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This highly entertaining update of the 1960s television series stars Harrison Ford as Dr. Richard Kimble, a man wrongly convicted of the murder of his wife, and Tommy Lee Jones as the federal marshal who pursues him after Kimble escapes during a train wreck. Director Andrew Davis (Under Siege) oversees some dazzling stunts and effects: the train accident alone makes the film worth seeing. But the real draw is the film's complement of strong personalities in Ford and Jones, each playing intrepid characters out to get their man. This is one of those rare films where everything completely clicks. The DVD release includes optional full-screen and widescreen presentations, cast bios, Dolby sound, optional French soundtrack, and optional French, Spanish, or English subtitles. --Tom Keogh ... Read more

Reviews (126)

Fugitive is Dr. Richard Kimball: Go get this movie.
If I were stranded on a desert island and all I could have was my abysmally sparse movie collection, I would make sure "The Fugitive" was in it. Thankfully, it is. This is one of the most entertaining and engaging movies ever, far superior to a lot of movies playing these days. For the few of you who don't know the plot, I'll run it past you without spoiling much...

The story revolves around a Chicago surgeon named Dr. Richard Kimball (Harrison Ford) who is convicted of murdering his wife (Sela Ward). He pleads innocent, claiming that a one-armed man committed the heinous crime (the opening sequence, showing the murder in flashback style, is chillingly realistic). Well, no one believes the good doctor's alibi, and he is sentenced to death. However, after his prison bus crashes into a train, he escapes back to Chicago to find the murderer, while keeping away from US Marshal Sam Gerard (Tommy Lee Jones) and his team of deputies.

Having never seen the old TV series, this movie was nevertheless fantastic. The thrills just keep coming, as well as the tongue-in-cheek humor, courtesy of Tommy Lee Jones and Joe Pantoliano (as Cosmo, Sam's deputy), who really steal the show in a lot of scenes. The screenplay is obviously very sharp. The train-and-bus wreck will take your breath away, as will the waterfall sequence. Aside from these action scenes, it's great that this movie is shot in Chicago, one of the greatest cities in North America. Sorry, personal bias, I loved Chicago when I visited a couple years back. The acting is very well done, and the characters are very three-dimensional. Sometimes it feels like you're watching a modern "Les Miserables". Nice transition from action thriller to action-mystery as the film enters its second half. If you follow the plot, which is fairly easy to keep up with, the ending will shock you. All in all, "The Fugitive" is definitely worth the bang for your hard-earned buck. If you haven't seen this wonderful piece of movie-making, do so ASAP.

Quality-wise, the DVD is pretty good. Director Andrew Davis does a cool little documentary on how the train wreck was filmed.

MOVIE-10/10
DVD EXTRAS-8/10

Ford hits another home run
Ditto what that other reviewer said: this is another great Harrison Ford vehicle. They really DON'T make movies like this any more. It needs not typical DVD additions, not cut scenes, not trailers, or interviews.

Back in the day, Wednesday morning school was dominated by the discussion of the latest episode of "The Fuge" from the night before. This is the only film I can think of which actually did justice to the classic television show from which it sprang.

Tommy Lee Jones is a fantastic U.S. Marshal Sam Gerard. He appears not to be obsessed with the capture of Dr. Kimble (as was his television predecessor, portrayed by Barry Morse). Nonetheless, we get the feeling that he brings the same determination to every case he has. Ford once again is the "everyman" (if a doctor who gets sent to prison for killing his wife and then escapes can be thought of in those terms) who prevails through all manner of adversities. [As an aside, I wonder how well Ford could stretch himself - could he ever be convincing as a real bad guy, like a John Malkovich or Anthony Hopkins?]

This movie has a lot of pluses. It is a great story, updated from one of the sixties' best shows. Sure, there were great stunts. The bus crash/train wreck was stunning (made even more so by seeing Ford almost comically hobbling along, trying to outrun the carnage while wearing leg shackles).

However, it is the competition between the two dogged adversaries Jones and Ford that makes this work. They are one real pair of incredibly strong personalities- (and screen presences) Nothing better than the sequence in the dam early on with Ford protesting his innocence and Jones equally sincere reply "I don't care". Both smart, even though Jones hides his behind a gruff and self-deprecating exterior. The good and decent Doc must be determined (after all, it is his can on the line), but seeing him persevere - hiding his own persona in a hospital, evading the police while tracking down the one armed man is intense, even though we know the outcome.

Great editing; especially when we think the Marshals are getting close to the big bust, and we find out that they are actually making a collar across town.

This one is a winner.

A classic action thriller
What makes "The Fugitive" such a successful and superior film is that it knows what it is: an action/mystery film. It makes no attempt to make itself bigger or more intellectual than it is (as did the American version of "The Vanishing"). Harrison Ford, surprisingly underplaying the role of Dr. Kimball--others might have overworked his grief and angst--turns in a brilliant performance. And the always reliable Tommy Lee Jones does an icy, sparkling job as Kimball's persuer, US Marshal Sam Gerard. So good a performance that he earned a well-deserved Oscar for it.

The other key to the movie's success is Andrew Davis' dazzling direction. He keeps the pace frenetic for a good deal of the film, and the pot is always kept boiling. Close calls and intense chases keep the tension and suspense at fever pitch. "The Fugitive" will endure for a long time as a classic action thriller.

I did not kill my wife
That is well known sentence from this action hit which put an Oscar in hands of Tommy Lee Jones. Somebody killed dr. Richard Kimble's (Ford) wife, but all clues are against him. After all, who can be stupid enough to say that - One arm man did it?! His escape after bus accident will be his second chance to proove his innocents. But, that will be damn hard. Especially because after him is federal marshal who "doesn't care" about anything, except to bring the fugitive back (by any costs). Kimble will discover that he was in strong net made of lies and conspiracy, and that his only way out is to find proofes to clear his name and bring killer in front of justice. Jones supposed to be a good guy, but you'll hate him all the movie (well, it's not his falt, he's just good actor). Harrison is great, older, but still in good shape. Since Indiana Jones, he never has better role than this. You'll be right next to him, trying to solve the puzzle, hoping that he will succeed to find who ruined his life. Excellent story, good locations and ideas. Definetly collection material.

Train Wreck of Action
This is one of the best-crafted action/suspense films I've ever seen. I've viewed this many many times and have been rewarded each time by picking up on different subtle nuances.
Every element of this film works in unison and are what make this a great film and give it the punch that it has. There's the story which is as finely crafted as they get, a cast that couldn't have been any better (and boy do the actors deliver in their performances), tight pacing, great photography, and some unbelievable effects.

This is a modern masterpiece! ... Read more

Amazon.com

Frederick Forsyth wrote the novel and screenplay for this story about a plot to stage an enormous nuclear accident in England, a catastrophe so large that its source can never be identified but will lead to assumptions that America is behind it. Michael Caine plays an aging intelligence agent who picks up clues that the ingredients for such an apocalypse are being smuggled piece-by-piece into the U.K.--but he cannot seem to get his superiors to care. Caine is outstanding in a role that seems tailor-made for him, and Pierce Brosnan is very good as the Russian agent working undercover in England to effect the planned tragedy. The film perfectly captures a spreading suspicion and resentment toward superpower adventurism, even though such sentiments are, in fact, being exploited by the bad guys. Caine, as always, suggests a man walking a narrow line through a gauntlet of moral compromises. --Tom Keogh ... Read more

Reviews (12)

A very good action-thriller
This is a really good suspense-thriller (based on the Frederick Forsythe nove) which involves a ruthless Russian agent (Pierce Brosnan) who is sent on a mission by a KGB operative to smuggle in and detonate an atomic bomb at the British NATO air-base in hopes that the British will kick out the American bomber-force and thus disrupt NATO. Michael Caine replays his Ipcress File character and plays a smart British operative who stops Brosnan. I enjoyed this movie because it has a plot that makes sense, and it is well-acted and well-directed. If you are fans of Pierce Brosnan, you would enjoy this movie because Brosnan plays a ruthless Russian agent who does not hesitate to use his "license to kill." If you are fans of Michael Caine, you would definitely like this one. The only thing I did not like about the movie was its inexplicable and abrupt ending. Other than that, I felt that it was a suspenseful movie which built up to a good climax. This is one of the better pre-Bond Brosnan movies. Incidentally, Roger Ebert gave this movie three and a half stars.

