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Prix de Beauté was made on the cusp of the changeover from silence to sound, which came a little later in Europe than in Hollywood. Originally conceived as a silent, it was released with a dubbed soundtrack in France, with a French actress speaking Louise Brooks' lines, but was released as a silent in Italy and other parts of Europe. I was lucky enough to see the Cineteca di Bologna's flawless new restoration of an Italian silent print at the Tribeca Film Festival. I haven't seen the talkie version yet, but I think it's safe to assume the silent version is much more satisfying, since by all reports the dubbing is poorly done (Louise Brooks is clearly speaking English, so there's no way her lips could be matched.) Also, the film is made entirely in the silent style, with few titles and little need for dialogue. Prix de Beauté tells its story visually, with exciting, imaginative camera-work. The opening is instantly kinetic, with rapidly-cut scenes of urban life and swimmers splashing at a public beach. Throughout the film there is an emphasis on visual detail, on clothing, machinery, decoration, and symbolic images such as a caged bird, a heap of torn photographs, a diamond bracelet. This is silent film technique at its pinnacle.<br /><br />Louise Brooks, of course, is responsible for saving the film from obscurity. Seeing this makes it only more heartbreaking to reflect that this was her last starring role. Lustrously beautiful, she dominates the film with her charisma and also gives a perfectly natural yet highly charged performance. Her role here, more than in the Pabst films for which she's best known, is a woman we can fully understand and sympathize with. She plays Lucienne Garnier, a typist with a possessive fiancé, who yearns to get more out of life and secretly enters a beauty contest, with immediate success. She is then torn between the excitement of her glamorous new life and her love for the man who insists she give it all up or lose him. All of the characters are drawn with nuance. The fiancé inspires pity and is not merely a brute: he loves Lucienne, but is a limited man who can't cope with her having a life apart from him or attracting the attentions of other men. Even the "other man" in the story is not the simple slimeball we first take him for, though his intentions may be just as possessive as the fiancé's.<br /><br />*************************WARNING: SPOILERS BELOW***************** <br /><br />The film has many fine set pieces, including Lucienne's triumph in the "Miss Europe" contest, shown through the comic reactions of assorted audience members, who wind up pelting the heroine with flowers; her misery as a housewife, peeling potatoes while the pendulum of the cuckoo clock marks time behind her; a nightmarish trip to a fun-fair (in the silent version, this occurs late in the film, after her marriage) at which Lucienne, crushed among the low-lifes and depressed by her husband's macho antics, decides that she can't go on with her present existence; and especially the final scene in the projection room where she views her talkie screen test. Louise Brooks may never have looked more beautiful than she does here, with the projector's beam flickering on her alabaster profile, her shoulders swathed in white fur, her face incandescent under the black helmet of hair as she watches herself singing on screen. The double shot of her exquisite corpse and her still-living image on the screen is particularly poignant: Louise Brooks' image, like Lucienne's, remains immortal despite her frustratingly aborted film career. | 1pos
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With lots of sunshine, gauzy light and shadow filtering through windows and into rooms, tracking shots moving through crowds with hand-held camera, quick-paced editing and extreme close-ups here and there, the photography is the thing in this interesting, artistically done film.<br /><br />The plot of this film starts out as a bit of fluff about a beauty contest. The film begins on a warm Sunday at the local swimming pool, where we meet the lovely Lucienne aka Lulu (played by Louise Brooks) - a bit of a show-off in front of the gawking men by poolside, she soon decides to enter herself to represent France in the Miss Europe beauty contest, much to the chagrin of her very jealous, stick-in-the-mud fiancé (a pretty annoying fellow, really). Strutting down the runway the ten contestants display themselves in swimsuits, while the winner is chosen as the contestant who receives the longest applause (I was wondering, couldn't the girls just walk slower to prolong their length of time - and thus applause - on the catwalk?!). Lulu is soon being chased by a Prince and a Maharaja, but her hot-headed beau doesn't like the attentions paid to her by other men or her adoring public, for that matter (I guess he just wants her in his house, cooking his meals, and staying out of sight, eh?!).<br /><br />Louise Brooks is beautiful and charming, her presence helps enhance this film, but it's really the way it is photographed that held my interest the most. A bit distracting is the odd dubbed sound, which is a bit off. The print on this version looked very clear and full of nice contrast though. Watching this I just tried to overlook the sound problems and watch the film visually, and I found the movie to be excellent, well worth seeing. | 1pos
