhouse in France, but he is the answer to education's problems. And so is his charming schoolhouse. See this movie and then think about what throwing a few million at this school would accomplish. We need to find the Lopez's now graduating from our colleges and to make it worth their time to work with children like JoJo. He, by the way, will probably be President of France. A delightful movie whether you're interested in education or not.

An amazing, moving visual experience
(Reviewing the DVD version of this film)
I must admit, I was very sceptical about renting this movie. I feared another boring documentary, narrated by a dry, monotone, superimposed voice. Not the case at all! Wow, was I ever pleasantly surprised!

This movie is about the small community schools in France. This particular school is led by a loving wonderful teacher, for whom you may wish that you would have had or at least your children will have. The movie follows this classroom of kindergarteners to grade sixers for one year and shows the intimacy and development of this group of children with each other and their teacher. I fell in love with this group of students, especially young Jojo. He is a kindergarten student who is outgoing and charming. A lot of the film revolves around him and his interactions.

I would highly recommend this show. It will have you laughing and crying as you follow the development of these children under the tutelage of this amazing teacher. The cinematography and scenery are also breathtaking and make this movie experience well worth the rental or purchase price. Enjoy! ... Read more

Reviews (74)

Even Worse Than Gummo
I cannot fathom how this horrendous onslaught of depravity masquerading as a film has received such good reviews. There is no plot so I'll sum up what "went on": a classy lady is inexplicably married to a grotesque, low-class criminal, and she goes with him and his gang of thugs nightly to this restaurant that, if I have deciphered the terse grunts serving as exposition correctly, he owns, where he wreaks havoc on the staff and other patrons. The wife endures this for awhile and then decides to have an affair with some guy who also goes there every single night.

Throughout the entire film there are gratuitous disgusting images which never ever let up. The characters are like a child's set of Fisher Price dolls: "Nice Guy," "Nice Lady," "Innocent Little Boy," and we are expected to care what happens to them. The villain comes out looking the best because he is the only one who's not a doormat, and the lead actress (Helen Mirren) is completely unsympathetic. They could have stuck a cardboard cut-out in any of her scenes and achieved the same effect. Not only does the whole movie look like gangrene, but the actors are also purposely made unattractive, so the viewer doesn't even have that to chalk up as a redeeming quality.

I know it's supposed to be challenging and contraversial and blabla...it fails. The two stars are for Gaultier's costumes. Go buy Un Chien Andalou.

Oh my goodness!
I went into Peter Greenaway's "The Cook, the Thief, His Wife, and Her Lover" with blinders on. I had absolutely no idea what to expect as the movie started, none whatsoever. I slightly suspected the director made "art" films due to a faint recollection of a discussion I saw on a bulletin board years ago, but that was all I could remember. Heck, I thought Uma Thurman was in this film for some reason! Obviously, this was my first experience with Greenaway, a director I have since learned is noted for creating disturbing films designed to upset audiences. I'll bet this masterpiece had arty types fleeing for the doors! Boy, I wish I'd seen this in an art house when it came out. I'm used to seeing films dealing with subject matter far worse than this one, but viewers who spend their time watching pictures about relationships and strolls through a park on a sunny day aren't. Yes, Greenaway's film deals with abhorrent themes expressed in undeniably grotesque forms. Yes, the picture has ugly scenes of violence. Yes, relationships of a decidedly revealing nature play a big part in the plot. What did you expect from a NC-17 rated picture? Don't worry-you can handle it. Actually, you'll probably be glad that you sat through it because this is a marvelous movie.

"The Cook, the Thief, His Wife, and Her Lover" starts on a particularly memorable note. Big time gangster and thief Albert Spica (Michael Gambon), his wife Georgina (Helen Mirren), and his entourage pull up to the back door of a fancy restaurant run by the fabulous French chef Richard Borst (Richard Bohringer), ready for a night of fine dining and obnoxious behavior. Spica is a notorious brute, a beefy, sadistic thug who enjoys tormenting everyone around him, especially his wife Georgina. Greenaway sets the tone immediately by having a pack of dogs snap and snarl outside the restaurant as Spica presides over the humiliation of an underling. The bad behavior continues inside as Spica and his miscreants throw food, insult the staff and fellow customers, and generally make fools out of themselves. Night after night, Spica and his band of dangerous ruffians return to the restaurant, tormenting Borst and his staff as the restaurant's business drains away. No one, it seems, wants to spend an evening eating next to a guy like Spica.

