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After her success with Basic Instinct, Sharon Stone opted for familiar territory with this campfest that purports to be a sexualized thriller about voyeurism but in reality is more of an excuse to get Stone and costar William Baldwin out of their clothes. Rear Window it ain't. Stone plays it drab and quiet as a successful career woman on the rebound from a bad marriage who moves into a mysterious Manhattan high-rise. Once there, she discovers that she has a few admirers: a hunky and enigmatic neighbor (Baldwin), a popular writer of crime novels (Tom Berenger), and someone who seems to enjoy watching her every move on the building-wide surveillance system. And is one of them the serial killer who's stalking the comely female tenants? Scripted by the erstwhile Joe Eszterhas (Basic Instinct and Jagged Edge), Sliver follows the standard Eszterhas plot line of a protagonist suspecting that his or her lover may or may not be a vicious killer, the tension mounting as clue upon clue is discovered. Unlike both Instinct or Edge, though, Sliver delivers little suspense, thanks in part to a reshot ending that changed the original identity of the killer in the Ira Levin novel and confounded students of rational thought. However, if you're looking for an unintentionally funny thriller with loads of extraneous nudity, Sliver is an enjoyably huge hunk of cheese. --Mark Englehart ... Read more

Reviews (36)

Stone in yet another over-charged sex-thriller.
This super-sleazy sex-mystery features Sharon Stone as a lonely book editor who moves into a handsome, slender Manhattan apartment building(the "Sliver" of the title), and later learns that it is the scene of a series of brutal and unsolved murders. Unfortunately, this filmization of Ira Levin's reasonably suspenseful novel focuses more on Stone's steamy relationship with practicing voyeur William Baldwin rather than the mystery/suspense angle. This muddled mess was obviously an ill-fated attempt to cash in on the success of "Basic Instinct" and attract that same audience, but it was all for naught because "Sliver" still crashed and burned at the box-office. Admittedly, there are several hot and heavy sex scenes, but they would be more at home in a hardcore skin flick rather than a film like this that tries to pass itself off as a suspenseful murder mystery. The unrated version features several minutes worth of even more sexually explicit material. If you're going to buy it, get the unrated version since the few sex scenes are the film's only real virtue anyway.

SLIVER, WANNA WATCH?
Sliver is a fantastic film. The best out of all the erotic thrillers filmed between the years of 1987-1995, preferably the time in which the Erotic Thriller genre was big. Ending with Eszterhas's JADE. Eszterhas (Basic Instinct, Jade, Jagged Egde) wrote Sliver. A film starring Sharon Stone as Carly Norris, stuck in this age of loneliness after coming out of a 7 year bad marriage. Moving into a slick and sleek sliver apartment building, she is warmly welcomed by all of it's tennants. Including, Vida Warren a woman with a dark double life. Gus Hale, a man that is willing to tell all dirty little secrets. Zeke Hawkins a handsome young man that takes a sexual interest in Carly, FAST. And Tom Berenger a classy writer, with a macho jerk attitude. When Carly gets involved, very involved, with Zeke she begins to learn that inside the walls of this building hides a secret that could reveal everything. With an ending so fast paced it will blow right by you, but a very satisfying ending if I do say so in the least. Again, buy SLIVER in the unrated version, sit down and relax in the darkness and remember that there is no place more frightening than home...

Very sexy but empty
There was a time when movies were slicker than they are now, when they pushed the buttons of sexuality/abhorrent sex. This is a lot about voyeurism and the thrill of being stalked. Sharon Stone was of course capitalizing on the Basic Instinct success. Billy Baldwin is very attarctive and they make a sexy couple but it didn't make a good movie. The soundtrack is amazing though!

LONELINESS - exemplified !!!
Few films have a matching soundtrack.This is one of those few.
The script is strong.The pace is quick.Actors/Actresses have done a commendable job.It's all about people , who have made good money - stable lifestyle - those who are already out of the daily rat race - who now have time for some mischief & pleasure.And , a rare combination of Money & Loneliness formulates a unique approach to life.This is it.The best that the people of this status can do in life.The beginning is simply superb - mystery commences right from shot 1 - excellent dialogue quality - absolutely no useless chatter - just to the point action & dialogues.A great addition to the collection - for sure.

So much for the "erotic thriller" genre
Sharon Stone is Carly Norris, one of those sucessful types who, in Hollywood's mind, must be tortured by insecurity and self-loathing. She's just moved into a new building which, for its stark loveliness, leaves her feeling even more unsettled than usual. (Because Joe Ezsterhaus perpetrated the script, the regular denizens of the building are into rough and otherwise generally unconventional intercourse. Closer to Carly are two suspicious admirers ' Lanford (Tom Berenger), a hardboiled crime novelist, and the building's owner, Zeke (Billy Baldwin). Lanford telegraphs his problems in the way he introduces himself ' running into people while jogging in Central Park. Zeke has a bigger problem ' he's wired the building for sight & sound, using a hidden control center stacked with monitors and recorders on which to view whatever's going on in his building (lover's pressuring their mates into rougher sex; parents molesting their children, women shaving, etc..) When suspicion exuded by the characters isn't enough to get the story going, a string of murderers is tossed in. ... Read more

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Director Francis Coppola's adaptation of the popular S.E. Hinton novel about the price of rebellious youth is notable chiefly for the stunning cast of young actors who went on to rich and varied careers. In supporting roles, the film features the likes of Tom Cruise, Patrick Swayze, Diane Lane, Rob Lowe, Emilio Estevez, and Tom Waits, among others. The story centers on two rival gangs in the early 1960s Midwest, and the violent turf wars that escalate and tragically claim young lives. C. Thomas Howell plays the central character who yearns to prove himself and be accepted by his older brothers' gang, while at the same time finding his first love and dreaming of a life beyond his dead end existence. Geared toward the teenage crowd, the film nonetheless features some fine direction from Coppola in a story that evokes memories of the classic coming-of-age films of the 1950s. --Robert Lane ... Read more

Reviews (190)

The Outsiders
When I was in high school, I had the pleasure of reading a fantastic novel named, "The Outsiders." The author, Susan Eloise Hinton, only 15 years old, wrote her rendition of the conflicts between high society and the lower class citizen. Her novel was so well written that you couldn't stop reading it. Recently, I discovered the movie version of the novel and just had to view it. Francis Ford Coppola, who's known for directing the films, "Apocalypse Now" and the first two "Godfather's" directed the film version of, "The Outsiders." Although no awards were won for the movie, the cast was full of the top stars that we see today, which includes, C. Thomas Howell, Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estves, Tom Cruise and Diane Lane. With a cast this good how could you go wrong?
The story takes place in the early 1960's in Tulsa, Oklahoma where we see the classic rivalry between the rich, whom are call, "socs" (short for socials) and lower class citizen who were called "greasers" building tension toward each other until the final climax of the big rumble. The main themes of the story, are the struggles between two conflicting groups trying to bridge the gap between rich and poorer, honor among the lawless and treacherousness of male-female interaction through the narration of the main character "Ponyboy".
Although I felt the movie was incredible I believe the music soundtrack needed a little help. This action pact drama is rated PG for violence but, I believe that any age group, accompanied by an adult, would love to see and understand how society sometime manipulates individual outcomes. When you get right down to it, the movie, with its great story line and cast, causes you to laugh, cry and get wrapped up in all the conflicting moments. Any movie that can take you from the couch and place you and the middle of the drama deserves a high rating. That's why I recommend this movie to anyone and give it *****5 stars.