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We saw the silent version of this film, and it is quite simply shimmeringly beautiful. It's quite hard to see how a sound version could have been created, since it is shot with pure silent technique, long wordless sweeps of narrative without a single intertitle -- save for a few disconcerting sequences where Louise Brooks, playing a French typist, is quite visibly speaking in English... The only section that obviously cries out for sound is the final scene, where Brooks is watching the rushes for her test 'for a sound film': footage which plays constantly in the background as the action unfolds, with her mouth moving in ceaseless soundless song. I was unsurprised to learn afterwards that this passage alone in the talkie version had been hailed as an exemplar of new technique! <br /><br />In the sunny beauty of its opening scenes and the fairy-tale inevitability of what follows, the film resembles a dream. As a 'Louise Brooks movie' it was not at all what I was expecting, either from her Hollywood comedies or from G.W.Pabst's German melodramas: I found the idiom more fluent and enjoyable than either, and Brooks herself is a different creature, a sturdy laughing young animal rather than a shop-window vamp or manipulated doll.<br /><br />But what gives this film greater depth than at first appears is the unexpected second half; repelled by the rich parasites who cluster around her beauty, the pauper princess returns to a tear-stained reunion with her humbly-born true love... and the tale might very well have been ended there. Fairy-tale, however, turns to tragedy. The dilettante Grabovsky, confident in his ability to manipulate the woman he desires, is yet all too correct in his self-interested prediction -- the young lovers cannot make each other happy -- and André, ironically, was right to mistrust the social influence of beauty contests: after the intoxication of her moment's glory, Lucienne frets herself to despair over the humdrum routine of married life while her husband, in turn, is driven wild by any reminder of the whole affair. If it were a simple case of a mis-matched marriage, that would be one thing... but the true tragedy is that they do love each other.<br /><br />In many ways "Prix de Beauté" reminds me of Murnau's "Sunrise". But if so, the fairground and photographer scenes here would form a distorted mirror-image of the joyous reconciliation in "Sunrise"; no dream but an alienating nightmare. And the following dawn brings not a miraculous reunion but an empty bed and deserted home. Leaving a letter to say that she loves him and will always love him, Lucienne vanishes again from André's life in quest of brightness and freedom; and this time she will never come back.<br /><br />Gossip columns confirm all André's worst convictions, as he learns of his wife's whereabouts through reports coupling her name with Grabovsky. When the young workman penetrates at last to the lavish sanctum of the screening-room, it is with drawn gun -- to be greeted by the sight of his rival courting and caressing a laughing Lucienne, the same woman who had pledged her undying affection as she left him. He kills her, but even as he kills is transfixed by the living image on screen, Lucienne in all her transformed glory as he never saw her. The two women are juxtaposed in an endless, powerful moment, as André is seen, seized, unresisting, and pulled away: the dying girl and her singing self still projected above, caught unknowing out of time into celluloid eternity, playing on unconscious of life or death or love beneath her...<br /><br />The main jarring element in the film is the character of André's co-worker Antonin, who appears to serve no role throughout other than to be the licensed butt of his contemporaries' malice. He is the ugly one who can never get the girl, the ungainly wimp who is tripped and tormented in the washrooms and at work, and must take it all with an uncertain ingratiating smile in his fruitless hope for social acceptance: a typical product of the bullying of the more gifted and popular, in other words, but one the audience is apparently being invited to laugh at along with his tormentors. Unless the intention is to expose a darker side to the protagonists (for which I perceive no sign), the character seems to exist merely as comic relief, but comic relief with a distinctly nasty edge. When we know him only as an inept Peeping Tom at the waterside, it's easy to laugh, although the others' revenge seems a little over the top; when we discover that he is no chance-met stranger but André's colleague and regular sidekick, the continuing attacks rapidly cease to be very funny.<br /><br />But it is the images that remain. Beauty, nightmare, and dream. | 1pos
