Le Dernier métro

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Price: $553.98   

Le Dernier m �tro Review

One of Truffaut's and Deneuve's best pictures. It has warmth, history, a sense of the absurd, excellent pacing, and a bit of suspense. It's also has more a linear storyline then many French films. All of the performances are excellent.
Two Warnings:
1. Avoid dubbed versions (Deneuve's sense of humor is in her voice, not on her face, resulting in a mirthless character when dubbed).
2. The new Fox version changed the sub-titles and wrecked some of the best lines.

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No Way Out [VHS]

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No Way Out [VHS] Review

If only the ending could be just a tad different, this would be twice as popular as it ever got. The topnotch, passionately made film largely goes unsung, a bit like "The Siege," only because it threw away all the riveting plot twists when it reached its ho-hum finale (some may call it a great final twist). Quibbles aside, this fast paced nail-biter may be one of the quickest 2 hours of cinema ever filmed. Costner plays a Navy commander assigned to a high level post in the DOD, where he, and the Secretary of Defense become embroiled in a murder/scandal. The bulk of the film chronicles the Departments Under Secretary's attempts to quash the problem. A high level Russian mole in the U.S. government is being pursued throughout the film. The chase keeps narrowing down more and more drawing the government officials closer and closer to the culprit. The tension became almost unbearable as the mole was about to be trapped. Costner, for a change, is really convincing in his role, the tight dialog helping him immeasurably. Sean Young actually smiles in this movie and looks twice as good as all her other newer movies put together. Gene Hackman has the usual commanding screen presence. All in all, a fabulous politically charged thriller you ought not to miss! Help other customers find the most helpful reviews Was this review helpful to you? Yes No Report abuse | PermalinkComment Comment (1)

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The Accidental Tourist [VHS]

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Price: $529.01   

The Accidental Tourist [VHS] Review

THE ACCIDENTAL TOURIST has some of the most interesting dialogue ever heard in a film about relationships. The story begins when Macon Leary, a travel writer played by William Hurt, comes home to find his wife, Sarah, (played by Kathleen Turner) wants a divorce. This marriage has endured almost unbearable strain after the death of their only son, and Macon's coping strategy is to strive to keep things as they are. When Macon's welsh corgi becomes bad-tempered and starts to bite, Macon can't stand the thought of parting with the dog that was his son's childhood companion. Macon is forced to rely on others when he breaks his leg and moves in with his sister and brothers, and the movie really picks up momentum when he meets a sparkling divorcee dog trainer named Muriel Pritchett (played by Geena Davis). Muriel has her eyes on Macon Leary from the first moment she sees him, when she begins a long campaign to win this world-weary man over and bring joy back into his life. When Sarah finds out that Macon is seeing another woman, she has a change of heart about finalizing the divorce, and seeks a reconciliation. Macon's choice then becomes one of maintaining the status quo or navigating his way through uncertain yet exciting territories with someone new.

Both the acting and the dialogue in THE ACCIDENTAL TOURIST are first-rate and highly memorable. Geena Davis steals the show with her shining performance of a quirky, life-positive divorced single mom with a single-minded interest in helping Macon Leary to become more than a reluctant sight-seer in life. My favorite line of dialogue in this dialogue-driven film is when Macon says to Sarah, "I'm beginning to think that maybe it's not just how much you love someone, maybe what matters is who you are when you're with them." I've contemplated this concept for years, and been continually inspired by it's significance.

While this film may be considered slow-moving and somewhat sad, it ultimately delivers an uplifting and inspirational message of hope.