The Outsiders
The Outsiders is about some rival gangs, the greasers, and the Socs(short for social). Ponyboy wants to fit in, in his brothers gang. Ponyboy lives with his brothers after his parents are killed in a car wreck. The greasers never had much trouble fighting the Socs, until one night a Soc takes thing to far. Ponyboys friend is forced to killed him in self-defense. Their friend Dallas helps them hide out in the country in an old abandonded church. They are hiding from the town that doesn't want them around, until they are caught by the police. The actors who are in the movie are GREAT! most of them got their start in The Outsiders, like Matt Dillon, Emilio Estevez, Patrick Swayze, Rob Lowe, C. Thomas Howell, Ralph Macchio, and Tom Cruise. The movie teaches young people to not judge others before getting to know them. If you enjoy the movie, you will love the book by S.E. Hinton.

The Outsiders is the #1 Movie
Hey I watched the movie and read the book this year in gr.8 and I have seen the movie like 5 times and read the book like 4 times it's the best movie ever!! all the cast are so0o0 great and talented and I will watch this movie over and over again
From The BIGGEST Outsider Fan
GEL

Just as GREAT as the Book!!!
One of the best adaptations of a book I have ever seen. This movie brings everyone to life from the book. For me, this movie is a classic!!! This movie takes place in Tulsa,OK in 1966. All of the characters fit the description in the book for me. They all look like the typical greasers. I bought this movie without even seeing it and I was tremendously blown away. This is a great movie for the whole family to enjoy.

Outstanding
I had to read the book for a project in school this year as an 8th grader. It was outstanding. It was the last week of school and my class had finished our finals and we wanted to watch the movie, so my teacher went to our school library and got it for us. The movie follows the book pretty well but some parts were left out.

This book shows how lucky some people are compaired to others and makes a great point. It is like a less dramatic version of the movie "Elephant" which shows what people are going through. I am going to head down to my towns public library to borrow it and watch it again becuase it is one of the movies that you can just watch over and over again and still love it becuase it makes a great point and was directed really well.

I would recomend this movie to anyone who has not read it. I would read the book first becuase there are some parts that are left out in the movie that were pretty good.

~Doug Mellon
Kennebunk, Maine USA ... Read more

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You wouldn't know it by watching the Batman movies they collaborated on, but this smart adaptation of John Grisham's novel proves that director Joel Schumacher and screenwriter Akiva Goldsman have some talent when the right project comes along. Schumacher had previously directed Grisham's The Client, and brought equal craft and intelligence to this story about a young Southern attorney (Matthew McConaughey, in his breakthrough role) who defends a black father (Samuel L. Jackson) after he kills two men who raped his young daughter. Sandra Bullock plays the passionate law student who serves as McConaughey's legal aide and voice of conscience in the racially charged drama. Added to the star power of the lead roles is a fine supporting cast, including Kevin Spacey, Ashley Judd, and Oliver Platt. --Jeff Shannon ... Read more

Reviews (92)

Racism, violence, white trash, murder ("Jerry! Jerry!")
"A Time to Kill" has good intentions. It stars:

Matthew McConaughey as lawyer Jake Brigance

Samuel L. Jackson as Carl Lee Hailey, a father who kills to avenge the rape of his little girl

Kevin Spacey as the snide, sinister District Attorney

Sandra Bullock as Brigance's law clerk, Ellen "Rork in Boston, but Row Ark in Mississippi"

Ashley Judd as Jake Brigance's wife

Oliver Platt is Jake's buddy Harry Rex

Keifer Sutherland as a vengeful redneck

and Donald Sutherland as eccentric, civil-rights-activist/disbarred lawyer/drunk/mentor Lucien Wilbanks

With an all star cast like that, you can't go wrong, and the film, at least plot-wise, doesn't. Carl Lee Hailey's 10-year-old daughter is raped and left for dead by two white trash redneck dopeheads. Enraged, Hailey takes justice into his own hands and fatally shoots the two rapists as they leave the courthouse. Everyone in the small Mississippi town hears the news within minutes and takes sides, and Hailey hires a young ham-and-egger, Brigance, to defend him. As Brigance tries to avoid a conviction from the all-white jury, the brother of one of the rapists (played by Keifer Sutherland) gets together a couple of good ole boys to form a chapter of the Ku Klux Klan. Violence erupts, protesters march and chant, death threats and burning crosses abound, everyone is covered at all times with a sheen of oily sweat, and there's even an explosion.

"A Time to Kill" is like the "Jerry Springer Show," but intelligent.

The dialogue, however, could use work. It seems as if a good writer and a mediocre writer banged out the script, then cut it up and shuffled it together, intermingling the really well-written scenes with some really choppy dialogue.

The same goes for the acting. Jackson, Spacey, and McConaughey are excellent and convincing in their roles. Platt is charming as Jake's best friend and a sleazy divorce lawyer.

However, Judd is useless and even childish in her role as a trophy wife, and Bullock, as Jake's law clerk, sounds as if she's a shy girl in a high-school play who hasn't quite memorized her lines yet. (This really irked me because in the book version, her character was headstrong, outspoken, and very smart.)

I encourage anyone to rent the movie for themselves. It's definitely worth seeing, even if the writing and acting is a little off in places. The story redeems the bad acting.

I Love This Movie!
This movie is one of my favorites and I highly recommend that everyone see it because it is thought provoking and it forces you to put yourself in the character's shoes and think about what you would do. The movie begins with the brutal rape of a little black Mississippi girl by two white men. The girl's father Carl Lee, played by Samuel L. Jackson, then shoots and kills the guys- in the courthouse, mind you. Matthew McConaughey plays Carl Lee's attorney, Jake Brigance. The plot line continues with bouts including the KKK and the NAACP. Something notable that I really like is the exposing of the NAACP's arrogance and crookedness that happens all too often in real life. All of the actors do a great job in this film. Kevin Spacey is the prosecutor and Sandra Bullock plays Brigance's legal aid, whom he almost ends up having an affair when his wife (Ashley Judd) leaves town for her and their daughter's safety. If nothing else, you've got to see this movie for the fact that Matt McConaughey is the leading man. He is so hot! Even though I disagree with the verdict, A Time To Kill is a must see if you haven't viewed it yet. Bravo!