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A story of obsessive love pushed to its limits and of a lovely swan whose beauty is the very ticket to her own premature demise. Placed at the beginning of talkies, PRIX DE BEAUTE walks a thin line in being a full-on silent film -- which is still is at heart -- and flirting with sound and sound effects. The effect is a little irritating for anyone coming into this film because the recorded audio is extremely tinny and just doesn't help it at all. Hearing sound stage conversation edited over the beginning sequence which takes place in a beach, for example, is as part of the movie as the actress who dubs Louise Brooks' dialog and in doing so robs the audience of a fine performance. Other than that, the movie rolls along more or less well, with little jumps in continuity here and there -- something quite common in films from this era -- and has that vague sped up feel typical of silents. In a way, this is an experiment of a movie, and closer to the style of Sergei Eisenstein in visual presentation and near-intimate closeups that elevate it from what would be a more pedestrian level. Louise Brooks here plays a character less flapper than what she was known for: she's a stenographer who on a lark decides to enter a beauty contest despite the furious opposition of her extremely smothering boyfriend. Her role is quite Thirties and contemporary for its time; the last of the flapper/Jazz Baby roles were being shown on screen and now, with the onset of female independence, women as professionals were being represented in film. That Brooks's character decides to leave her boyfriend (even if she does "reconcile" with him later) is also a little ahead of her time. However, her character's fatal flaw is its willing to believe what isn't there -- that her boyfriend wants her to succeed -- and this is what leads to her end at the movie theatre. This final sequence looks like something straight out of Hitchcock in its heightened suspense (seen in THE MAN WHO KNEW TOO MUCH) and cuts from Brooks, her image on screen, and the murderous boyfriend. Even more dramatic is the placement of the still singing "live" Brooks with the now dead one -- a chilling effect to a chilling, powerful movie. | 1pos
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Famous was "famous" for their tension and release style of cartoon where the semi-main character is in terrible peril, only to be rescued by the hero at the last second. This particular Casper is the only one I can remember where death actually takes a hand. But even in death, there is still a happy ending.<br /><br />The constant in Famous Studios cartoons is that "virtue always triumphs". Popeye always gets to his spinach in time, Baby Huey always out-foxes the fox, Little Audery always "learns her lesson". And some FS cartoons ARE really dark and depressing.<br /><br />You have to give them credit. as much as I love Looney Tunes and "Tom and Jerry" I don't think anyone was putting out a better cartoon product at that time than Paramount. Color, animation, music (the great Winston Sharples), editing, voices. They were consistent and a glowing example of the best that the art form had to offer. | 1pos
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This a Casper the Friendly Ghost short from my childhood, and I re-watch it on YouTube (Thank GOD! for You Tube); after that I love this short, and it is one of my favorite Casper shorts.<br /><br />I love how the short starts off spooky with Frank Gallop's haunting narration; until we get to see Casper sitting by his tombstone in the cemetery, reading. While every ghost rose from the graves to "boo" people, Casper decides to leave in search for a friend. But in trying to make a friend, anyone who sees Casper runs away. Poor Casper sat on a log and weep; until a little fox cub comes up an nuzzles him. Casper and the little fox quickly bond and he quickly names the cub Ferdie and considers him to be his very best friend. <br /><br />Casper and Ferdie's relationship is put in tremendous jeopardy however when Casper is not keeping a close eye on Ferdie while they are playing a game of Hide and Seek. While Ferdie is hiding a hunter and two of his hunting dogs come and try to kill little Ferdie and Ferdie is running as fast as possible until he is out of breath and starts panting. While the hunter is firing gunshots towards Ferdie Casper notices they are trying to kill him and flies in the hunter's direction and pleads that the hunter leaves Ferdie alone. And the hunter and dogs are terrified of Casper. Casper yells to Ferdie that the hunter and the dogs are gone and that everything is fine. But Casper sees Ferdie's body is not moving and asks if he is OK. When Casper sees Ferdie has died he starts mourning in pain because he lost "the only friend he ever had in his whole life." Casper returns back to the cemetery where he has buried Ferdie and has made a gravestone for him next to Casper's gravestone. Casper continues mourning in pain until he sees that Ferdie has resurrected as a ghost himself. Ferdie starts licking Casper on his cheek. Casper screams for joy because he has been reunited with Ferdie.<br /><br />Overall, it is a really good short; though surprisingly disturbing, showing death in a family-oriented cartoon. | 1pos
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If you loved Deep Cover, you might like this film as well. Many of the poetic interludes Fishburne recites in Deep Cover are from the lyrical script of "Once In the Life," a screen adaptation of a play that Fishburne wrote. If you love Larry as much as I do, you'll love this film that is all Larry, all hot, and all fleshed out. Of course there is gun play and illicit substance use, this is a gangster movie of sorts, after all, but the script is beautiful and the story is touching, even a little on the chick flick side.<br /><br />AMAZING film...dark, frightening, sexy, and exciting. If you ever sneaked out at night or hung out in a clubhouse, you'll get the proper impact of the cramped sets (metephorically echoing being trapped in the life). Full of clever foreshadowing and complex relationships, this film is tight..every sentiment mirrored in the set dressing and camera shots. GOOD WORK! | 1pos