The greatest spy movie of all time
This is the greatest spy thriller ever produced. Pierce Brosnan is the quintessential cold-blooded, mission-bound, Cold War era Soviet spy. And Michael Caine is superb as an exasperated, mid-level British intelligence agent, on a fast-track to burnout. There were some good supporting performances, but Brosnan and Caine carried the show; they were at the top of their game in this nailbiter. Had Brosnan not been under contract with the Remington Steele show at the time (before 007 went p.c.), and the Bond franchise got its wish, he would have been the greatest Bond, too - you can see it so clearly in this show. Frederick Forsythe wrote The Fourth Protocol, and it was excellent, and the movie followed it faithfully. This same textual fidelity served the industry and fans well with another of Forsythe's works, The Day of the Jackal (the original, not the remake with Bruce Willis and Richard Gere, which was trash). If you like well-conceived, well-written, and well-acted spy movies, this is it. Everything else is make-believe.

Why do British actors make the best movie spies?
After watching THE FOURTH PROTOCOL, I'm left wondering why British actors seem to make the most accomplished spies in releases for the Silver Screen, both big and small. In my mind, the top trio is Michael Caine (as Harry Palmer), Sean Connery (as "007"), and Alec Guinness (as George Smiley). Perhaps it's because, in real life, the UK's international spy agency, the Secret Intelligence Service (MI6), has so much more traditional panache than the Yanks' CIA. In MI6, martinis are no doubt "shaken, not stirred". It wouldn't surprise me to learn that the drink of choice in the Central Intelligence Agency is simply light beer.

Here, Michael Caine plays John Preston, a domestic Security Service (MI5) agent on the wrong side of his boss. After being banished to Ports and Harbours, Preston stumbles across evidence that the Soviets are smuggling an atomic bomb into the UK. And indeed they are, as part of a renegade plot by KGB Director Govershin (Alan North) to re-heat the Cold War during the days of détente in the late 1980s. Govershin's infiltrates his superagent, Valeri Petrofsky (Pierce Brosnan), who's assumed the English identity of James Ross, to co-ordinate assembly of the explosive device next to a U.S. air base that stores nuclear bombs. Detonation of the Red nuke will thus be blamed on American carelessness, causing stress on the Anglo-American alliance.

More than a decade after the collapse of the U.S.S.R, the plot of THE FOURTH PROTOCOL, which is above average in entertainment value, approaches being quaint, though the danger of a "suitcase nuke" remains real enough in today's world of pan-national terrorism. The real joy of the film is watching Caine's portrayal of the cheekily insubordinate Preston. (Cheekiness is what defines Caine's acting style and makes him so consistently engaging.)

Brosnan's Petrofsky/Ross is baby-faced and not much beyond just sullen. Pierce has yet to acquire the patina of age that makes him one of the better, though never the best, James Bonds. (Brosnan, sure and begorry, was born in the Republic of Ireland, and is decidedly not British. Perhaps his best spy role - and it was truly excellent - was as the Bond-gone-to-seed secret agent in THE TAILOR OF PANEMA.)

Also eminently watchable is Ian Richardson as the MI6 wallah who has more use for Preston than the latter's boss. (Richardson, if you recall, played the Soviet's mole in MI6 in the refreshingly intelligent TINKER, TAILOR, SOLDIER SPY, in which Alec Guinness debuted as superspy George Smiley, my most favorite of that actor's screen roles.) I'm always mesmerized by Richardson as his character of the moment swings from smooth charm to understated menace.

Michael Caine's ability to play a believable spook has evolved over a continuum from such of his early films as FUNERAL IN BERLIN and THE IPCRESS FILE to the relatively recent THE QUIET AMERICAN. Whereas Sean Connery has abandoned the genre, and the late great Alec Guinness limited his participation to TTSS and SMILEY'S PEOPLE, Caine continues to venture into the espionage shadow world and THE FOURTH PROTOCOL is a rewarding mission impossible from the past.

IMPECCABLY CRAFTED SPY THRILLER WITH TENSE DRAMA
Michael Caine and Pierce Brosnan in a cold war spy thriller...you know with those credentials you're in for some topnotch cinema and The Fourth Protocol does not disappoint.

The "thriller" face of the movie is cleverly crafted, it absorbs the viewer with long stretches of drama. The theme veers around the politics of the cold war and the power struggles of governments, both within and without.

As such, the film is thus more about the political conscience and the mindgames of those involved in international sabotage than it is about exploding bombs or rattling guns, a point which some reviewers obviously missed when they lament the lack of "action".

The beauty of the film is in its character development. Brosnan's rendition of a dark, brooding Russian with an outwardly cheerful disposition and a perfect British accent, is marvellous. One can see why he is where he is today as an actor. Michael Caine, needless to say, is sharp yet amusing as an independent-minded but loyal British secret services officer.

A fascinating rental if you aren't expecting a Lethal Weapon. This is so much more of a thriller and so much less of Hollywood.

First Rate Cold War Thriller
I first saw this film on the same night as -- and as an antidote to the utter silliness of -- Kevin Costner's "No Way Out" (don't get me started). It was by far the better film. Like most movies made from Frederick Forsyth novels ("Day of the Jackal," "Dogs of War," "The Odessa File" etc.) the film cannot be expected to convey all the detail of the book, but serves as a useful introduction to it. It is in any case clearly better than most films on similar themes because the novel on which it is based is so carefully crafted and well researched. Although the Cold War is over, the combination of terrorism and weapons of mass destruction that the film protrays can certainly resonate with modern audiences. Both Pierce Brosnan and Michael Caine are excellent in their roles. My only questions are: Why is this film only available on DVD in Europe? And why are the European (Region 2 - PAL) versions not issued as a single DVD with multiple language tracks (E/Fr/G/Sp/I is customary) instead of one separate (expensive) DVD in English only ("The Fourth Protocol") and a less expensive DVD in German only ("Das Vierte Protokoll"). Who makes these nutty decisions, anyway? When the US DVD is issued (and I hope soon) it should have E/Sp/Fr/Port languages and subtitles. If the distributor wants to do us us a real favor it should add the German language track and subtitles, since the these are already available in the European version anyway. Do have a look at this film, however -- it is a very good and unusually intelligent thriller, and the book is even better! ... Read more

Amazon.com essential video

At his best, director John Woo turns action movies into ballets of blood and bullets grounded in character drama. Face/Off marks Woo's first American film to reach the pitched level of his best Hong Kong work (Hard-Boiled). He takes a patently absurd premise--hero and villain exchange identities by literally swapping faces in science-fiction plastic surgery--and creates a double-barreled revenge film driven by the split psyches of its newly redefined characters. FBI agent Sean Archer (John Travolta) must play the villain to move through the underworld while psychotic terrorist Castor Troy (Nicolas Cage) becomes a perversely paternal family man while using every tool at his disposal to destroy his nemesis. Travolta vamps Cage's tics and flamboyant excess with the grace of a dancer after his transformation from cop to criminal, while Cage plays the sullen, bottled-up agent excruciatingly trapped behind the face of the man who killed his son. His attempts to live up to the terrorist's reputation become cathartic explosions of violence that both thrill and terrify him. This is merely icing on the cake for action fans, the dramatic backbone for some of the most visceral action thrills ever. Woo fills the screen with one show-stopping set piece after another, bringing a poetic grace to the action freakout with sweeping camerawork and sophisticated editing. This marriage of melodrama and mayhem ups the ante from cops-and-robbers clichés to a conflict of near-mythic levels. --Sean Axmaker ... Read more

Reviews (284)

Face Off DVD
The DVD of FACE OFF is one of the best, and a must-buy on the format. John Woo, uber director of The Killer (1989), Hard Boiled (1992) and Broken Arrow (1996) proves that even after the move to Hollywood, he still knows how to create fantastic action and Face Off is no exception. Building on the good but not great BROKEN ARROW, this one is a fantastic action ride. The film stars Nicholas Cage as Castor Troy, a villain, and John Travolta as agent Sean Archer, the only man who can stop Castor from unleashing a nuclear device.
Woo's trademarks are all present here: slow-mo gunfights, explosive action and those perennial doves. And both Nic Cage and Travolta are brilliant, especially Cage, whose eccentric performance is one of his most unrestrained and outstanding. One of the best (If not THE best) action films ever made. Excellent.
The DVD extras are sparse, with only a trailer. One hopes a future re-release will come soon...

Face/Off
Director John Woo's famous big-budget action-packed flick.This is the film that put John Woo on the map in America.Packed with guns, bullets, bombs, explosions and action scenes that are so original there choreographed like a ballet or a dance routine.