Grisham At His Best
A Time to Kill is my favorite Grisham book, and the movie follows suit. The book, which was the first one published but did not become popular until The Firm becase a success, seems to be the most "grounded" with a "real" feel to it unlike some of the other ones which tend to stretch credibility a bit more (but are fun to read anyway.)

Closing Arguments
A Time To Kill, is one of only two of John Grisham's legal thrillers that I have read, cover to cover. The other is The Chamber. I have to say, that while the book of ATTK is a bit better, then the film version, there's no denying the movie has a lot going for it...making for a very good film.

In a small southern town, black man Carl Lee Hailey (Samuel L. Jackson) awaits trial for murdering the two rednecks who viciously raped his 10-year-old daughter. Jake Brigance (Matthew McConaughey) is a young, idealistic white lawyer, who decides to take on the father's defense. The incendiary case becomes a firestorm of racism and controversy, ripping the town apart. This, as Jake goes up against the community's most successful D.A. (Kevin Spacey), while reluctanly accepting help with the case from a law student (Sandra Bullock).

It's amazing how good this film is, especially when one considers what director Joel Schumacher and its adapter
Akiva Goldsman, would team up to do on Batman And Robin. At it's center, McConaughey gives his best perfomance to date. He captures the the escence of his novel counterpart to a tee. Jackson is also quite convincing as a man on trial. The rest of the all star cast is very good here--although Bullock shares nice moments with McConaughey--she seems out of step and is suprisingly the film's weakest link. Some have said the movie is over crowded with too many subplots, while that is true to a certain extent I guess, Goldsman's script and Schumacher somehow balance it all. The film takes a few liberties, but, basically stays true to the source material.

Like most John Grisham books turned movies, the DVD lacks anything substantial, in the way of bonus material. Production notes and the film's theatrical trailer is all you get...Special Edition anyone?

A Time To Kill offers fine performances and rock solid drama. The film is a winner and one of the best Grisham adaptations out there

Intense Grisham Drama
Set in the deep south, where prejudice dies hard and bigotry still runs rampant, this intense crime drama finds the bright (although penniless) young lawyer Jake Brigance (Matthew McConaughey) fighting to keep a black man from the gas chamber, and struggling to protect the lives of his friends and family. When Carl Lee Haley's (Samuel L. Jackson) nine-year-old daughter is brutally raped and beaten by some local good-old-boys, he fears the court will not serve justice and takes matters in his own hands, gunning down and killing the two boys on the courthouse steps. Carl Lee calls for Jake to take up his defense, although he has never handled a murder case.
The tension rises and intensity level of the plot increases as the local KKK is united, big wigs come in from the NAACP, Klu Klux Klan, and high dollar prosecutors. When the KKK sets a burning cross in their yard, Jake's wife and daughter flee town, only to have their beautifully restored Victorian home burned to the ground days later by the protestors. In the courtroom, Jake finds himself pitted against his worse legal-world enemy (Kevin Spacey) and the courtroom antics are nothing short of breathtaking. Donald Sutherland, Sandra Bullock and Oliver Platt make up Jake's patchwork defense team and provide fantastic character studies.
This film earns the top rating for the reasons: 1)by staying true to Grisham's first legal novel of the same name; and 2) because of the deep understanding these characters give us to the world of the prejudice south, the love of a father, and the desperate yearning for justice. Ultimately, Jake must put himself in the place of each of the jurors to fight for Carl Lee's freedom. He must learn that he is not black, will never be black, but the issues are not always colored. ... Read more

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Based on the mid-'70s novel by Judith Rossner (whichitself was based on a true story), this film was supposed to be the one that established Diane Keaton's credibility as a "serious" actress--and yet she won the Oscar for the other film she did the same year, Annie Hall. Still, Looking for Mr. Goodbar is a solid and intriguingfilm, which offered the first substantial film roles to Richard Gere and Tom Berenger. Keaton is a repressed Catholic school teacher who works with deaf children. In the midst of the sexual revolution, she discovers her own appetite for carnal pleasure--but tries to keep it physical, avoiding emotional entanglement, until she meets Mr. Really Wrong. Keaton is solid but director Richard Brooks can't keep this from dragging. --Marshall Fine ... Read more

Reviews (30)

Annie Hall Meets Mr. Goodbar
Released in 1977 and based on Judith Rossner's best-seller, "Looking for Mr. Goodbar" was touted as the star turn for Diane Keaton, but it was "Annie Hall" that swept her to the Academy podium that year. A Catholic teacher of deaf children, Keaton's portrayal of a sexually repressed woman looking for scores in all the wrong places is unsettling in an generally inaudacious - and brutal - film. But, the talent that she is, Keaton keeps our attention and is nearly upstaged by Tuesday Weld in an Oscar-nominated supporting role. "Goodbar" takes us to the darker side of casual sexal encounters and issues a warning that we ought not delve too deeply into the darkness without a light on in our brains. The film also marked the first substantial work of Richard Gere and Tom Berenger. But it remains Keaton who carries the film, and she does it splendidly and achieves the intended goal of making us squeamish about the dangerous underpinnings of sexual experimentation. The film's closing scene is harrowing and also achieves its own goal to send the viewer off with an unsoothed boding of doom, and it gives us no hope. Panned critically at the time, the film nonetheless is a showcase of Keaton's dramatic talents, something she'd had little chance to do until then. She alone makes the film worth watching.

Very dark seedy film
A very dark film and shocking for the time period 1977 actually it would qualify today as well. Diane Keaton stars as a sexually adventurous teacher from a strict catholic family who escapes the normality in her life by retreating into the sordid vacuous world of New York City's singles bars. She has an affair with her older college professor but that doesn't turn out good so she spends her nights doing cocaine and picking up random guys until one night she picks up the wrong cowboy. Tom Berenger plays a bar hopping drifter and is the final man she brings home. The ending is quite shocking & disturbing, the cinematography and use of light/sound. It would hold up to todays shock value easily. Keep in mind this movie came out in 1977. A story about an insecure woman constantly rebelling, misguided search for love & acceptance who could not come to grips with her estranged relationship with father. In a sense looking for a father figure. One of my favorite dark genre films.

Looking for trouble
"Looking for Mr.Goodbar" is a cautionary tale of the swinger lifestyle. It is set in the 70s, but it's just as prevalent today as it was then (more so with AIDS and other STDs). Diane Keaton plays Theresa, a school teacher for deaf kids by day, and by night she's a very promiscuous party girl. As time goes by, the night life interferes more and more with her teaching job. Eventually she decides to get out, but by then, it's too late. I liked the idea, but I thought the cast was all wrong (of course I have over twenty years of sterotypeing to try to get over). Diane Keaton may not have been the best actress to do this kind of role, after playing Kay Adams/Corleone or "Annie Hall", playing the "whore" dosn't seem right. Tuesday Weld dosn't have enough time to establish the sister as anything. Richard Kiley plays an adultourous professor, kind of a one note character. William Atherton is the red haring. Richard Gere is obviously at the beginning of his career, he isn't the typical Gere persona, he is acting more like John Travolta from "Saturday Night Feaver", he got on my nerves bad. The movie has an interesting concept, the dangers of casual sex and partying, but it is defeated by the ending. ... So what is this movie? It is a good idea with the wrong cast and the wrong ending.