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As an old white housewife I can still appreciate that Laurence Fishburne is one of our finest actors. anyone who appreciates his work like in Deep Cover might enjoy watching the incredible acting range of this actor. Since I think this is his directorial debut it might prove even more interesting. All of the acting is quite good. If you can't take lower Manhattan junky worlds or the reality of crime life (not glorified action shoot-em ups) then this is not a film you would enjoy. It is Mr. Fishburne's usual contribution to incredibly subtle relationships. I would love to see Larry and Anthony Hopkins go at each other some day in a movie. | 1pos
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This is really a great unknown movie.Perfect dialogue without the typical clichés.This movie relied on the actor's talent and it was pulled off.It even had a little bit a comedy in it,but it wasn't overdone.Once in the Life is what a crime drama is supposed to be,not the typical special affects garbage with sex thrown in.I especially loved the interracial aspects of it all.<br /><br />Now onto the actors themselves. Laurence Fishburne was superb at playing a career petty criminal.It's a shame that he's only allowed to show his talent in his own movie. Titus Welliver was fabulous as Fishburne's junky half-brother. Eamonn Walker added flavor to the already perfectly spiced film. Paul Calderon was perfect as a grease monkey/drug lord.I loved his acting since "King of New York". But the best acting in this film came from Gregory Hines and Michael Paul Chan,who were paired perfectly as two of Calderon's henchmen.<br /><br />Once in the Life is for sure a keeper. ****1/2* out of *****. | 1pos
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"Once in the life" is a very good movie. However it's not good for everybody, due to the extensive use of vulgar language and the violence of some of the situations. The movie manages to represent in an anecdotic, believable way the "life" in NYC neighborhoods where drug problems are important. This depiction is in turn used as the decor for a most thoughtful and suspenseful drama backed up by powerful dialogs (however I had a hard time understanding some of them because english is not my mother tongue. On video it's OK). There is a little overplay sometimes, but I think it fits quite well to the general orientation Fishburne gave to the movie, which gives matter for reflexion more than just being a good style exercise, notably in the time/action management. The characters, even though not simple, are easy to relate to and actors do a fine job at impersonating them. By the way I much enjoyed the soundtrack (B. Marsalis). If you're not too prude, you should enjoy seeing that movie once, twice, three times. I rated the movie 9/10. | 1pos
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I caught this movie on IFC and I enjoyed it, although I felt like the editing job was a little rough, though it may have been deliberate. I had a little bit of a hard time figuring out what was going on at first because they seemed to be going for a little bit of a Pulp Fiction-style non-linear plot presentation. It seemed a little forced, though. I certainly think that the movie is worth watching, but I think it could have used a little cleaning up. Some scenes just don't seem to make sense after others. <br /><br />I'm surprised to see the rating here as low as it is. It's not outstanding, but it doesn't have any really serious problems. I gave it a 7/10. The movie did show at least that Laurence Fishburne can act when he wants to. They must have just told him not to in the Matrix movies. | 1pos
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Three scumbags get their just deserts after wasting their lives in greed, drugs, ego, and bad attitudes. Interesting and well done; this style of film always makes me wonder where reality leaves off and imagination takes over. Even though these folks were the scum of the earth I still found myself pitying them. They never really stood much of a chance. | 1pos
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Once in the Life means that once a hoodlum, always a hoodlum, and nobody gets in or out of `The Life' for free. Neighborhood hoodlums in New York sell drugs and run scams because they can't make it in the legitimate world, maybe because they have a criminal record, or a drug habit, or because they're just lazy. This simple story with a couple of twists about mostly despicable characters manages to draw compassion out of the audience for its main players because of their loyalty and compassion for each other. The film is written, produced, and directed by Laurence Fishburne, who also stars as 20/20 Mike (all hoodlums have nicknames), and is based on his play, `Riff Raff.' It feels like a play from beginning to end, especially during the longest scene where the three main players square off to decide who can be trusted. Often times the dialog comes very fast, much faster than it would on stage, and I think it's the film's biggest flaw. Mixed in as flashbacks throughout the film are poems from the street, a sort of iambic pentameter rap, that is violent and evocative of the world this movie discloses. The poetry makes it difficult to dismiss these men, these hoodlums who murder, cheat, and betray each other, as unworthy of our attention or below our contempt. The disturbing thing about this film is that its realism shows us not only how these people live, but how they suffer for the same reasons as us all. One is too stupid, another a junkie, and the last suffers from conscience while the audience wonders, or even laughs, at the irony of executioners demanding from him hanging in the gallows to tell jokes in the midst of his demise. | 1pos