One gentleman seems relatively unbothered by the ruckus a couple of tables over. Michael (Alan Howard), a scholarly looking librarian who always reads a book while he eats, simply ignores Spica's loud theatrics. When he makes eye contact with the gorgeous Georgina, however, sparks fly. Within minutes the two are in the bathroom madly pawing away at each other. The clandestine affair continues night after night, with both Michael and Georgina continually aware that Albert Spica or one of his goons could discover the tryst at any moment. Eventually, the staff of the restaurant plays a part in helping the two lovebirds meet, allowing them to use the nooks and crannies in the cavernous kitchen and deflecting any suspicions posed by Albert. Georgina uses Michael as a respite from her vicious husband, a chance to escape his obnoxious behaviors if even for a few precious minutes. Spica's wife soon finds the strength to flee from Albert, moving in with Michael in his library. The thuggish Albert flies into a rage over his wife's disappearance. It's not that he cares for her in any way (he definitely doesn't), but his massive ego cannot stand the idea of her being with another man. Spica tracks down Michael and has him murdered by stuffing pages from a book about the French Revolution down his throat. The conclusion to the film is one of the most memorable in recent film history.

After I watched Greenaway's film, I looked a few things up. Some bright film critics in England see this picture as a critique of the Thatcher years, with Spica standing in for the right wing, Georgina as England, and her lover as the hapless political left. Maybe, but I didn't see any of that in the film. I spent too much time chuckling over the coarse behavior of Spica and his goons-one played by Tim Roth in an early role, by the way-and enjoying the stunning Helen Mirren. She's so beautiful here that your heart aches over the indignities she suffers at the hands of Albert. She's also not afraid to do some daring scenes, a lesson she probably learned from her role in the Tinto Brass and Bob Guccione classic "Caligula," made some ten years before this film. If you still need to a reason to watch the movie, if the political symbolism and charged situations leave you cold, check out the great musical score by Michael Nyman and the sumptuous atmosphere of the restaurant. The colors and décor of the dining establishment take your breath away, and Greenaway further uses color by having people's outfits change hue as they walk from room to room. What does it all mean? Who knows, but it's fun to watch.

The DVD version of the film I saw didn't have much in the way of extras besides a trailer and a widescreen picture transfer. No matter, though. The movie is challenging enough to make you forget all about commentaries, stills, and any other of the usual extras. After watching "The Cook, the Thief, His Wife, and Her Lover," I would like to see other Peter Greenaway films. Unfortunately, most of them have not received a reissue on DVD. If the subject matter is as disturbing as this film, no wonder! I recommend renting this movie and then inviting some friends over to watch it. Don't tell them anything about it beforehand, though. Just sit back and watch the jaws drop.

Great Film; has it aged well?
Remember seeing this film when it first came out and loving every aspect about it - from the artistic direction, sets, costumes, music to the story line. Now, more than ten years later, after watching the DVD, I've noticed that the movie isn't as shocking as it was the first time around. I still wish the DVD version had subtitles in order to fully understand the thick, heavy British accent. Still, the movie can be enjoyed without even understanding the dialogue - almost as if it were a Silent movie.
And after ten years the only thing about the movie that looks aged are the trendy costumes that Gaultier designed.
The film's visual imagery continues to be its strongest asset with allusions to the Flemish and Spanish Masters of the Baroque Era

disgusting trash
Yuk! How do I give this a negative 5 star rating?

i got a question.
i want to buy "the cook,the thief,his wife & her lover",but i
want to know if there's an audio french version,or subtitles;if
it is,i'll buy it right now. ... Read more

Reviews (2)

Iranian Formula - Kurdish Faces
This film garners a lot of praise in film circles, but I wonder if it isn't more a result of its novelty as the first Kurdish feature film than of anything that actually happens on screen.
Though a decent depiction and sympathetic portrayal of the bleak surroundings and life of a community of Iranian Kurds, the film is essentially similar to a lot of work that Majid Majidi has done, though it lacks his cinematic flair and storytelling skill. Surprisingly, for an amateur cast, the acting is pretty good (compare this with the abysmal acting in the vastly overrated film "Kandahar" by Mohsen Makhmalbaf), and the camera work is not bad, but again, there is nothing particularly novel or interesting about this film other than that is Kurdish. There is something almost patronizing about the praise that has been heaped on this film. It is as if no matter what a Kurdish director produces, it is going to be praised for its very existence, not as a work of cinema in and of itself. I personally think Bahman Ghobadi could have done a better job, and hopefully he will attempt to depict Kurdish life in a more dynamic and unique way in his next film.