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Rope [VHS]

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Price: $478.61   

Rope [VHS] Review

Alfred Hitchcock's Rope, the first film that the Master of Suspense filmed in Technicolor, has languished in largely undeserved mediocrty since its release in 1948. The film didn't do well theatrically in the US, and subsequent versions (VHS) were made from terrible-quality originals. Finally, Universal has seen fit to release on DVD a marvelously restored version of a truly fine film.Rope, based on a play of the same name, which was in turn based on a real murder case in 1924, opens with two friends - played by John Dall and Farley Granger - strangling a classmate with a length of rope. The body is then stuffed in a trunk that the two use as a buffet table during an upcoming dinner party - a party partially in their murdered friend's honor.As the movie progresses, the friends' professor - played exceedingly well by James Stewart in one of his best-acted roles - eventually begins to suspect the crime. As the two students engage him in a discussion about Nietzschian philosophy, and specifically philosophy of the ubermensch (overman or superman), Stewart's character puts two and two together. The tension is so tight you hold your breath for the last half-hour, wondering if Stewart knows, and if he does, what he's going to do about it - and, more importantly, if he's in danger, too.Much has been made of the technical side of the film - Hitch wanted it as close to a stage play as possible, and the entire movie has only nine (well-hidden) breaks - as well as the homosexual overtones, but the real genius in Rope comes from the acting and direction. As opposed to today's "roller-coaster ride" action movies, Rope builds slowly, layering tension upon tension until the viewer just can't wait anymore to find out what happens. Anyone can toy with an audience, using special effects, explosions, and fast cars to create action, but true suspense - that hourglass feeling of grains of sand building a mountain - takes talent, and Rope readily uses that effect, thanks largely to the preformances of the three main characters.In addition, Stewart's ultimate conclusions on Nietzschian philosophy offer a refreshing step away from those who would indict it solely on the basis of notions (and books) like the Will to Power - people who can see no further than the two murderers. Like Hitler and Dall and Granger's characters, some people cannot see past these passages, often taken out of context from the rest of Nietzsche's thought. Thankfully, Arthur Laurentis' screenplay ultimately deals with these ideas in a mature manner - and shows the horrifying effects of the hubris so many undergraduate-level students get when they don't bother to read and conside Nietzsche in context.Universal's DVD is excellent - the picture and sound quality are top-notch, especially considering it's been more than 50 years since Rope was filmed. The full-frame presentation isn't a problem, since widescreen movies didn't exist at the time. The half-hour long featurette offers some interesting insights and interviews with a couple members of the cast and crew, and isn't your usual "so-and-so was great" pieces. Hume Cronyn offers some genuine - and well-founded - criticisms of both Hitch and the finished product. Also included is Rope's unique theatrical trailer, a kind of "mini-short" featuring the soon-to-be-murdered lad discussing a marriage proposal with his girlfriend in Central Park, in surprisingly decent quality considering the film's age.If you are a fan of Alfred Hitchcock, or just like great acting and pianowire-tight tension, then you can't go wrong with Rope. Help other customers find the most helpful reviews� Was this review helpful to you? Yes No Report abuse | PermalinkComment Comment (1)

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Assassins [VHS]

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Price: $514.40   

Assassins [VHS] Review

This was a very exciting movie. There was action from start to finish. Stallone,the top hit man in the world suddenly finds that he has competition. He battles all over the landscape against his new competitor Antonio Banderas. A woman comes into possesion of an article that the bad guys want. She then becomes a target for Banderas. It falls upon Stallone to defend her. Stallone has to fight for his life against his new younger competition. The battle is ruthless. Stallone and Banderas have a final showdown that is top notch. Be sure to see this movie.It is top of the line. You will not be dissapointed.

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A Midwinter's Tale [VHS]

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A Midwinter's Tale [VHS] Review