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Yeah,it's low budget. Yeah,it's one of Candy's earliest films, but it is maybe his funniest! John Candy was not so far removed from his SCTV days in "Going Berserk" and it shows. If you don't crack up when Candy tries to help a guy with his groceries while being hand-cuffed to an escaped cohort in the process of having sex with his girlfriend with only the apartment door separating them (huh?, see the movie!), or the way Euguene Levy (the creator of Kong Fu Yu) is talking to his mom on the phone, or just the countless number of facial expressions that only Candy could deliver you better check your pulse! If you like the John Candy of "Only the Lonely" this is may not be a movie I would advise you to see, but if you enjoy the SCTV days of John Candy, this movie is a must see! | 1pos
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You should not take what I am about to say lightly. I've seen many, many films and have reviewed a great deal of them, in print. So when I tell you that this film has the single funniest scene I have ever seen in a movie, you might want to listen to me. There's a lot of diversity of opinion as to what makes this INCREDIBLY stupid movie as funny as it is. And to those who just didn't get, well, I can't blame them, too much. The scene I speak of, comes at about the 30 minute mark and involves a dead convict shackled to John Candy. Up until that point, I had found the film dumb, confusing and it was beginning to lose me. When this scene came up, I laughed so hard, I peed my pants. No movie has ever done that to me before. When the project began, "Going Berserk" was supposed to be the SCTV movie. I remember it being announced. As time went on, the cast was whittled down To John Candy, Joe Flaherty & Eugene Levy. There also must have been a regime change at Universal, while it was being shot, because upon being released, it was shown in nearly ZERO theaters. When watching this a second time, I listened to the theme song (which actually flaunts how incomprehensible the plot is, in the lyrics), relaxed my logic nerve and figured out what was going on. Aside from the aforementioned routine, "Going Berserk" has many other hilarious scenes to recommend it. This is almost a 3 Stooges flick, except it's much funnier. Director David Steinberg has razor sharp timing, and he must have been laughing all through this. As for Candy, who's basically in charge here, he has NEVER been funnier. With all the plot devices and explanatory scenes thrown out the window, he absolutely runs wild. Flaherty and Levy follow him effortlessly. There is a plot, but it's a plot like "Animal House" had a plot, and yeah, the script is uneven, and a little slow to start. Once you know this, however, you can well appreciate the full SCTV style craziness that transpires. It IS stupid, but it's stupid on purpose, and you need to remember that when you see it. DO see it, and discover for yourself, if it has the funniest scene of all time in it. | 1pos
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If you enjoy the subtle (yes, I said subtle) actions and reactions of John Candy, you can't help but like this film (pronounced "fillum" by Salvatore DiPasquale). The unobservant (and uninformed) watcher always saw Candy as a broad actor - a big buffoon. And sometimes he was (see "Stripes" and "Splash"). But, when given the opportunity, he could really be razor-sharp and quite subtle. It's too bad he was cast in so many roles that only showed his broad side, because we'll never get to see more of the other. Oh, yeah, the movie. One can watch "Going Berserk" over and over (I know I have) with the frequency of "Caddyshack." It's just that good. The plot, although a little convoluted, is actually fairly deep for a farce of this kind. It allows Candy and the always under-rated Joe Flaherty and Eugene Levy to bounce off of Candy...and they bounce HARD. Definitely worth a glance for anyone who enjoyed SCTV or Candy's other work. | 1pos
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Besides Planes, Trains and Automobiles and Uncle Buck, this is John Candy's funniest movie. When he gets hypnotized with the playing card (similar to the Manchurian Candidate) and becomes a horny guy who does not know what he is saying, he makes two very memorable quotes (Both deal with the male anatomy). The love scene involving grocery items has to be seen, it cannot be described.<br /><br /> | 1pos