FBI agent Sean Archer (John Travolta)has been trying to apprehend terrorist, Castor Troy (Nicolas Cage) ever since he murdered Sean's son six years ago.Sean apprehend's Castor during a violent shoot-out in an airport and as a result of this puts Castor into a deep comma.Sean then undergoes new surgery involving swapping faces with Troy.He does this to try and find out where Castor has planted a deadly bomb hidden somewhere in L.A.Castor awakes from his comma, with Sean's identidy and takes over his life.Sean(really Castor) disarms the bomb which he planted and becomes an instant hero.Meanwhile Castor (really Sean) is a high-tech prison trying to find information about the bomb from Castor's brother, Pollux (Alessandro Nivola).Since Sean(Castor) has destroyed all evidence about the surgical swap, Castor has to try and break out of prison.Not only does he have to fight for himself but for wife Eve (Joan Allen) and daughter Jamie.

This is a superb film with enough plot to become a series.It does sound far-fethced in places but John Woo makes it believable and real.Great performances all around including the two main stars, Joan Allen and the sexy tough female Gina Gershon.

face off
he best movie in the ear 1997 it is perfect action good and adventure good nice acting for john travolta and nice acting for nicolas cage

One of my all-time favorite action films!
Place this modern action classic up there with DIE HARD, SPEED, and THE NEGOTIATOR as one of my personal favorite action films.

Before watching FACE/OFF completely, I had taken a look at one of director John Woo's Hong Kong action epics, THE KILLER. I must say, I prefer FACE/OFF better. Sure, both films have that same over-the-top operatic style, but at least FACE/OFF isn't as shamelessly sentimental as THE KILLER was. In THE KILLER, Woo's main characters both demolished hundreds of extras in graphically bloody style, and towards the end it got a bit too much even for me. In FACE/OFF, the gore isn't quite as graphic, and while the body count is still pretty high, it never got to the point that I was disgusted.

I'm not a knee-jerk admirer of John Woo as some people are. That slow-motion technique of his can become wince-inducingly excessive, especially now that many lesser action directors have started to rip off his style. In this case, though, one is too engrossed in the plot and in awe of the high-energy action staging to notice.

Of course, most people probably already have an idea of what the plot is about: criminal Castor Troy (Nicolas Cage) dies, but he has planted a bomb somewhere in LA, so obsessive detective Sean Archer (John Travolta) literally swaps identities with his arch-nemesis to go undercover at a high-tech prison to find out where that bomb is. Obviously, this situation leads to various complications as Troy wakes up from his coma, takes Archer's face, kills the doctors who performed the operation, and then tries to find Archer. It's the typical body-switch, and I would be remiss to mention that Troy is responsible for the death of Archer's son many years ago, and thus Archer has a vendetta against him that explains his obsessiveness.

It's a potentially laughable premise, but the actors and director make you buy it. Travolta and Cage are both convincing and have a lot of fun playing each others' characters, and the supporting cast is just as believable. The script, by Mike Werb and Michael Colleary, may have its bum dialogue lines here and there, but it's filled with ingenuity, plot-wise, as Troy tries to fit in with Archer's family and Archer tries to function in a prison. And of course the script gives director Woo plenty of leeway to go all-out with action scenes, and Woo does not disappoint, giving us plenty of stylish gunplay and loud explosions for about three action films, and even an audacious soundbite of "Over the Rainbow" as characters blow each other away. Woo sure lets his inventiveness run free here.

So okay, the film may be a little overlong, and that final gun battle at a church is perhaps too reminiscent of a similar battle in THE KILLER, right down to the flying pigeons motif. But all its flaws are forgivable in this case, since the movie is so thrilling matters of logic fall by the wayside. FACE/OFF may not be Woo's best film ever (I haven't seen HARD-BOILED yet), but it's pretty close to it, and in comparison to other modern action films, it stands pretty high there too. It'll ceratinly forever be one of my favorites. Recommended.

Action as Art
While the plot of this movie is relatively interesting, this movie is really about two things:
First, the lead actors get to do the characters they do best as fully as they know how. Cage is his typical, neurotic, repressed, and emotionally conflicted self. Travolta hams it up in the outlandish, larger-than-life way that he often does. Despite what could be seen as overacting by both the leads, the almost absurd disparity between them is one of central things that makes this movie work.

Second, this movie has the most beautiful action sequences of any action movie I have ever seen (excluding epic-type movies, i.e. LOTR, Star Wars, Braveheart, etc.). This is a film that knows it's an action movie and revels in it. The cinematography in the fight scenes simultaneously displays the nature of the characters and the intensity of the battle between them. There are so many moments when you will just delight at the visual art that is every action sequence in this film. Needless to say, this movie has all the gunfights, fistfights, chases, and large explosions that one would expect in a serious action film.
If you like action movies, this is the first one I would recommend. ... Read more

Description

Agatha Christie and an all-star cast make foul deeds fun when a malevolent matriarch is murdered on a 1930s Holy Land tour. Starring Peter Ustinov (as Hercule Poirot) Lauren Bacall and John Gielgud. Year: 1988 Director: Michael Winner Starring:Peter Ustinov, Lauren Bacall, Carrie Fisher ... Read more

Reviews (10)

Great
This is another Christie classic.There are great performances by Peter Ustinov,Lauren Bacall,Piper Laurie,Hayley Mills,and John Gielgud.Another great movie with Ustinov as Poirot.I recomend this.

Peter Ustinov's last as "Poirot".
After the success of Death On The Nile (1978) and Evil Under The Sun (1982) and three tv-movies Thirteen At Dinner (1985-tv), Dead Man's Folly (1986-tv), Murder In Three Acts (1986-tv), Peter Ustinov returns as Belgian Detective, Hercule Poirot for the sixth and final time in this motion picture, Appointment With Death (1988). Piper Laurie is a wealthy, well-to-do woman at the reading of a will by her attourney (David Soul, original "Starsky & Hutch" tv series) of her dead husband. There are two wills. One will means less money to the widow and the step-children get an amount. In an act of blackmail, the attourney is forced to destroy one of the wills. Why does this woman put her "medicine" in a poison glass bottle. David Soul, the attourney, is having a romance with one of the widow's adult step-children. Cast also includes: Lauren Bacall, Carrie Fisher, John Gielgud, Hayley Mills (The Moonspinners), Jenny Seagrove, Nicholas Guest. Filmed in Israel, London and Italy.

He's bacccccccccck
I really enjoyed "Evil Under the Sun" and "Death on the Nile". However, this one was a very big disappointment. Not much of a story, not a good cast, poorly written with a horrible sound track. There was no suspense and no characters I really care about (except the doctor and Gielgud who would be interesting if he just stood there). It was hard to stay with it but I did. Ustinov looks tired and the rest look bored. Sorry to say, unless you are a collector who wants all of the film Ustinov endeavors (as I did), you will not be missing anything if you dont buy it.

The Murder of a Matronly Matriarch
The matriarch of a brood of ineffectual children lords it over them and bullies them almost beyond enduring. They put up with their stepmother because their father's will left everything to her (or did it?) and the children are such wimps they cannot support themselves. Did I mention that the matriarch was once a matron in a women's prison? By the time ...gets bumped off, the viewer will be ready to cheer. But every child has a motive (the money), the means (access to mom's medicine for the overdose), and the opportunity (nobody has an alibi). There are even a few bystanders with ample motive. Not to fear, the redoubtable Hercule Poirot is on the scene to untie this whodunnit's Gordian Knot. He eavesdrops on everyone's conversations, rakes everyone over the coals with his scathing interrogations, and handily exposes the killer.

This all happens in the Middle East, as Poirot vacations in the Holy Land. The environs of Jerusalem provide some beautiful background, and the viewer visits the dusty digs at Qumran, the site of the discovery of the Dead Sea Scrolls. The movie follows the book pretty well, but I was disappointed that the producer moved the scene of the murder from Petra to Qumran. The beautiful architecture of Petra would have made for more satisfying visuals than the excavation holes of Qumran. Remember the fabulous building in the side of the mountain from "Indiana Jones and the Last Crusade?" That's Petra.

Peter Ustinov serves as a passable Poirot, but he's too big and too unkempt to capture the charm of Christie's Poirot. David Suchet, star of the A&E Poirot series, sets the standard against which all other video Poirots must suffer. Lauren Bacall almost stole the show with her rendition of an American-born M.P. who tried to out-English the native born English.

poorly acted adaptation
Ustinov doesn't look remotely like Christie's Poirot, but never mind that. It is the ensemble cast that trashes this film, a group of summer actors who read their lines like they are reading graffiti on the rocks. The figure that should provide the menace of the book -- the evil Mrs. Boynton -- is laughable.