Takes the viewer back to New York City in the 1970's
This movie was highly recommended to me, and now that I've seen it I can see why many consider it a memorable film. The suspense was brilliantly built up and Keaton's performance was worthy of the Golden Globe nomination it received.

The movie depicts many of the problems of being a liberated single female in the 70s. The main character, Theresa Dunn, moves out of her oppressive Catholic family home to find her place in the world. She becomes a compassionate teacher of deaf children during the day, and ventures out at night into the bar scene. Through Keaton's ability to capture the emotionally vulnerable Theresa, the viewer connects strongly to Theresa's journey to find the life she wants.

Richard Gere's performance is also worthy of note, as are the cinematic effects. Unfortunately the lighting in the film is too dark and this detracts from the overall impression of it, and it also makes it seem dated. The moral messages in the film are interesting and leave more questions than answers.

...and the pursuit of happiness
On its best level, "Mr. Goodbar" showed the audience how you can be an intelligent, cultured and sensitive person and yet become a tragic figure, a victim of circumstance.

The Keaton character realizes the entity of her own sexual frustration and takes to casual sex as a form of emotional therapy. When she decides it's time to get her act straight, she fails, fatally, to put her experience to fruition: not because it's morally too late for redemption and she must be punished, but simply out of bad luck.

I don't think Brooks had a 'this is what you're going to get if you stray from the straight and narrow' agenda. I have a feeling he was more interested in the intrinsic tragic potential of being human. ... Read more

Reviews (5)

Refurbished Streetcar rides better than the original
I was age two in 1951 when Tennessee Williams's A STREETCAR NAMED DESIRE had its first Silver Screen incarnation. I don't recall seeing this film during the 50s as part of a twenty-five cent, Saturday, kiddy matinee double feature. Well, we would have been bored with such grown-up tempests-in-a-teapot anyway. As an adult, I can now view both the original and this 1995 version, and reap the benefit of improved film-making technology and relaxed censorship, though both versions are substantively identical - no surprise, since they're both working off the same script.

Blanche Dubois arrives in post-WWII New Orleans from Mississippi to visit her younger sister Stella, who's married to Stanley Kowalsky. Both women were the products of a genteel, Southern upbringing, and Blanche is appalled by Stanley's brutishness and the sweltering, seedy, French Quarter apartment in which her sister happily lives. Early in life, Blanche was psychologically devastated her young husband's death. He'd committed suicide after Blanche had discovered his homosexuality and confronted him. Stella having departed the family estate, Belle Reve, for the Big City, the widowed Blanche was left to deal with the deaths of parents and the eventual loss of Belle Reve to creditors. Now, at the edge of sanity, Blanche perceives herself as a classic Southern lady fallen on hard times. But she has another side which Stanley, a male "pig" if there ever was one, immediately perceives. It's their tense interaction over several months that provides the story's conflict and seals Blanche's fate.

How do the players compare?

Alec Baldwin's 1995 Stanley is more than adequate. OK, he doesn't have the animal presence of Marlon Brando's original, but at least the former doesn't talk as if through a mouthful of cotton. And if I hear the 1951 Stanley screech his high-pitched "Stella!" one more time, I'll lose it.

The role of Blanche is better served by Jessica Lange than Vivien Leigh. To me, Leigh's version came off with a touch of spoiled brat, while Lange's embodied more of the vulnerability and residual gentility that comprised the essence of Blanche. In that persona, Leigh's illusions and delusions seemed overacted, while Lange's seemed inherently genuine. (Do I suffer from being too infatuated with Jessica's role in TOOTSIE?)

John Goodman as Mitch, who becomes smitten with Stanley's sister-in-law, is more of a flawed-yet-sympathetic figure than was Karl Malden's original. Perhaps it's because Goodman's more massive physique contrasts better with his (initial) gentleness.

Played by Diane Lane (1995) and Kim Hunter (1951), Stella is a toss-up. I give Ms. Lane the nod simply because she's a superb, contemporary actress that I fondly recall from LONESOME DOVE and UNFAITHFUL.

Purists will rage, but if I had to recommend one version over another, it would be this one. Filmed in color, it provides more atmosphere and depth than the B&W original. And the viewer no longer has to cope with the early-1950s censorship that muddied dialog and scenes having to do with homosexuality, rape and nymphomania. This is a half-century later; let's move on for Chrissakes! After all, the "classic" story is Williams's original play. (Who knows? In 2050, a third screen edition may do it even better. Perhaps it'll be a holographic presentation.)

For me, the best scene in both is at the end when Blanche is gallantly treated like the lady she believes herself to be, and she poignantly remarks, "Whoever you are, I have always depended on the kindness of strangers." To get through life, we all do.

Simply Perfect
I've never seen the original, but this TV version was truly mezmerizing. I love Jessica Lange so I am biased when it comes to her performances. However, I had such compassion for her portrayal of Blanche. She portrays the character as such a lost and troubled soul. You feel a sence of impending doom building throughout the film which is satisfied by the film's explosive climax. The entire cast is first-rate and seem to compliment each other's performance. I could watch this one over and over.

Jessica is truly amazing!
It's hard for anyone to believe that Jessica Lange could outshine Vivien Leigh in one of the latter's signature role, but she did. Alec Baldwin is no match for Marlon Brando. However, this new version is more faithful to the original. And it's worth seeing even only for Lange's magical performance. Her final scene is truly heartbreaking.

Jessica' s best performance?
I always thought that Vivien Leigh's interpretation of Blanche will be the definitive performance for this role. I am not so sure after I watched Lange's heart-breaking performance in this version. She is truly amazing. ALthough this actress given tons of great performance in her career ('Frances', 'Country', 'Sweet Dream', 'Music Box', 'Blue Sky'), she very likely gives the performance of her career in a made for TV movie.

Excellent Version of Williams' Masterpiece
While it will not replace the classic 1951 Kazan film version, this television production of Tennessee Williams' "Streetcar Named Desire" comes textually closer and remains more faithful to what Williams actually wrote (with the exception of a few minor deletions). The most noticeable restoration is the issue of homosexuality in regard to Blanche's dead husband, which in 1951 had to be sidestepped. The performances are all quite good. Diane Lane as Stella and John Goodman as Mitch are more human and less deliberate than their Kazan counterparts, Kim Hunter and Karl Malden. Alec Baldwin does quite well, especially considering the shadow of Brando which hangs over the role of Stanley Kowalski. Baldwin may lack the complete rawness and animal sexuality, but he improves over Brando in giving Stanley a sympathetic edge; another advantage is that Baldwin does not mumble.