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One of John's Funniest, Eugene Levy is great in this one as well, Just wish the studio would figure out that this one needs to be on DVD, i have it on video tape, but feel that this film deserves DVD (and extras would be great) the Kung Fu Uuniversity (Kung Fu U) skit is so very funny, as is the entire film, also the scenes he has with his girlfriend and her family are great, this movie never seems to be on TV, but it loses most of it's hilarity when edited for broadcast TV, if you can find the video i would suggest you buy it (ebay is a good place to find a copy) I will keep my VHS until one day we get to see it on DVD. there are so many great movies out there that still have not been released to DVD, and this is one of them. | 1pos
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"Going Berserk" is actually one of the funniest Candy films I have ever seen, period. Sure, it's kinda low budget, but it's a non-stop comedic tour de force. There are tons of memorable quotes. For instance, when his soon-to-be father-in-law asks him how much he earns, Candy says "Oh, I pull down anywhere between thirty and...eleven thousand dollars a year, sir." Oh course, it is Candy's delivery that sells it. Just classic stuff. Eugene Levy also turns in a hilarious performance as a sleazy filmmaker. A clip of his horrible low budget movie "Kung Fu U" will have you rolling.<br /><br />So if you are a Candy fan and want to rediscover a forgotten gem, I can't recommend this movie enough. | 1pos
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yeah, it's a bit of a silly film, so if you are looking for an oscar performance, forget this one......but, if you love John Candy's humor, this is a must-see. We lost John Candy before he made enough of his great brand of comedy, and he is only better in one movie: Planes, Trains, & Automobiles (with Steve Martin). Excellent supporting performance by Eugene Levy, perhaps his best work ever as the hot-headed Sal DiPasquale. Also good acting by Richard Libertini, Alley Mills & Pat Hingle. You must see this obscure and out-of-print film if you are a John Candy or Eugene Levy fan. | 1pos
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i am totally addicted to this show. i can't wait till the week goes by to see the next showing. it's a great story line and it has the best actors and actresses on the show. i will tune in every week to watch it even if i am not home i always have my vcr set to tape monarch cove. simon rex is the best actor on the show. it is suspenseful and exciting. i think this show should stay on the air and i believe everyone should tune in to watch it. i saw the very first episode and actually i wasn't going to watch it but i was watching lifetime one day and i decided to watch it because it was on and i absolutely love it and right now it's my favorite show. i am really mean it. | 1pos
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Monarch Cove was one of the best Friday night's drama shown in a long time.I am asking the writer to please write a long series and air it on Lifetime, SOON.Each person was very interesting and did a wonderful job with their lines to make the plot come true. However, the movie needs to continue for a long time. I would love to see Bianca and Jake's child grow-up and get a major role in the movie, along with the new grandparents planning for her educational future. Also, bring kathy back to see her niece and help foster her life.It was great seeing the grandparents work out their problems, but the family business needed to be restored to working status,and let us see how Jake and Bianca survive through the marriage years. | 1pos
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Love the TV show. Was hooked first time I saw it. Wish I was there acting in with them. It touches reality when you love someone and you are thinking that you want to spend the rest of your life with, then at a turn of events that you meet someone else and that person is more of who you want to be with. You are in a situation were you have to choose one or the other. Someone is going to get hurt, there's no stopping that. Making the decision is hard but, do you want to go on being unhappy when you could have been. Why go on and live a life that you thought that you wanted or thinking you are doing the right thing and you both be unhappy. That other person isn't going to wait a life time waiting, they have a life a well. Making the decision that you really want will be better in the end. Making the best of what you have is a good thing a well. Money, cars, houses, etc....don't make you happy, having the one person that you really want to be with to share it with does. | 1pos
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I feel Monarch Cove was one of the best written and acted out "Drama" Series to come on any Network in a long time. This show had great potential and I couldn't wait to view it each week. This could be developed into a great Primetime Soap. People look forward to this type of acting as we are being "Reality TV" overkilled. I long for the type of writing and acting that shows like Dallas, Knots' Landing, Dynasty, MelRose Place, etc. provided. Monarch Cove updated this concept quite well and I anticipated it only getting better. There's so much to expand on with these characters and they were all very interesting and captivating in their own right. It would be a loss to not explore this and develop these characters after having drawn and hooked us into their world. I absolutely loved this show because it was mysterious, interesting and sensuous without going overboard or offending. Loved It. | 1pos