Skip it. Wait for a more modern adaptation or just reread one of the classic Christies. ... Read more

Amazon.com essential video

This seminal 1988 thriller made Bruce Willis a star and established a new template for action stories: "Terrorists take over a (blank), and a lone hero, unknown to the villains, is trapped with them." In Die Hard, those bad guys, led by the velvet-voiced Alan Rickman, assume control of a Los Angeles high-rise with Willis's visiting New York cop inside. The attraction of the film has as much to do with the sight of a barefoot mortal running around the guts of a modern office tower as it has to do with the plentiful fight sequences and the bond the hero establishes with an LA beat cop. Bonnie Bedelia plays Willis's wife, Hart Bochner is good as a brash hostage who tries negotiating his way to freedom, Alexander Godunov makes for a believable killer with lethal feet, and William Atherton is slimy as a busybody reporter. Exceptionally well directed by John McTiernan. --Tom Keogh ... Read more

Reviews (189)

Die Hard is one fast spectacular wild ride.
This is it the masterful film that started all terrorist films and gave them a genere. John McTiernan's fundimental action film is a classic action aventure film that made Bruce Willis an overnight star.New York City cop John Mclane is vacationing over the holidays to see his wife and spend time with his family ,his wife played by Bonnie Bedilia (Holly Gennero).But just as John Mclane is enjoying his vacation a group of terrorists , take over the 30 story highrise and declare war now tired and trapped, he is the only hope for his estranged wife and the other hostiges who are being held by Hans Gruber played by Alan Rickman. John has the experience for mortal combat and antiterrorist tactics his only support is officer Powell a officer that is on the scene. With only a handgun and what he seemingly gets from the terrorists he launches his own one man war with the terrorists. Bleeding and bruised he attacks dissapears and reappears to attack again and with the brains and intelligence of a cop if there's one thing John Mclane is it's that he's hard to kill and as tough as steel taking out the terrorists like flies in a spider web it's only a matter of time before Mclane makes the terrorist his prey. Bruce Willis plays John Mclane with style making him compareable with Clint Eastwoods Dirty Harry but infact this is the best cop movie since the likes of Dirty Harry. The specal edition has fun and interesting options such as an editing feature
where you can edit chosen parts of the film it's as if you have your own film school in Die Hard, other features are sound editing and a vault of deleted scenes and a branching version of the film.If you want an action classic then this film is the one your looking for amazing special effects and incredible action make Die Hard a must have for any DVD owner so get your popcorn buckle up and get ready to be blown out of your chair!.

Extra power, extra punch for an already hard-hitting film
Sure, this first installment of the Die Hard trilogy came to theaters 13 years ago, but to add freshness to this classic action ride, director John McTiernan and his crew technical craftsmen and producers have united to bring the power of INTER-action to the DVD viewer in their own home.

You, the viewer, can examine and re-examine, review and re-edit bits and pieces of the film in the editor's workshop section. Believe me, you've never seen anything like this before. Besides being fun to have the power over what you're manipulating, an added appreciation for the craft of editing is easily achieved. The entire screenplay is also on the second disk, word for word as it originally was handed to the actors. This allows the views to see how the script evolved in the hands of those who made the film. The usual outtakes, bloopers, and deleted scenes are here (fairly standard nowadays), too. Commentary and behind the scenes words from those who were there are also here for your enjoyment.

The best appreciated bonus is the amazing clarity of the digital transfer. Cinematographer Jan de Bont's dark and moody work is seen sharper and clearer than anything which could have been put on a silver screen in any cinema house. The full-bodied sound is spectrually sharp and defined. This is how all film experiences should be.

If you're tired of DVDs which are little more than "theatrical trailer, feature, and scene selection" (and SOOOOO many are just that), then get your hands on this special set right away and see what the DVD experience is all about. For those who don't yet own DVD, this would be the perfect excuse to invest in a player. My only warning would be to not expect all these fabulous goodies on every DVD you buy--for now. I know this set is going to revolutionize the way companies package and "re-package" their upcoming DVD releases.

"Do I sound like I'm ordering a pizza?"
John McTiernan's "Die Hard" is one of the more celebrated entries in the action-adventure genre. Yet, the film upon close inspection is really just another "shoot-'em-up" production that ultimately wears out its welcome long before the final baddie is gunned down.

John McClane (Bruce Willis) is a New York police officer who has arrived in Los Angeles for Christmas. His wife (Bonnie Bedelia) has accepted a vice-president position with Nakatomi Corporation. While McClane is attending a Christmas party at his wife's new office building, a group of terrorists led by Hans Gruber (Alan Rickman) seize the high-rise so that they may steal millions of dollars in negotiable bonds. McClane takes it upon himself to defeat the terrorists and free the hostages they have taken.

"Die Hard" does introduce some novel aspects to the genre - it's a nice change of pace to see an everyman hero instead of the typical secret agent or military super-soldier at the center of an action film, it's nice to see an action hero with a sensitive side, and it's also nice to see a villain with a degree of sophistication. But "Die Hard" intermixes these elements with so many loud explosions and gunfights that one becomes numb after awhile. Throw in too many supporting characters who are deficient in the intelligence department and one inexcusable resurrection at the end, and all you're left with is a film that is great to look at but nothing more. Willis more than proves he can play an action hero and Bedelia adds a welcome degree of charm to the proceedings. Yet, "Die Hard" turns out to be only a smidgen better than its action contemporaries from the period and that is not enough to make it something special.

As Good As Action Gets
In 1988, a film was released that changed the face of action films forever. That film was "Die Hard".

"Die Hard" is, quite simply, as good as an action film can be. Just what makes this movie so different from all the other generic rip-offs out there? "Die Hard" has just the right blend of witty, intelligent writing (yet still not forgetting the profanity), exquisite acting, intense plot twists, and just the right amount of bloody killing. And to top it off, all of this expertly directed at break-neck speed by John McTiernan.

This DVD gives the film a cleaner, newer look, keeping it looking fresh and exciting for the digital era. The sharper picture and sound maybe even add a little something.

After "Die Hard", every action movie was just a wanna-be. They try to mimic what "Die Hard" managed, but never even come close. (This group of films even include the two sequels the film spawned.)

If you're looking for something fun, intense, intelligent, action-packed, and maybe even a little graphic, look no further than the legendary "Die Hard".

Die Hard (1988)
Director: John McTiernan
Cast: Bruce Willis, Alan Rickman, Bonnie Bedalia, Alexander Gudonov, Paul Gleason, William Atherton, Hart Bochner, James Shigeta, Reginald Vel Johnson.
Running Time: 132 minutes.
Rated R for extreme violence, language, and brief nudity.

Fresh of his success with the popular television series "Moonlighting", Bruce Willis takes his stab at the motion picture business with full force. "Die Hard" works on many levels--mainly as an action flick with a powerful leading star that adds a touch of normalcy and humor--but it also discusses more important views such as the criticism of the culturization of Japanese technology that was taking place at the time as well as the horrific, ongoing threat of terrorism. It s a film that shows just how vulnerable any business or workplace really is to a terrible force but also how one man can stand up to the challenge and ultimately make a difference.

John McClane (Willis) is a New York City cop who travels to the Los Angeles area to reconcile with his seperated wife (Bonnie Bedalia) and family, who left him to pursue a lucrative job with a Japanese financial industry skyscraper. While participating in a Christmas Eve party, the building is overtaken by German terrorists who want to use the hostage Japanese executives to break into the company safe. McClane watches as the head terrorist (played brilliantly by Alan Rickman) blows the brains out of the Japenese CEO realizes that the game is on.

With the help of a gun-shy cop (Reginald Vel Johnson--yes, that's right--Mr. Winslow from "Family Matters") and to the annoyance of police chief Paul Gleason, McClane runs around like a chicken with its head cut off attempting to save the hostages. While on the explosive one-man war, Bruce Willis plays McClane in a very believable, humorous fashion--which is the quintessential reason for the film being one of the best of its kind. "Die Hard" is a non-stop frenzy of excellent action sequences, a superb and witty screenplay written by Jeb Stuart and Steven D. de Souza (adapted from the Roderick Thorp novel), and top-notch, edge-of-your-seat direction from McTiernan. The Five Star Collection DVD features a deleted scene and some excellent commentary from cast and crew. One of the best action films of the 1980's. A superb roller-coaster ride of thrills. ... Read more

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A somewhat contrived screenplay doesn't stop this thriller from serving up some of the most spectacular fire sequences ever committed to film. Like any Ron Howard production Backdraft is impressively slick and boasts a stellar cast, including Kurt Russell and William Baldwin. The actors play sibling rivals who have been at odds since the death of their firefighter father years earlier. Robert De Niro is the veteran fire inspector who is tracking a series of mysterious and deadly arsons, and Donald Sutherland is effectively creepy as the former arsonist who understands the criminal psychology of pyromaniacs. Rebecca De Mornay, Scott Glenn, and Jennifer Jason Leigh are featured in supporting roles. Backdraft is a triumph of stunt work and flaming special effects. --Jeff Shannon ... Read more

Reviews (60)

Firehouse Fairy Tale...
Ron Howard's Backdraft, is a film that centers on the lives of two brothers. Their father, a Chicago firefighter, was killed on the job when they were young boys. As adults, the McCaffreys, are both members of fire department. The elder brother Stephen (Kurt Russell), nicknamed "Bull", is a veteran firefighter, who prefers taking on a fire head on. His younger brother Brian (William Baldwin), is a recent graduate into the department, and though he seeks to serve out of his brother's shadow, he finds himself assigned to Bull's stationhouse. While Bull is something of a legend within the department, all is not perfect in his life, as estranged from his wife (Rebecca DeMornay), he lives on his father's old dry docked boat.