Which brings us to Jessica Lange, whose portrayal of Blanche is both delicately shaded and strongly characterized; she is heart-breaking and luminous. Comparing her to Vivian Leigh, it is impossible to rank one over the other, as both performances seem "definitive" (now if we only had the performances of Jessica Tandy, Uta Hagen, and Tallulah Bankead preserved). The production design for once truly emphasizes the squalor in which Stella and Stanley live and which so shocks Blanche upon her arrival. Worth purchasing, especially for devotees of Williams. ... Read more

Description

Based on the true story of the life and times and love affair of mobster Sam Giancana and America's songbird, Phyllis McGuire. Their too public relationship and tense atmosphere of the times could put an end to her career - and his life! ... Read more

Reviews (2)

Really A Thrill
What a great movie. I loved everything about it. Mary Louise Parker has never been more radiant. In this movie, she has it all: talent, attitude, romance, and a little humor on the side. And speaking of wornderful performances, John Turturro gives, in my opinion, one of his best. We love to hate him and he makes being a gangster seem glamorous and suprisingly ethical. The added "gansta" crimes only add to the plot of this movie, as does the story of the stunning McGuire sisters. By the end you with laugh and cry and flat out have a good time. It is a nice change from all of the other garbage around. Excellent!

Sugartime is a Goodtime
Sugartime is an interesting and entertaining movie. It is most interesting when Mary-Louise Parker is on screen. She is prim and beautiful and is a perfect offset to Turturro's portrayal of Sam Giancana. The movie tries its best to place historical references to Kennedy, Hoover, et al. Sugartime is an excellent choice for a fun, enjoyable evening. ... Read more

Amazon.com

This extraordinary 1970 British film marked the directorial debut of cinematographer Nicolas Roeg (working with Donald Cammell). James Fox portrays a London gangster who has to hide away for awhile and ends up staying with a fading rock star (Mick Jagger). The latter recognizes something of his old, daring self in the violent criminal, and after pushing open the boundaries of the hood's experience with psychedelics, the two men begin to intertwine as one. The film is an exciting pool of ideas about real and presumed power, about the mysteries of "performance" as a pressing outward toward an abandonment of identity and embrace of revelation. Beneath it all, however, is Roeg and Cammell's suspicion that the worlds of these two men--pop shaman and underworld soldier--are not dissimilar in their self-serving goals. --Tom Keogh ... Read more

Reviews (25)

Jagger's timecapsal--a Stones fan's must see...
In one pivotal, surreal, and disturbing scene in this film Mick Jagger regales some inhabitants of his household with some creepy, old Robert Johnson blues just accompaning himself on an acoustic. I watched this scene at first, knowing full well of The Stones' and Jagger's blues worship, and even I thought 'this is ridiculous--is this white boy kidding?'. BUt as Jagger sings "I said 'hello satan----I believe it's time to go", this white boy thrilled some hoodoo through me. By many accounts that I've read, this is what meeting Jagger might be like, and may be the essence of the man.

Having said all that, I find this to be a compelling film. It graphically depicts hard sex, violence, drug use (several years before 'Clockwork Orange' was brought to life), as well as strange obsession with androgeny (several years before the boom of Bowie & Bolan). Mick Jagger's reclusive, devil-worshipping Turner was no stretch of the imagination, especially at this time (1968), but one must hand it to Jagger--despite a few awkward scenes, he smolders, & few real rockers of the time could fill such cinematic hooves. He was even diplomatically second-billed to British actor James Fox, who is the main focus of the film, playing a gangster on the lam. His dillemna gives the film a true sense of tension and depth.

Surreal psychadelic nightmare
One of the most astonishing movies of all time. In a nutshell, 'Performance' tells the story of London gangster Chas Delvin (James Fox), on the run from his old associates for an unauthorised murder. He hides out in the house of reclusive rock star Turner (Mick Jagger), who introduces Delvin to his bizarre world of sex, drugs, black magic and rock n' roll. The movie is packed with amazing performances all round, particularly from James Fox. The script by Donald Cammell is great and the direction by Cammell & Nicolas Roeg is superb. While obviously a product of the sixties the film has aged fairly well. It raises interesting and timeless questions about identity and duality. This film is very strange and very graphic. It does not make much sense at first, in fact it is a movie which demands to be seen more than once. Certainly once you see this movie it will stay with you.

Performance Cinema Re-release seen in Notting Hill London
Donald Cammell

"If Performance does not upset audiences," he explained, "then it is nothing."

My friend Neil and I have been waiting for some time to see this film at the cinema. It hasn't been widely available on video for some time and has not yet been released on DVD.
So we were overjoyed to see it was being shown at the Electric Cinema a wonderful recently revamped cinema in Notting Hill Gate, not a hundred yards from Powis Square, one of the main locations in the film.

Performance was financed by Warner Brothers in the late 60's, though it was not released for two years after its completion due to WB demanding recuts and probably hoping the whole sordid little film would be forgotten about.
Thankfully it wasn't, and has over the years become something important and special to many people.
Performance starts as a seemingly straightforward East end gangster film, typical of the period. However when Chas, played to perfection by James Fox, takes refuge in the bohemian lair that is Turners (Jagger) Powis Square townhouse, the pace and the feel of the film change dramatically.
Turner is a retired rock icon who is wallowing in in a filthy corner of his psyche while he decides whether to try and recapture his mojo or continue his hermit like existence. However the hermit tag only applies to Turners lack of contact with fresh air, not many hermits have two pretty free spirits in the form of Pherber (Anita Pallenberg ) and Lucy (Michele Breton) roaming naked around their self imposed prisons.
Pallenberg is the wild blonde who was probably didn't find it too hard to get into character, at the time of filming she was actually Keith Richards's girlfriend, and tales of a jealous Richards watching over the set are abound.
For me the most interesting character and also seemingly someone who probably wasn't acting is Breton. A very pretty boyish French Girl who was said to be a runaway. I have read that she died shortly after the film which seems like a sad but not surprising end for such a free spirited child of the sixties. I would love to have been able to tell you more about Breton, but a search on the internet will turn up very little. She would seem to me like a leaf that breezed into swinging London and was swept away like so many others.
Jagger is convincing as Turner and this is undoubtedly his best, if not his only good, film.
As Turner takes over control of the film from Chas we are treated to a feast of decadence and weirdness that never strays too far from reality for its own good. The film is tied down to a solid base by the continuing gangster film thread humming silently in the background.
Since 1970 many an apocryphal tale has surfaced surrounding the making of Performance, ranging from nervous breakdowns to suicide and drug overdoses. I am always skeptical about such tales, but, unfortunately most of these tales would actually seem to be true. Certainly writer and co director Donald Cammel shot himself and James Fox was disturbed enough not to make another film for many years afterwards.

As I waited for my friends to come out of the Electric Cinema, I overheard many a reaction to the film from other patrons. On the whole it would seem that people seemed disappointed or confused or even annoyed. Thanks god for that. Thank god it has not been tamed by age and become a safe little piece of 60's nostalgia.
Performance does upset audiences. It IS something.