Here's a story for you: Joe, a depressive, out-of-work actor, puts on a no-budget production of Hamlet, as a benefit for a church that's about to be bulldozed by developers; he's plagued by money problems, disinterest from the locals, and a cast of actors that spend their time arguing and sniping at one another. They cannot seem to focus on the play very often-and when they do, they can't get things right. Despair begins to overtake Joe.Now: picture this as a comedy. Can't do it? That's okay, because Kenneth Branagh already did it for you. A Midwinter's Tale (originally titled In the Bleak Midwinter for its British release) takes that concept and weaves comic gold out of it, presenting the viewer with a film that is by turns clever, slapstick, hilarious, and heart-wrenching. After Henry V it's probably Branagh's best film, and funnier by far than his other two comedies, the uber-schmaltzy Big Chill ripoff Peter's Friends, or the intelligently done (though occasionally miscast) Much Ado About Nothing. A Midwinter's Tale surpasses them both with a tightly written script, able and artful direction that owes a debt to both Woody Allen and Frank Capra, and a truly great ensemble cast. Casting is an integral part of any film, of course, but when one is adapting Shakespeare (or, in this case, doing a film about adapting Shakespeare), good casting is essential. Branagh has been hit-or-miss with this over the years-most notably in the case of Keanu Reeves, hopelessly out of his depth in Much Ado-but in this particular film it's spot-on. From Branagh regulars like Michael Maloney and Richard Briers, to semiregulars like Gerard Horan, Celia Imrie, and John Sessions, to newcomers Julia Sawalha and Joan Collins (yeah, that Joan Collins), everyone does a tremendous job, and each actor approaches his or her role with a verve and a dedication that is extremely fun to watch. Sawalha in particular is a delight as the incredibly nearsighted Nina, Joe's love interest; she brings a vulnerable humanity to her role that not only heightens the humor in her more slapstick scenes, but deepens the drama of the more solemn moments as well. Likewise Sessions (probably most familiar to Americans from his appearances on the British version of Whose Line Is It Anyway?) is given the seemingly one-dimensional/stereotypical role of the female-impersonating homosexual, Terry . . . which would seem unrewarding. But he turns in a three-dimensional characterization that is screamingly funny throughout the film-until his role takes a gutwrenching turn for the dramatic in one of the film's best scenes. And so it goes for each of the characters; they all have something to do in this film, and they all do it superbly, hilariously, and when it is called for, tenderly. Branagh's script is another key element to this movie's excellence. It's impeccably written, using both Shakespeare and its unique bunch of characters to tremendous advantage. One of the keys to this is that Branagh never makes fun of these people, even when they are at their worst, their silliest, their most pompous, or venal. Branagh has an obvious fondness for these people (presumably based on actors he knew during his own struggles to make it in the business), and he treats them like people, rather than as fall guys or as the means to get to a lame punchline. Every line the characters speak, every scene they're in, shows their humanity, and shows it lovingly. A lot of the humor in the script grows out of character, and that really makes this film shine. It builds the laughter naturally, rather than forcing it through meanness and being shocking or crude, as in the case of many so-called "comedy" writer/directors today. As I said above, Branagh's direction borrows a page or two from other comedy directors before him, mainly Woody Allen and Frank Capra. The Allen influence shows through the strongest, especially through the dialogue and the first half of the film, which bears a lot of similarities to both Manhattan and Stardust Memories. The opening credits are strongly reminiscent of Allen's classic "middle period pictures; Joe directly addresses the camera, as a lot of Woody's characters do, and this is juxtaposed with music-Noel Coward's delightful "Why Must the Show Go On?", a sardonic look at the gung-ho attitude actors have. The song becomes a leitmotiv throughout the film, with the action echoing Coward's cynical lyrics . . . until the turning point in the film, when the troupe unwittingly comes up with the answer to Coward's question, and demonstrates precisely why the show must go on. From here on in the Capra influence takes over-and I can't say too much about that without giving the ending away, unfortunately. What I will say is that like Capra at his best, A Midwinter's Tale favors sentimentalism over cynicism-something a lot of modern critics find distasteful for some reason. I can't imagine why, especially when the sentiments expressed here-in particular, the value of loyalty and family-are so genuine and loving, especially when contrasted with the phoniness and cruelty that passes for humor these days in far too many films. Branagh is more intelligent than that-and willing to take the risk that the audience is, too. A Midwinter's Tale is like a breath of fresh air compared to the stale stench of most modern comedies; take a chance on it. I guarantee you'll be happy you did. Help other customers find the most helpful reviews Was this review helpful to you?�Yes No Report abuse | PermalinkComment Comment

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