The family drama is set against a subplot, involving a series of suspicious fires that are being investigated by the fire department's arson specialist, Lt. Rimgale (Robert De Niro). A local Alderman (J.T. Walsh) responsible for budget cutbacks to the department, is pressing Rimgale for answers. After another clash with his big brother, Brian transfers to Rimgale's arson investigation unit.

Once this occurs, the story expands to become more than just a sibling rivalry, as the focus shifts to the investigation of arson and other matters. De Niro, Baldwin, Walsh and Donald Sutherland, who plays a crazed imprisoned arsonist, then assume more primary roles. The physics of a backdraft are quite fascinating, and the results spectacular and explosive. The film does feature some fine special effects and stunts, related to the fire fighting scenes. The identity of the arsonist, and the reasons for the crimes, may not be very credible, but the film proceeds towards a spectacular and emotional finish. In the end, it all comes back to the two brothers, and the special bond between firefighters.

The film does have its flaws. Baldwin (28) and Russell (40) are a bit of a mismatch as brothers, with more of an age difference as adults, than it appeared when they were children. The incident where Brian mistakenly rescues a mannequin is simply ridiculous. And the attempts to attribute to fire almost metaphysical qualities, may be something only firemen can truly appreciate. While the film's focus does bounce around a bit between drama, adventure and suspense, overall the presentation is still worth seeing. The DVD however offers very little in the way of extras.

Great special effects, plus a moving ending
"Backdraft is the story of two brothers. After the death of their firefighter father, older brother Steven (Kurt Russell) follows Dad's footsteps into the Chicago Fire Department. Younger brother Brian (William Baldwin) bounces from one scam or get-rich-quick scheme to another. But Brian eventually winds up back in Chicago in the Fire Department, and in Steven's Co. 17, no less. They go back and forth for a while, until finally Steven drives Brian out of the department and into arson investigation. Brian winds up working for an arson investigator (Robert De Niro) investigating a series of murders-by-arson.

This movie features a stellar cast, giving mostly excellent performances. Special notice should be given to Russell, in what I think is his best performance ever. J.T. Walsh gives an excellent supporting performance as the sleazy Alderman Swayczak, as do Rebecca De Mornay as Steven's estranged wife and Scott Glenn as Firefighter "Axe" Adcox. Donald Sutherland is especially creepy, yet charming as an imprisoned arsonist to whom De Niro and Baldwin go to for advice on identifying the arsonist. Baldwin and Jennifer Jason Leigh (playing Brian's girlfriend and Swayczak's aide) could have held up their parts better, but that doesn't detract from the movie as a whole.

The fire is the real star of this movie. The special effects are truly incredible, and have to be seen to be believed. This movie boasts the best effects I've ever seen in a non-science-fiction movie. Whoever the effects man is should have won an Oscar for the fire scenes in this movie.

Some may criticize the ending for being overly sentimental, but every single time I see this movie, I get choked up during Steven's last scenes. As an older brother, I really identified with Steven and how he wants the best for his brother, but he isn't quite sure of the line between pushing him to improve and pushing him down.

The special effects alone are worth getting this movie, but director Ron Howard put together an all-star cast that (mostly) managed to put together a movie in which the plot isn't entirely overshadowed by the effects. All in all, a very good movie that's well worth your $15.

Predictable but watchable
Backdraft sticks to convention and only innovates in its special effects. The plot is rather contrived and provides the excuse for the filmmakers to play with fire -- lots of it.

Hollywood inferno.
"Backdraft" is Hollywood's version of the firefighter's life. The men are blue collar, ordinary guys who are at times heroic and other times cowardly, men who fight fires because it's their job. Being a Hollywood movie, however, most of the men are in-shape, rugged masculine types who cruise to an alarm call with rock music blasting from the fire engine stereo system and who fight fires that contain surprisngly little smoke. Kurt Russell is not altogether likeable in this film, and yet he carries his two roles off successfully with his familiar macho persona. William Baldwin is the standout character, and shows a vulnerable side to the world of firemen that is usually not seen on film. Pyrotechnics are first rate, although there are many more explosions and a lot less smoke than in real-life fires. Another slick film from Opie Taylor.

respectable movie
I was a fire fighter 82-83, and i seen the movie when it was in the theatre, i liked it a lot, in fact i used to work but a few blocks away from the china town station on cermak road where some of the footage was shot, it dealt with fire house comrades, dealt with " hero syndrome", i was not expecting a techical as it really suppose to be movie, but the heroism displayed by
the fire fighters are 5 star commendable. ... Read more

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Everything clicked in this 1994 action hit, from the premise (a city bus has to keep moving at 50 mph or blow up) to the two leads (the usually inscrutable Keanu Reeves and the cute-as-a-button Sandra Bullock) to the villain (Dennis Hopper in psycho mode) to the director (Jan De Bont, who made this film hit the ground running with an edge-of-your-seat opening sequence on a broken elevator). This is the sort of movie that becomes a prototype for a thousand lesser films (including De Bont's lousy sequel, Speed 2: Cruise Control), but Speed really is a one-of-a-kind experience almost anyone can enjoy. --Tom Keogh ... Read more

Reviews (177)

Top Notch Action Film
"Die Hard" was the prototype for the 90s action film and "Speed" remains one of the best reworkings of it. It delivers enough non-stop action and thrills to satisfy even the most-demanding action fans.

Keanu Reeves (who'd have believed it before "The Matrix"?) stars as Jack Traven, LAPD SWAT commando. Traven and his partner Harry (Jeff Daniels) battle one-thumbed mad bomber Howard Payne (Dennis Hopper) throughout nearly two hours of wall-to-wall testosterone and mayhem.

The script by virgin screenwriter Graham Yost delivers not one, but three thrilling disaster stories, accomplishing that rare Hollywood miracle of actually giving the audience more than they expected.

Reeves gives a surprisingly good performance, showing uncharacteristic confidence and ease. Daniels is largely wasted and Hopper gives his stock crazed villain performance--and once again I loved it. The always delightful Sandra Bullock, co-starring as Reeve's love interest, is excellent, giving just the right touch to her scenes.

"Speed" was a remarkable directorial debut for veteran cinematographer Jan De Bont. He obviously learned a great deal while lensing pictures for Paul Verhoeven ("Basic Instinct") and John McTiernan ("The Hunt for Red October.") The action sequences and stunts in this film are as good as any you'll see. This is one movie that really delivers.

Pop Quiz Hotshot!
Remember that Simpsons episode where Homer loops a videotape of him and the guys working while they goof off "I saw this in a movie where there was a bus and it had to keep it's SPEED above 50 and if it's SPEED dropped, the bus would explode! I think it was called: The Bus That Couldn't Slow Down!" Even Homer realises the cleverness of Jan De Bont's tautly-directed action thriller.

Starring Keanu Reeves, Sandra Bullock, Dennis Hopper and Jeff Daniels, Speed is one of those rare films that comes along every now and then that proves to be better than standard fare. Essentially one big extended action scene, the film's frenetic pace makes up for the frequent plot holes. The action never lets up, creating suspense- filled set-pieces and audience excitement. The premise of a bomb on a bus that wil explode if the speed goes below 50 makes for one far-fetched but fun thrill ride.

Keanu is the quintessential gum-chewing cool guy action hero Jack Traven who, along with Annie Porter (Bullock) tries not to get blown up by a bomb that retired cop Howard Payne (Hopper) has set on the bus to get money. The entire principal cast are great, especially Hopper, whose character is reminiscent of his crazy bad guy in Red Rock West (1992). With lines like "Poor people are crazy Jack, I'm eccentric", Hopper manages to give a good performance during his rather short screen time. Plus the added quality of the always-good Daniels is first-rate. And Keanu, now best known for The Matrix, is equally cool here.