"Nothing is true, everything is permitted"
"Performance"(1970) directed by both Nicolas Roeg and Donald Camell and starring Mick Jagger and James Fox, is a film that is directed to a certain group of people and taste and treated as a cult classic. Chances are you've discovered this film because you are one of those people and you'll probably dig it. I saw this film because I am a big Rolling Stones fan and of the 60's and wanted to see Mick Jagger and to tell you the truth, I was not expecting much. "Performance" is a great film for what it is, an experimental film dealing with the clash of two worlds in a nonlinear format. In the beginning of the film, I thought it was just being weird for the sake of being weird but once I started to accept it and let it unravel, I thought it was a great film. James Fox does a great performance and Mick Jagger too but his just playing himself. The film has a lot of interesting shots and scenes which really stick with you. At the end of the film, my psyche had changed and I felt like I was in a different state of consciousness. I would really like to see "Performance" restored on to DVD because the sound quality on video is awful and makes it even harder to understand the thick Cockney accents. All and all, "Performance" has its errors but is a great snapshot into the culture and general feeling of the 60's.

Must everything be explained?
I found this movie after watching some special films like "Picnic at Hanging Rock" and "Mulholland Drive" that made me hungry for something different in a movie. In fact, I rented "Performance" after following Amazon's chain of "people who bought this movie also bought this movie", and it is now on my best of the best list. What a stunning film it is. Sometimes, we struggle too hard to explain things. "Performance" should be experienced, not explained. Watching this film is like having a dream, and, like a dream, it won't make much sense when you awaken from it. But the images from it and the feelings they inspire will haunt you. I was about to write here about some examples, but I'll just give one - a Jim Morrison poster on the wall entitled "It's Over". Perhaps the movie is about the death throes of 60's idealism? I'm sure that in part it is, and that different people will have different interpretations. Did you have a dream last week? What did it mean? ... Read more

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The second of Francis Ford Coppola's films based on the popular juvenile novels of S.E. Hinton (the first being The Outsiders), Rumble Fish split critics into opposite camps: those who admired the film for its heavily stylized indulgence, and those who hated it for the very same reason. Whatever the response, it's clearly the work of a maverick director who isn't afraid to push the limits of his innovative talent. Filmed almost entirely in black and white with an occasional dash of color for symbolic effect, this tale of alienated youth centers on gang leader Rusty James (Matt Dillon) and his band of punk pals. Rusty's got a girlfriend (Diane Lane), an older brother named Motorcycle Boy (Mickey Rourke), and a drunken father (Dennis Hopper) who've all given up trying to straighten him out. He's best at making trouble, and he pursues that skill with an enthusiastic flair that eventually catches up with him. But it's not the whacked-out story here that matters--it's the uninhibited verve of Coppola's visual approach, which includes everything from time-lapse clouds to the kind of smoky streets and alleyways that could only exist in the movies. The supporting cast includes a host of fresh faces who went on to thriving careers, including Nicolas Cage, Christopher Penn, Vincent Spano, Laurence Fishburne, and musician Tom Waits. --Jeff Shannon ... Read more

Reviews (35)

Chemistry and Vision
What makes a five star film? How about a cast starring Matt Dillon, Mikey Rourke, Dennis Hopper (and a cameo appearance by Tom Waits!), a soundtrack by Stewart Copeland (with a bit of Stan Rigeway!), a story by S.E. Hinton, and directed by Fracis Ford Coppola. This film is magic. It is modern impressionism shot in a timeless realm- a blackboard sky. Its more than rouge street kid getting into rumbles, its a story of fish that need to be set free, so they can swim to the ocean where there are no dividing lines. When this movie first came out in the early eighties, it got negative reviews and a cold public welcoming. As you can see here -an almost five star consensus- it was very ahead of its time. This movie probably hit the establishment like a bomb, which at the time was very conservative. All that aside, this is an extraordinary film- a true art piece of the silver screen- livid, bullish, and moving.

Ready To Rumble
Following his acclaimed adaptation of S.E Hinton's book, The Ousiders, director Francis Ford Coppola decided to make another of the author's books into a film. Rumble Fish is another comming of age story. Coppola wanted to stretch his creative juices, and wanted to distinguish it from The Outsiders, so he made a rather bold move by shooting most of it in black and white. This was a risky move, considering that its target audience is the teenager, and typically they avoid colorless films.

Rumble Fish tells the story of Rusty James (Matt Dillon), a gang member, who's being pulled in many directions by the people in his life. His brother, "Motorcycle Boy" (Mickey Roarke), his alcoholic Dad (Dennis Hopper), and his girlfriend Patty (Diane Lane), all want Rusty to straighten out his life. He soon finds himself with some difficult choices to make.

The cast is quite solid. Of particular interest to watch is the interplay between Dillon and Roarke and Dillon and Lane. Roarke plays the older brother with authority and range that the actor isn't exactly known for of late. Lane maintains the give and take with Dillon that began in The Outsiders. Dillon, plays a man who struggles with influences all around him, while trying to make the right choice. The use of minimal color works and serves to highlight the cinematograpy and contrasts the action well.

I can't explain why the movie isn't as remembered as it should be. But... As good as I believe the film is, the minimal extras on the DVD, are disappointing Production notes and the theatrical trailer is all you get. I wish there were more of a perspective on the film. Rumble Fish is stiil recommended just the same.

One of Francis Ford Coppola's finest!
Despite the less than admirable response this movie received when it was introduced to the American public, it is my opinion that this movie is highly underrated. The black-and-white film, time-lapse motion photography, and the recurring motif of clouds and smoke all contribute to the visual beauty of this movie. Based on the book by S.E. Hinton, the movie draws the viewer into a trance-like surrealism. Mickey Rourke's portrayal as the mystical, aloof Motorcycle Boy was excellent. This is the ultimate "coming-of-age" movie. Highly recommended!

"He's like royalty in exile..."
Francis Ford Coppola's Rumble Fish was booed by its audience when it debuted at the New York Film Festival and in turn was viciously crucified by North American critics upon general release. They resisted the allure of such a dreamy, atmospheric film that works on so many levels. It is also Coppola's most personal and experimental project--on par with the likes of Apocalypse Now. Rumble Fish curiously remains one of Coppola's often overlooked films. This may be due to the fact that it refuses to conform to mainstream tastes and stubbornly challenges the Hollywood system with its moody black and white cinematography and non-narrative approach.

Rumble Fish curiously remains one of Coppola's often overlooked films. It refuses to conform to mainstream tastes and stubbornly challenges the Hollywood system with its moody black and white cinematography and non-narrative approach.

It was a movie clearly ahead of its time: a stylish masterpiece that is obsessed with the notion of time, loyalty, and family. Perhaps the most distinctive feature of Coppola's film is that it presents a world that refers to the past, present, and future while remaining timeless in nature.