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This movie strikes me as one of the most successful attempts ever at coming up with plausible answers for some of the nagging questions that have cropped up in recent scholarship concerning the "Passion" (suffering and death of Christ) accounts in the New Testament. (What motivated Judas if money was not the issue? What could bring the Sanhedrin to meet on a high holy day? Why did Pilate waffle?) It is a movie for the serious, thinking Christian: fans of "The Passion of the Christ" will no doubt be disappointed by the lack of gory spectacle and arch characterization. As for myself, I find the portrait painted here--of the willingness of ordinary people to so blithely sacrifice common decency when their own self-interest is at stake--far more realistic and deeply unsettling. (The disinterested, "just doing my job" look on the face of the man who drives the first nail in Christ's wrist is as chilling as any moment in film.) The film makes no claim to "authenticity", but the settings and costuming invariably feel more "right" than many more highly acclaimed efforts. It is a slow film but, if you accept its self-imposed limits (it is, after all, "The Death"--not the Life--"of Christ"), ultimately a very rewarding one. | 1pos
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This movie is one of the most provocative Jesus movies I have ever seen. It does not seek to tell the whole story, but only to portray an interpretive expression of the last day of Jesus Christ. It is darkly witty, playful and seriously faithful to elements of the Jewish tradition and to modern scriptural interpretation. Judas is much more ordinary than other portrayals, not the dark and sinister evil that we sometimes imagine, but a grossly mistaken man, horribly misguided in his zeal. Chris Saranden's Jesus is playful and serious, faithful and committed--very human while also divine. The final dialog is thoughtfully done and serves as the kind of small talk that two powerful men might do when they have just committed an atrocity. I would watch this movie again and recommend it to others. | 1pos
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This movie has problems in its presentation, may even be offensive to people who are looking for temporal and cultural faithfulness, but it challenges the watcher to reflect on a variety of issues. One of these is the nature and character of the relationship between Jesus and Judas. Another is that of the historical nature of the Bible and faith. And third, is the humanity of Jesus. The tension of the Christ-betrayer relationship is developed and held through the movie. Judas' passion is presented as a darker parallel to that of Christ. When Judas takes his own life, the viewer can sense the angst. Peter's denial and guilt, however moving, are not as powerfully portrayed as the Judas drama. Chris Sarandon offers a novel and provocative Christ, whether believable or not. I would like to find this movie on DVD or even VHS, to use in study or discussion groups. | 1pos
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Any one who has seen Mel Gibson's The Passion of the Christ and was bothered by the gory violence would want to see this film instead. Though it wasn't a success in th box office or TV ratings, The Fox Movie Channel still finds a real good motive to show this anually. I liked the way that they trained Chris Sarandon and the men who portrayed his disciples to sing in Hebrew.Though Sarandon didn't have long hair like any other Jesus would in other films, his looks are pretty close to what a Jewish man would appear. What surprised me or startled me was the scene where Caiaphas told Jesus about Pilate "And don't ever forget, that you are a Jew!" Though that may have not been a racist remark,Colin Blakely was trying to make Chris Sarandon look like garbage in the eyes of the prominent men of those days.Keith Michell's portrayal of Pilate was hulking, comparing with his previous performances in "The Story of Jacob and Joseph" and "The Story of David". But if you compare his portrayal of Pilate with Telly Savala's or Hurd Hatfield, you can say that he really painted well the impression of a Roman procurator. | 1pos
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The first time I saw this film, I loved it. It was different.<br /><br />I am a Christian (Bible believing). I don't go along with the crowd of right wing believers. I dropped out of that atmosphere.<br /><br />To me in their attempts to take over our government they are doing what Judas tried to do. I call it the Judas Syndrome.<br /><br />Judas didn't get it, even though Jesus said his Kingdom was not of this world.<br /><br />This film certainly showed some of that.<br /><br />I also liked that Jesus enjoyed the simple pleasure of playing games and jokes with his disciples.<br /><br />Also he was a very gorgeous Jesus.<br /><br />It's a watch-over and over movie.<br /><br />Very satisfying. | 1pos