Jan DeBont's direction makes the film a taut, entertaining action ride, and surprisingly, Bullock manages to change from nervy bus passenger to a strong character by the film's conclusion. And the pulse-driven score creates even more tension and excitement. But the film is not perfect, it's predictable at times and things get rather tedious at the end, with yet another gasping of "The track's not finished!" Minor quibbles aside, the action is impressive, and Jan DeBont's visual stylishness gives a really eye-catching look. This action-fest is one of the best.

The DVD extras are amazing, with commentaries from De Bont and the crew, extended scenes, Easter Eggs (DVD Credits, Airline Version of Bus Crash), "Inside Speed Featurettes on the location, stunts and visual effects", production Design, the original Screenplay, action Sequence Featurettes on the "Bus Jump" and "Metro Rail Crash", Multi-Angle Shots with Audio, Multi-Stream Storyboards, an interview Archive with Keanu Reeves and the cast, trailers, 11 TV Spots and production notes. Impressive stuff!

I keep coming back
SPEED has been one of the handful of movies made in the last ten years that I keep coming back to again and again when I need an action fix. I think it's partly because its premise is so impossibly simple: there's a bomb on a bus that will go boom if the bus goes below 50 miles per hour. That's it. I also think it's also because for all the noise and action, it really doesn't take itself too seriously. Everyone, even the usually sulking Jeff Daniels, appears to be having a good time. And, of course, it doesn't hurt to have the maniacal Dennis Hopper performing opposite Keanu Reeves who is properly underplaying his role as HERO.

SPEED, I admit, is a no-brainer. But if I wanted to watch something cerebral and intellectual, there are plenty of others to choose from. I mean, from which to choose.

An exciting rollercoaster ride
This film is a terrific action adventure with an appealing hero and heroine, great stunts and special effects and a psycho villain who isn't as smart as he thinks he is. The movie races along through three tense episodes involving patrons on a high-rise elevator, passengers caught on a runaway city bus and a rapid transit train coursing through the dark tunnels of the under-construction Los Angeles subway system. Good-guy Jack Traven [Keanu Reeves] gets a great assist from feisty Annie Porter [Sandra Bullock] as she guides the bus on a wild ride on LA's freeways and busy streets while crazed extortionist Howard Payne [Dennis Hopper] does his best to make sure his diabolical plan doesn't fail. Even if the picture seems to borrow elements from some popular action films, this movie is a rollercoaster ride from start to finish and fans of exciting train action sequences will really enjoy the film's endgame which is a climactic struggle between good and evil.

Lift,bus,train. 16th april 2004.
A great film for the actions. It starts off in a lift that breaks down, then it goes onto a bus that once it reaches 50mile an hour, it can't go below that speed cos there is a bomb on the bus. Then in the end, the last 2 that are on the train find a way to get off, but they can't. Superb film even if you don't like any action films and shooting films. ... Read more

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Whether or not you can sympathize with its fascistic-vigilante approach to law enforcement, Dirty Harry (directed by star Clint Eastwood's longtime friend and directorial mentor, Don Siegel) is one hell of a cop thriller. The movie makes evocative use of its San Francisco locations as cop Harry Callahan (Eastwood) tracks the elusive "Scorpio killer" who has been terrorizing the city by the Bay. As the psychopath's trail grows hotter, Harry becomes increasingly impatient and intolerant of the frustrating obstacles (departmental red tape, individuals' civil rights) that he feels are keeping him from doing his job. A characteristically taut and tense piece of filmmaking from Siegel (Invasion of the Body Snatchers, The Shootist, Escape from Alcatraz), it also remains a fascinating slice of American pop culture. It was a big hit (followed by four sequels) that obviously reflected--or exploited--the almost obsessive or paranoid fears and frustrations many Americans felt about crime in the streets. At a time when "law and order" was a familiar slogan for political candidates, Harry Callahan may have represented neither, but from his point of view his job was simple: stop criminals. To him that end justified any means he deemed necessary. --Jim Emerson ... Read more

Reviews (96)

Like Coors Dirty Harry's an Original
It was a great idea taking the soft deliberate speaking, Western King, Clint Eastwood and placing him in society as San Francisco police inspector Harry Callahan. Harry is a maverick cop fighting bank robberies, handling suicides and finally chasing a crazed killer known as Scorpio. The only thing we can determine that really drives Callahan besides Good vs Evil is that his wife was killed by an alleged drunk driver. It's the pre prozac and therapist era and Callahans controlled rage is only adressed through the mishaps of his villanous prey and his by the book department. In a sense this movie is timeless as hostage situations still affect our urban areas but with this cutting edge cinematic view we become somewhat disconcerted by our own laws and policies. The line made popular here DO YOU FEEL LUCKY? will last forever. Villan Andrew Robinson is still working today as he did a great job making us hate him in 1971. Four sequels follow this one Magnum Force 1973, The Enforcer 1976, Sudden Impact 1982 and The Dead Pool 1988. All worth watching but you can flip flop Dirty Harry and Magnum Force as the best of the bunch!

It'll blow you away
"Dirty Harry" made Clint Eastwood a star. Yes, there was the Italian westerns that made him famous, but this is the one that made him an American icon. Harry Callahan is the man every man wants to be.
The story is that a roof top sniper is killing the citizens of San Francisco. He is a cold, vicious murderer who wants a huge ransom to stop. Harry Callahan is the cop assigned to the case. Harry is a loner, he's the type to shoot first (with his massive, now infamous, Smith and Wesson .44 Magnum) and ask questions later. At first he goes along with police procedure, until the killer starts a new MO. When Harry tries to arrest him, he violate some of the killer's civil rights, and then is released. Harry begins stalking him as the killer is now trolling for new victoms.
This movie is not a mystery, it is more about social issues. Some people say the movie is dated. Maybe, maybe not. I think that rights of the accused are still highly sensitive issue today. Dirty Harry just did what any one of us in those extraordinary circumstances would have done.
On top everything it is an excellent action thriller. The pace is tight and it is just great to see someone just doing what's right, not nessesarily what's leagle.

CONSERVATIVE VIEWPOINT
This movie is about conservatives and how they must battle against the oppressive forces of communism. It was written by the greatest screenwriter and director ever, because he is a conservative.

This movie makes me wonder if somebody saw a screenplay I wrote a few years ago and stole my idea. It was called "A Savage Campaign." In it, a politician and a murder take care of the daughter, whose wife finds out about the plan. The democratic senator is corrupt and goes to the KKK. When the plot is revealed, it is finally stopped by Barry Bonds, who I consider to be baseball's Superman. When I pitched this idea to many Hollywood executives they thought it sounded great, but they wanted me to change the democrat to a republican.

All men yearn to be free.

This movie is about how the system does not care for law and justice. But the American people do. God bless you all.

'GOD'S LONELY MAN."
John Milius is the greatest screenwriter you never heard of, not to mention a terrific director. He describes the "Dirty Harry" Callahan character as "God's lonely man." Milius is that rarest of rarities, a Hollywood conservative. He herein wrote a film for the Republican Clint Eastwood that spoke to the hopes and fears of an America yearning for justice, law'n'order in a world dominated by overarching liberalism in the 1960s and '70s.

Picture America at that time: Vietnam, the streets and campuses exploding in riot, and a new social ethos that was willing to blame a racist white establishment for the crimes of this nation's increasing population of criminals.

In the 1960s, the Supreme Court became activist to the hilt. The most obvious of these cases was the famous Miranda ruling from Arizona, in which a criminal was allowed to go free because he had not understood his rights, not understanding the English language spoken by the arresting officer. His subsequent confessions were thrown out. The Court spoke of the "forbiddeen fruit" of evidence gathered by overzealous officers who "failed" to inform criminals that they were being searched just before they discovered their weapons, their drugs, their evidence. A police officer who found evidence of crimes was unable to make the case unless he had probable cause ahead of time to find the evidence.

In "Dirty Harry", a character (Andy Robinson) based on the never-caught Zodiak killer who terrorized the San Francisco Bay Area at that time, goes on a murder rampage. Eastwood catches him at Kezar Stadoium. A little girl is lying in a hole some place. She has a limited amount of air left. Eastwood knows the guy did it. We know it. God knows it. The scene is worth watching in light of Abu Ghraib and the concept of the "ticking time bomb" theory of interrogation that the terror era has brought upon us.