Right from the first image, Rumble Fish is a film that exudes style and ambience. It opens on a beautiful shot of wispy clouds rushing overhead, captured via time lapse photography to the experimental, percussive soundtrack that envelopes the whole film. This creates the feeling of not only time running out, but also a sense of timelessness.

As always, Coppola assembled an impressive ensemble cast for his film. From The Outsiders, he kept Matt Dillon, Diane Lane, Glenn Withrow, William Smith and Tom Waits, while casting actors like Mickey Rourke and Vincent Spano, who were overlooked for roles in the film for one reason or another. They all fill out their roles admirably, but Mickey Rourke in particular is mesmerizing as the Motorcycle Boy. He portrays the character as a calm, low key figure that seems to be constantly distracted as if he is in another world or reality.

Every scene is filled with dreamy imagery that never gets too abstract but, instead, draws the viewer into this strange world. Coppola uses colour to emphasize certain images, like the Siamese fighting fish in the pet store--some of the only colour in the film--to create additional layers in this complex, detailed world.

Overblown, top-heavy pomposity-- but interesting.
Coppola obviously is setting out to make the mythical American teen picture, set in the midwest, a modern gothic Rebel Without a Cause replete with Dennis Hopper as the drunken paterfamilias. The story in this film is very very weak. Essentially, it is a slave to the visual poetry of Coppola, which is at times breathtaking, but at others, painfully "innovative" Same thing can be said about Stewart Copeland's score, at times it's a bizarre reflection of the angst of youth, but mostly it's just from left field and an unsuccessful experiment. Matt Dillon's acting is atrocious. Very little to no character development with the supporting characters. A thoroughly disappointing film, but given its unique qualities, has to be appreciated. Just like Coppola himself! ... Read more

Description

Sexual thriller with Al Pacino as a young cop who must go undercover as a gay 'cruiser' in New York City. There's a homicidal homophobe on the streets, brutally killing gay men, and it's up to Pacino to stop him. Shot on location in several gay bars of the era. ... Read more

Reviews (39)

Huh? What happened?
It is really bizarre watch one of the Corleones playing a leather daddy - but that's just what Pacino does (has he ever played any other part in all the films he's made?). But what is more bizarre is that this film was ever green lighted. It is based on a book that had to have been better than the tripe here. I've seen this movie several times; each time hoping that I will actually be able to figure out "who done it". Friedkin, who is typically an excellent director, leaves the ending open for question (in my opinion) and as such confuses the viewer. I have read that Friedkin did this on purpose, but I don't know why. When I want to watch a mystery film, I expect to have some resolution at the end. This films doesn't provide me with that satisfaction.

Further, this is a VERY violent and repugnant film, depicting a small segment of the gay community, but the casual viewer isn't aware of that fact. It's a dark, depressing, and angry film that seems to not know what it wants to say or how to say it.

A Great-Thinking Person's Thriller
Cruising showcases one of Al Pacino's greatest performances as a rookie police officer who is sent undercover to investigate a series of gay murders.

I have watched this William Friedkin-directed film several times and always walk away with a different interpretation as to the events that I had just witnessed: Is the Pacino character straight or gay? Does the Pacino character actually engage in any gay sex acts while undercover - or does he fake it (we never actually see him do anything). Does the Pacino character become a killer at the end of the film - or did someone else kill Pacino's next door neighbor, Ted? And was that Pacino going to a gay club at the end of the film, or was that a flashback?

The Pacino character undergoes a complex, emotional catharsis - but it is always unclear to me if it was for the better - or for the worse.

This is Friedkin's third best film. His best were The Exorcist, To Live and Die In L.A. - with The French Connection coming in fourth.

Sadly, Friedkin - once a great artist - has forgotten how to make films anymore (ever see Jade?). But at least we have those four great ones to remind future directors of how to craft a film.

Underated film
I first heard about cruising when I was watching a documentary on Al Pacino and I couldn't belive that I had never heard of it. The film looked very Dark and I couldn't wait to see it. I waited six whole months to see when eventually I spent twelve pounds to watch it on filmfour. I taped it so I could watch it again. I was stunned at how much people didn't like the film. The film was a very interesting study of the gay underworld and Pacino's performance as a gay undercover cop was great. Although it does have some unexplained parts. Like the part where the naked cop is slapping Pacino and a killer suspect. I've watched the film many times and I still can't work out the ending. The only thing I can think of is that Pacino is the killer.
Overall it was a great film with a few confusing moments.

Cruisin
I really liked this movie.My brother has it on vhs. I have all of Al Pacino's DVD's and would like to own this movie as well. Please release this one on DVD-I do not buy VHS. As each movie comes out on DVD of Al's-I buy it. I wait until it comes out on DVD.Please release it!

Thanks. I am a big fan of AL PACINO!

It's not supposed to be a documentary.
It's hard to tell what William Friedkin is driving at in this grim tour of New York City's leathers bars. Al Pacino plays a detective who infiltrates this fringe of the homosexual world to flush out a killer, and whose own sexual identity becomes blurred in the process. It starts out strong but ultimately is too confusing and clichéd to be called "good." ... Read more

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This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

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Based on Thomas Harris's novel, this terrifying film by Jonathan Demme really only contains a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision (Melvin and Howard, Something Wild), also spent his early years making pulp for Roger Corman (Caged Heat), and he hasn't forgotten the significance of tone, atmosphere, and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. --Tom Keogh ... Read more

Reviews (362)

One of the best thrillers!
Absolutely as scary a movie as Hollywood could ever produce. The acting, writing, cinematography, and dramatic lighting effects are awesome. The story, based on my favorite book by Thomas Harris of the same title, is incredibly chilling. FBI trainee Clarice Starling (Jodie Foster) is assigned to an interview with "Hannibal The Cannibal" Lecter (Anthony Hopkins), who is, without a doubt, the completely immoral personification of evil. Hopefully, Lecter will aid in the capture of another grizzly murderer who skins his victims. The plot twists and turns as will your stomach. However the explict and grizzly visuals are sumptous rather than repulsive. However, this film still can not be recommended to the squeamish. Anthony Hopkins makes the most of his part and leaves you with an impression that will haunt you forever. If you like the movie, read the book alone in the dark, which will also send chills up your spine. Nightmares Gaurenteed!

The movie also won five accolodes from the Academy of Motion Picture Arts and Sciences. Including Anthony Hopkins only Oscar which he won for Best Actor, and Jodie Foster's for Best Actress. It even won Best Picture of the Year.

A classic, master-mind of a thriller
The Silence of the Lambs

Score: 96/100

When it won the 5 most important Oscar's (Picture, Actor, Actress, Director, Screenplay) in 1991, The Silence of the Lambs proved not only is it tear-jerking drama's that get so much attention, but the full-of-plot, intriguing thriller's are also an important part of film history.