For a story of REAL life for the world's poor...
This is a film with no noticable special effects, just people, places, and cameras. Basically, a two brothers and two sisters are left orphaned when their father dies in a smuggling incident (their mother died before the film began). Their aunt and uncle help arrange a marriage for the oldest sister, with a Kurdish family across the border in Iraq. They assume that this family will take the oldest brother, who is severely mentally and physically disabled. They don't, and the younger brother and sister try to scrape and save money to get him an operation so that he will live a little longer.

The name of the film comes from the fact that the conditions in the mountains are so bad that the smugglers have to get the mules drunk so they'll go.

This movie ends in uncertainty, rather than having the tidy plot and finish so common in American movies. I highly recommend it. ... Read more

Reviews (535)

Unpretentious Scifi/action fun
OK - so the 5th Element isn't 2001, or even Aliens. As noted in other reviews, there's certainly a lot in this movie that seems to be superfluous or never adequately explained. This is a fantastic ride, despite these minor flaws (if, unlike me, you see these things as flaws).

If you hate Bruce Willis, then take a pass on this one. "Corbin Dallas" is a mix of his roles in Die Hard & The Last Boyscout, but much, much lighter in mood. Think "Hudson Hawk suffering from depression."

Gary Oldman does his usual bang-up job as villain, and Milla-whatshernameovich's Leelo stands out from her initial introduction until the final minutes of the film. Their strong performances more than compensate for the bizarre and fortunately brief appearance of Luke Perry.

There's a bit of a forced moment when Leelo "realizes the horror of human war" by speed-viewing Time-Life magazine photographs, but this is fortunately over fairly quickly. Despite this attempt to inject some sort of meaning or conscience into the movie, the fun soon resumes.

The visual effects are quirky but excellent, ranging from the cheesy "Taxis of the Future" to the ethereal "Cruise Ship of the Future." The opera scenes also carry a heavy visual impact. I must admit, however, that I may feel this way due to my affinity for the color blue, and the fact that this scene arrived just as the majority of the Christian Brother's kicked in.

The soundtrack has to be mentioned. I would despise much of the music on its own, but it is so cleverly intertwined with the visual aspects that it lends an enormous weight to the film. Of course, the aria is unforgettable, but in a strange way, so is the weird dance/house/acid/funk thing during the "robbery attempt".

The one, truly unfortunate aspect of the film is the Chris Tucker character. In fact, I have to consider the Fifth Element to be a masterpiece simply because I didn't kick it out of the DVD as soon as he appeared. However, to punish (in a small way) the powers-that-be for encouraging him in any way, I'm deducting one star from the total.

In summary, if you have to have meaning & depth in your motion pictures, go watch Das Boot, or better yet, read a book. The Fifth Element may not be Clarke&Kubrick, but it's a great deal more entertaining.

"What mission?" "To save the world."
What is a great movie anyway? Something with a deep inner message, complicated plot, hours of intellectual oddessy? Or could it simply be something that brings a smile to your face and quenches your need for some action, romance, and sweet special effects?

If you feel it to be the latter, this is the movie for you. A non-stop roller-coaster ride from start to finish, the fifth element is everything a great action flick SHOULD be. It has a beautiful girl, a world in peril, a grim but likeable anti-hero lead, and tight special effects and musical score to ice the cake. Granted, this movie is a little weird, and some parts you will either love or hate (I personally love the bad guy with a sourthern accent but find I myself a little bugged by the radio personality who can't seem to shut up).

Many have said it before, but I'll say it again. All DVD versions of this film have PERFECT picture and sound. PERFECT. 1