Eastwood knows that if the man is arrested and booked, he will not talk, hiding behind a lawyer, and that the girl will suffocate. He applies a little bit of torture to Robinson, the Scorpio killer. What he wants is to know where the little girl is, so she can be saved. Scorpio wines about having rights and wanting a lawyer. Eastwood extracts the information from him. The girl, however, has died before she can be found by the cops.

Eastwood is confronted by the D.A., who tells him not only that the killer had rights, but that he will walk as soon as he is healthy, and he has brought in a Berkeley professor to detail to Clint how he violated the criminal's rights and, in essence, is worse than the Scorpio killer.

The end? We've all seen it a million times on TBS's "Movies For Guys Who Like Movies." Eastwood gets his man. He receives zero gratitude from the authorities. Millions of ordinary American citizens appreciated him in theatres and TVs since then, however.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"

STWRITES@AOL.COM

BEST ACTION MOVIE OF ALL TIME!
IN THE ONE THAT STARTED EVERYTHING, ''DIRTY'' HARRY CALLAHAN [CLINT EASTWOOD] GOES AFTER A SERIAL KILLER [ANDREW ROBINSON]. STILL THE BEST OF THE DIRTY HARRY SERIES. HAS A SUSPENSEFUL PLOT, TOP OF THE LINE ACTION, EXTREMELY CLEVER PACING AND IT HAS A NOT-TO-MISS FINALE. EVERY COP MOVIE THAT CAME OUT AFTER THIS EITHER TRYED TO COPY ITS PLOT OR ITS MAIN CHARACTER. THIS IS ARGUABLY CLINT EASTWOOD'S GREATEST MOVIE EVER. I DON'T CARE WHO YOU ARE, EVEN IF YOU'RE NOT A FAN OF CLINT EASTWOOD, OR EVEN IF YOU'RE NOT A FAN OF ACTION MOVIES, YOU NEED TO MOST DEFINITELY SEE THIS IF YOU STILL HAVEN'T SEEN IT BY NOW. A TREAT FOR ALL. FOLLOWED BY FOUR SEQUELS, BEGINNING WITH MAGNUM FORCE. ... Read more

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With its high-intensity plot about an attempt to assassinate French President Charles de Gaulle, the bestselling novel by Frederick Forsyth was a prime candidate for screen adaptation. Director Fred Zinnemann brought his veteran skills to bear on what has become a timeless classic of screen suspense. Not to be confused with the later remake The Jackal starring Bruce Willis (which shamelessly embraced all the bombast that Zinnemann so wisely avoided), this 1973 thriller opts for lethal elegance and low-key tenacity in the form of the Jackal, the suave assassin played with consummate British coolness by Edward Fox. He's a killer of the highest order, a master of disguise and international elusiveness, and this riveting film follows his path to de Gaulle with an intense, straightforward documentary style. Perhaps one of the last great films from a bygone age of pure, down-to-basics suspense (and a kind of debonair European alternative to the American grittiness of The French Connection), The Day of the Jackal is a cat-and-mouse thriller that keeps you on the edge of your seat until its brilliantly executed final scene (pardon the pun), by which time Fox has achieved cinematic immortality as one of the screen's most memorable killers. --Jeff Shannon ... Read more

Reviews (72)

Why can't they make movies like this any more?
Rarely does a movie do justice to a book, but Fred Zinneman's production of "The Day of the Jackal" is wonderful adaptation of Frederick Forsyth's novel which, I continue to believe, is one of the greatest thrillers ever written.

It's hard to put a finger on what exactly makes this film great: excellent performances by relatively unknown actors, a wonderful plot, fantastic location shooting or a complete desire to avoid the bells and whistles, special effects laden movies that are all that makes up the "suspense" genre of films these days. Like other reviewers have said, be this the first or the fiftieth time that you watch this film, you will be left on the edge of your seat with its "cat and mouse" plot of the search for a lone assassin hired to murder President De Gaulle. The young Edward Fox is brilliant in the title role and the supporting cast excellent.

If anything, this film proves that you do not need big named stars, explosions around every corner or computer generated effects to make a fantastic film. The only downside to watching this film is that you realise that the movie industry just does not make films like this any more.

Highly, highly recommended.

ONE SHOT IS NEVER ENOUGH !
Fred Zinnemann's THE DAY OF THE JACKAL is not the kind of thriller you are familiar with nowadays. For once, french actors don't look silly and have the terrible task to trace Edward "The Jackal" Fox who gives an award-deserving performance.

DAY OF THE JACKAL made me think of these cold war spy movies of the seventies. Do you remember ? We had the impression they were filmed only in green and blue, the characters didn't speak much leaving to the audience the task to understand the plot by itself. You will feel this kind of atmosphere in this film with the difference that Zinnemann worked with a solid gold screenplay.

The final scene, the day of the jackal, is about 30 minutes long and is already part of Motion picture History.

A few problems with the images ; white spots, images standing still during 1 or 2 seconds. The sound is, in my opinion, the best we can expect from a 1973 movie.

A DVD worthy of multiple viewings.

Excellent adaptation from Forsyth's novel. A winner!
Why not the jackal?
This is the answer given by the hard and cold assasin who signs the agreement to kill De Gaulle.
The story runs through a set of historical issues who are part of the story. A group of officers decides by themselves to revenge the lost honor of France due the fact about the independence of Algiers.
Edward Fox - one of the best actors of his generation - played with sublime perfection the demanding role of the Jackal.
So from the first images of the film you'll be engaged with this chess film. All the movements of this exceptional mind are guided by an amazing sense of hunter behavior. He acts like a western samurai , without blinking , he kills when the circunstances don't let him other choice. The feelings don't exist in this professional.
You are invited to presence an authentical tour de force. And since the moment an important link is arrested , your histamina and cold sweat will invade you.
The efforts of Le Surete for following any possible clue leads to an unforgettable mind game to spark the human chase since the moment the Jackal decides to go ahead with the plan and drive to France from Niza.
The rest of the story runs for you when you acquire this legendary and hair raising punch thriller. And once more you'll admire how the famous film maker Fred Zinemann could win with this story.
The locations and the sense of the drama are extraordinary made. And the words are not enough to describe the countless sequences of hard beating you'll experience.
A perfect film and believe me ; you won't feel the 140 min of the picture.
This is the first and best version!

A First Rate Spy Thriller

Not so much "spy" as "assassin," though, for Edward Fox is cast as an assassin, doing a job that will earn him his retirement. He is to kill President Charles de Gaulle, "le Grand Charles" himself, in Liberation Day, as we eventually find out--but not until much later in the film.

The killer goes through many personalities, disguises, and changes, and manages to kill a few innocents on the way to his final conquest. He is unknown to the gendarme, who are on his trail early, with the help of an informer on the inside, but eventually his appearance becomes known to them--and even then, in spite of an alert commissioner of police in Paris who is every bit his match, Inspector Lebel (Michel Lonsdale)--he almost makes his kill. Had he done so, of course history would have had to be re-written because of a movie, an unlikely event--so we knew that he would fail, but still the plot was so well played that the suspense was never lost.

Written by Frederick Forsyth and directed by Fred Zinneman, perhaps this film was predestined for greatness, but in any case it is one of the great ones.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

If only it had had a happy ending
_Day of the Jackal_ is one of the best film adaptations of a book ever done, the directors managed to keep the vital elements of the plot and the pacing of the book and successfully transfer them from one medium to another. When I read the book after seeing the movie I was amazed at how much they had managed to keep. Edward Fox was perfect as the Jackal, it's a pity that he's ended up starring in so many bad films in his career as he is truly a fantastic actor. There are some wonderful moments of irony such as when the leader of the French terrorists says that no soldier of France will ever raise a weapon against him and then is shown being shot by firing squad the next day. The only thing that would have improved this movie is if the Jackal had succeeded in blowing Charles DeGaulle's head all over the pavement in Paris, I mean really, the guy goes to all of this work and fails in the end, and come on, he's trying to shoot DeGaulle, it's not as if he was attempting to shoot a decent human being or something, heck, even Eisenhower and Churchill wanted to shoot DeGaulle because he was such a useless, vainglorious prick. ... Read more

Reviews (60)

The best airborne action film since Airport
I don't watch a lot of "contemporary action" flicks, but this one is really good. To me, its scenario of a jetliner being used as a weapon of terror has an eerie prescience that lends a touch of horror and plausibility that its makers, back in 1996, probably didn't anticipate. Kurt Russell plays Dr. Donald Grant, a think-tanker who, through a series of plot twists, finds himself, along with a technical engineer (Oliver Platt) and a special-forces team (John Leguizamo, Joe Morton, B. D. Wong, Whip Hubley), secretly boarding a 747 that has been hijacked by a fanatic Islamic terrorist (David Suchet) and his band--most of whom don't have a clue about his secret agenda, a nerve-gas bomb whose presence Grant has deduced from his studies of the perp. Their mission: find and disarm the bomb and take down the terrorists before they can slaughter the entire East Coast. With the help of a stewardess (Halle Berry) and a plainclothes air marshal (Richard Riehle), they do both, only to find that the pilots have been killed and Grant, who's never flown anything bigger than a single-engine Cessna, must get the damaged liner down safely. The tension keeps ratcheting up steadily as complications are tossed into the Americans' path: the loss of their leader (Steven Seagal) and much of their equipment, an injured team member (who happens to be its bomb expert), the discovery of failsafes on the bomb and a sleeper agent aboard who can set it off manually, and a flight of combat jets prepared to shoot the plane down. Even after you've viewed it once, you'll still find yourself jamming your foot on the brake in the last few minutes as the crippled liner makes a long terrifying slide through ranks of parked small craft and into an earthen berm. A wild ride and one that any lover of nonstop action should enjoy.