Young FBI agent Clarice Starling (Jodie Foster) is assigned to help find a missing woman to save her from a psychopathic serial killer who skins his victims. Clarice attempts to gain a better insight into the twisted mind of the killer by talking to another psychopath Hannibal Lecter (Anthony Hopkins), who used to be a respected psychiatrist. FBI agent Jack Crawford (Scott Glenn) believes that Lecter who is also a very powerful and clever mind manipulator have the answers to their questions to help locate the killer. Clarice must first try and gain Lecter's confidence before he is to give away any information.

The Silence of the Lambs is a clever, chilling and brain-numbing movie which just keeps getting better and better. The performances are quite simply superb, the two leads, Jodie Foster and Anthony Hopkins both pull off uniquely amazing performances, and they have a great screen chemistry, while Scott Glenn and Ted Levine back them up nicely. Director Jonathan Demme pieces everything together awesomely with Ted Tally's extraordinary script, adapted from Thomas Harris' novel. On the subject of books and novels, this is one of the few films that has surpassed the high standards of its book, and The Silence of the Lambs deserved to be praised for that alone!

The Silence of the Lambs is a brilliant, immediate classic that everyone should've seen after 10 years of stunning the world.

Hannibal Lecter the best bad guy in a movie
The first one of the trilogy of Hannibal Lecter. Anthony Hopkins at his very best. A fantastic movie, don't miss any of the three.

The very best
Roger Ebert said, "I t has been a good long while since I have felt the presence of Evil so manifestly demonstrated as in the first appearance of Anthony Hopkins in "The Silence of the Lambs", and it is exactly that manifestation of evil caused The Silence of Lambs to leave such an indelible mark on moviegoers. Hopkins performance surely rates as one of the best performances, male or female, in Hollywood history.

Credit also goes, in enormous quantities, to Jonathan Demme and Jodie Foster. To Demme because he realized that the horror of this film was psychological, and to Foster because her perfectly played naiveté to Lecter's arrogant worldliness created the canvas on which the film resonates.

Too many thrillers and wanna-be thrillers fall into the least common denominator - trite scare tactics. Here, there was nothing trite. The images were clear, original, and gripping.

I've seen this film half a dozen times (there are very few films that I've watched more than twice), and every time my mind brings up the scene that Ebert is referring to - in Chilton's psychiatric ward - my mind's eye sees Lecter wearing orange. This is Demme's brilliance. He has done such a terrific job of creating Lecter as a devil, that when I think of him, I clothe him in colors of fire. In reality, he wears blue in that scene.

In a later scene, the scene that names the book and film, Lecter is imprisoned in a tall cage in the center of a wide open room, and Foster sneaks in to visit him, hoping to garner more clues to the murder she's investigating (it's easy to forget while watching this film that there is something going on other than the relationship between Lecter and Starling, like the other serial murderer in the film, the one that is actively killing people). This is where Demme (and Hopkins and Foster, for that matter) shines. Lecter, seated, asks Starling, "What does he do, this man you seek?" Starling answers, "He kills women." "No, that is incidental," Lecter replies. When Lecter speaks - and his diction is flawless, perfect, and amazing, capturing his contemptful personality - the camera is completely focused on his face, and the lighting and shadows that Demme employs evokes images of every devil or demon our imagination, or literature, has ever conjured.

This scene, and everything that follows (the second meal of raw meat, the killing of the guards), is a breathtaking piece of artistry.

This is, quite simply, the very best thriller Hollywood has ever produced.

Pretty good - I liked it
With excellent directing, writing, and acting...Jodie Foster plays a great role and should have won the academy award. ... Read more

Reviews (34)

Jane and Eckhart in a must see for thriller movie lovers
Thomas Jane and Aaron Eckhart star in this story of a drug runner gone good. Casey Wells has a home in the 'burbs, a sucessful wife and a past far behind him but when his ex L.A. pal Nick,(Eckhart)shows up for a reunion a normal Thursday goes bad. His ex partner wants to take Wells back into to the drug life and Wells starts to learn that the past always catches up with you. Great pick for thriller lovers. Lots of action and a creative story line. This is one of those movies that gets better each time you watch it. Eckhart fans(In The Company Of Men, Your Friends and Neighbors)will get a kick out of his smooth portrail of an in-too-deep drug dealer and Thomas Jane(Face/Off,Deep Blue Sea)is great as a formerdrug dealer with a past to run from,this guy has talent. Special appearance by Mickey Roarke is a cool twist and a great ending that's sure to make you realize that in life there are always options.

Thursday--What Fun!!!!
This has quickly become one of my all time favorite movies. Thomas Jane is marvelous as Casey, a former drug dealer who has moved from L.A to Houston, become an architect, gotten married, and bought a cute little house in the 'burbs. He likes being an upstanding citizen whose greatest danger in life is getting caught in his automatic lawn water sprinkler system. Things are so good, in fact, that Casey and his wife are trying to adopt a baby. All is bliss--until Thursday--when who should show up on his doorstep but his old drug-running buddy Nick (Aaron Eckhart) and leaves behind a mysterious locked metal suitcase. Strange people start showing up at Casey's house, including the nosy psychologist from the state adoption board who has come to conduct a psychological evaluation on Casey's fitness for prospective parenthood. Definitely some elements of "Pulp Fiction" here, but still fresh and funny. Even Mickey Rourke shows up--what else can you say? Just this: The humor is black, but the heart of this movie is pure gold.

Why doesn't anyone speak of Paulina?
Everything that's been said is true ... but I wonder why nobody mentions Paulina Porizkova! She was one bad chick!! Wonderful movie, but again, like said above ... why so much for a used CD? I sure wish I had a few copies ... I'd sell 'em for half that and be thrilled - HA!

Great movie
This is an awesome movie. It's just a shame it didn't get enough publicity to warrant more production. I can't find this DVD anywhere. If you like Boondock Saints you'll probably like this.

Amazing !
The only drawback to this movie is that it isn't longer. If you like Reservoir Dogs or Pulp Fiction, then you will love this movie. It is easily one of my all time favorites. I still can't believe that this movie didn't make a huge splash at the box office and that more people don't know about it.

P.S. If you want a REALLY good laugh, then click on the "used and new" icon on this page. Check out how much money those dorks want for a used dvd of this movie. Guess how much those used dvd's of Thursday will be worth when it gets re-released on dvd one day. Can you say "worlds most expensive coasters" ? ... Read more

Amazon.com

Director John Singleton (Boyz N the Hood, Rosewood) made an earnest effort in this, his second, film to say a great deal that is true and relevant about living and loving in a violent, difficult time in American history. Janet Jackson plays a beautician and poet who withdraws into herself after her boyfriend is murdered by gangsters. The late Tupac Shakur plays a postman who tries to get through to her, and the two travel on a course through urban America, connecting with family and community. Singleton has so much on his mind that the film comes out a terrible muddle, but there is a certain integrity peeking through the fog. Shakur makes a startlingly good impression in his film debut, and Jackson strips away her star veneer to play something like a real person--and entirely succeeds. Maya Angelou wrote the poems that pass as those penned by Jackson's character, and she also appears in the film. --Tom Keogh ... Read more

Reviews (59)<