A lot of fun if you don't take it too seriously
A group of fanatic middle east terrorists hijacks a US-bound airliner, holding its crew and passengers hostage and demanding the release of their leader - a fearless mastermind of terror brazenly seized by US special forces in a daylight raid. We soon learn, from a brilliant civilian analyst named Grant (Kurt Russel) that the hostage bid is actually a clever smokescreen - that the airliner is actually loaded with a highly potent nerve gas, perhaps enough to end life as we know it on America's east coast. Without any proof, the US government has the choice blasting the plane into oblivion to end a threat it could never prove, or allowing the plane to reach US airspace, where it will disperse its deadly cargo. Instead, a tricky plan is chosen - use a stealth transport with a special airlock to insert a team of special forces onto the plane, to retake it and disarm the bomb.

Up until then, "ED" is content to be a generic, enjoyable yet eventually forgettable action movie involving airplanes and "reel bad arabs" (Hey, I didn't make that up - some guy wrote a book about stereotyping arabs, and somebody else recommended that instead of this flick, as if the audience of one and the other's readership overlap that much). This flick came out in March - not quite the time when people are lining up at the box office. Though not a bad movie, it somehow manages to approach what we all love as the "so bad, we love it" category. Something funny happens midway through though - you realize that you're watching a parody (probably unintentional, but why spoil the fun?) with plenty of violence, but still one that isn't quite right enough to take seriously. Steven Seagal plays the intrepid head of the special forces, but he's dispatched early on, leaving his team to shoulder the task of ending the flying seige. You really know something's wrong when, while describing the plan, Seagal suddenly but calmly tells the military brass and the political heads involved that what he really wants is Kurt Russel's character (tuxedo and all) to come along for the trip. The script suggests he's laughing inside at Russell who'll have to face these bloodthirsty terrorists alone, but he's more likely laughing at us. The flick lards it up further in its choice of miscasting - adding BD Wong and John Leguizamo in as footsoldiers in Seagal's crack outfit. Finally, in what may be a nod to all of those "Airport" flicks of the 70's (okay, so there were only 3 of them), the flick climaxes in the single least-convincing airplane crash-landing ever depicted on the modern screen. (This is perhaps the strongest proof that the flick was intentionally parodying action movies: years earlier, a cosmetically altered 707 was used to brilliantly and chillingly simulate a crash landing 747 in "White Nights"; another 707 was dispatched in speed - certainly they could have done more than used models ala something by Sid and Marty Croft) I'm conservative, but ED hadn't had me scamper around frothing about "arab terrorists", nor did I look at this flick in a new light because of September 11. (I've seen far worse arabs in other films, while this one hints that most of the hijackers were out of the loop about the plan to dump nerva gas on the east coast.) Instead, it's a welcome diversion from more self-conciously serious action movies, even if you'll forget most of it (even Donald Trump's ex, Marla Maples as a flight attendant, or the late JD Walsh as a senator) the next day.

Excecutive Decision (1996)
Director: Stuart Baird
Cast: Kurt Russell, Steven Seagal, Halle Berry, John Leguizamo, Oliver Platt, Joe Morton, David Suchet, Len Cariou, B.D. Wong, Marla Maples Trump.
Running Time: 135 minutes.
Rated R for violence and language.

Although it is a formula that has been used time and time again, "Excecutive Decision" succeeds just as well, if not better, than the "hostage-takes-over-plane-so-action-hero-has-to-come-to-rescue" genre predecessors because of wonderful performances, an in-depth and enjoyable script, and top-tier direction from rookie Baird. Very simliar to 1992's "Passenger 57" staring Wesley Snipes, but with more emphasis on the supporting cast instead of one central star.

Kurt Russell stars as a United States government expert on Middle East terrorism who finds himself out of his office and on a die-or-die mission with gung ho commando Steven Seagal and Co. when an American airliner is taken hostage while in midair. Unfortunately (or fortunately, depending on how you look at it), Seagal is killed about a half an hour into the film, allowing Russell to take full command of the film. With the help from gorgeous flight attendant Halle Berry, Russell is able to learn about the situation and guide his great supporting players John Leguizamo, Oliver Platt, and Joe Morton as to how they need to approach the dangerous situation.

If there is one major drawback of the film, it is that "Executive Decision" is fairly fairfetched and predictable at the same time--the anti-terrorist crew actually gets onto the plane while it is in the air and without the terrorists knowing--come on! But despite some of its logical fallouts, it is a film that makes up for it with a superb lead role, fine performances from Platt as a brainiac and Leguizamo as a rough-and-tough go-getter, and a gut-wrenching, thrill-ride (literally) of a finale. A nice directorial debut. One of the better action films of the mid 1990's and is on par with other plane thrillers such as "Con Air".

Better Than I Expecter
While this movie seems just mediocre at the start, partially due to the hero role that Steven Seagal is put into, after the first twenty minutes it greatly improves. When the James Bond like scientist proves Seagal's character wrong we finally see that this movie has hope. Once Seagal's character falls to his death at 30,000 feet, the movie loses its stigma of just another action movie and opens a new avenue to the remaining characters. This then forces Russell's character into a lead position, allowing him to gain respect by one of the nation's top military strike teams. What really made this movie seem interesting was how it veered from the original action movie storyline, to a suspense action movie. Overall, this is a movie that I can, surprisingly, watch time and time again.

i need a lobotomy
another terrorist movie....another waste of video.
the lead terrorist played by xxx is pretty good.....but thats about it.
when the guy is in a neckbrace and trying to explain the bomb?.....is a bomb for the rest of the vid...this movie sucked and if you buy it?.....your taste in movies is rated zero stars.
burn it ... Read more

Reviews (104)

What REALLY happened on the Cahulawassee River?
When it comes to fictional survival stories, few can approach the sheer grueling brutality of DELIVERANCE. Brilliantly adapted by James Dickey from his best-selling book and superbly directed by John Boorman (POINT BLANK, HOPE AND GLORY), this is a tremendous endeavor. So much so that horror writer Stephen King and Boorman's fellow director Stanley Kubrick both expressed a tremendous admiration of it.

As pretty much everyone knows, DELIVERANCE focuses on four Atlanta businessmen (Burt Reynolds, Jon Voight, Ned Beatty, Ronny Cox) who decide to take a canoe trip down the Cahulawassee River in the Appalachian Mountains of northern Georgia before it is dammed up into a lake. It is apparent, however, that the local folk don't take kindly to these "city boys" messing around in their woods. And when Voight and Beatty are sexually assaulted at gunpoint by a pair of sadistic rednecks (Bill McKinney, Herbert "Cowboy" Coward), in the infamous "SQUEAL!!" segment, what began as a canoe trip explodes into a nightmare.

Much is made, and justifiably so, not only of the "SQUEAL" scene but also of the "Dueling Banjos" part, between Cox and a retarted mountain kid. But DELIVERANCE has much more to offer besides these moments. Like A CLOCKWORK ORANGE and STRAW DOGS, it offers a hard-hitting and unflinching look at Man's penchant for violent and (arguably) abhorrent behavior. The four leads are extremely good in their roles, and McKinney and Coward make for two of the more frightening and vicious villains in screen history. Dickey appears in the film's final reel as a local sheriff who, as he puts it would "kinda like to see this town die peaceful."

Shot totally on location, and featuring ominous cinematography from the legendary Vilmos Zsigmond, DELIVERANCE is a great and frightening piece--arguably a modern gothic horror film, certainly a great action film with an undercurrent as sinister as the Cahulawassee River itself. It is not to be missed,