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this is best showing of what i think jesus really was like. most movies show jesus as being effeminate, lobotomized, or tortured. this jesus laughed, played, and was serious when it was necessary. this is the kind of jesus people could be attracted to, not the usually hollywood version.<br /><br />the movie took some liberties, attempting to "fill in the blanks." but the fillers didn't seem impossible, or even improbable. one thing i might argue, was that it never really explained what the romans had against jesus (movie portrayed that the romans were the main driver of jesus' death, not that the jewish authorities were against the idea).<br /><br />it seemed that the movie was researched well. one example was the offhand comment to a teenage boy who was called "mark." it is believed that mark (or john mark) was the boy referred to at the garden of gethsemane whose cloak was pulled off and ran away naked (mark 14:51). i get the feeling that they tried to make the movie as accurate (even in spirit) was much as possible. | 1pos
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Wow, I can't believe i'm the first and only one to post a comment on this great movie.<br /><br />Although the movie itself seemed interesting enough the real thing that attracted me to this one is Matt lillard, granted most people probably either think he's too caffeine happy or just plain sucks but we're both the same age and from the same generation and i've watched this guy so many times that he's one of my favorites now. This is one of the few movies where he is the big shot and main star kind of like in SLC Punk, another great Lillard film.<br /><br />Baiscally this is storywise your usual heist movies but with more twists than anything, which start to amount to craziness. Also very notable in this movie is another great actor named vincent D'onofrio, a very under appreciated person in the film industry. The woman in the movie is a newcomer and she isn't too bad although you know they hired her mainly for her accent and the nude scene =)<br /><br />It's a game of jack vs jill vs bob as each want to reap the rewards but share with no one. They all try to get eachother to kill off the other and it's a timebomb waiting to explode. Matt shows his true prowess as the scheming JAck who initially starts the whole scheme. Vincent and woman play a couple of art thieves who are in need of money due to a lack of business. Vince's character is a bit deranged and skitz's throughout the movie but that only add to the intensity of the film.<br /><br />The surprises left and right are well welcomed and the ending is very non cliche and makes you feel happy, well maybe that depends on the type of endings you like. This movie kept me very interested besides the fact Matt was in it, it's a great movie and i'd highly recommend it to anyone who likes movies. Critic's probably won't like this movie, but they don't watch movies cause they like movies anyway. | 1pos
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Im a huge M Lillard fan that's why I ended up watching this movie. Honestly I doubt that if he wasn't in the movie i would of enjoyed it as much or even watched it but once I did watch it realize the story was pretty decent. A bad ending I must say but I did see it coming. It's a low budget movie and some of the actors weren't really good but all in all I rated this movie 7/10.<br /><br />The suspense of wondering what Lillard was actually up to was what really keeped me interested in this movie.<br /><br />Its a good rental!<br /><br />7/10 | 1pos
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I must warn you, there are some spoilers in it. But to start it off, I got "Spanish Judges" on February I think. It was mention it was the last copy, but as I see, it wasn't back-ordered. But either way, I have it. I thought it was good. I wanted to see this mainly because of the great actor, Matthew Lillard (I'm surprised no one on the reviews mention the scar) although it is kind of low budget, getting enough money to make this film would be worth spending. Man, what a good actor.<br /><br />The story it about a con artist known as Jack (Matthew Lillard) who "claims" to have merchandises called The Spanish Judges. If you don't know what Spanish Judges are or haven't seen the trailer for this and this is the first review you have read, I won't even say what they are. I figure it would be a big twist of no one knew what it was. He needs protection, so he hires a couple who are also crooks, Max and Jamie (Vincent D'Onofrio and Valeria Golino) as well as a crook that goes by the name of Piece (Mark Boone Junior). He has a girlfriend who won't even tell anyone her name because she's from Mars, as she said. So they (mainly Jack) call her "Mars Girl". Everything starts out fine, but then it turns to one big game. A game that involves some lust, lies and betrayal.<br /><br />There was some over acting in it (Matt and Valeria, as well as Tamara, were not one of them). There were some scenes they could've done better and the score could've been a little better as well. Some of the score was actually good. The theme they used for the beginning and the end (before the credits) was a good song choice, that's my opinion. The fight scene in the end could've been a little longer and a little more violent, but what can you do? One more comment on Matt: Damn, he plays a smooth, slick con man.<br /><br />I know this is a review, but I need to make a correction towards NeCRo, one of the reviewers: Valeria Golino is not a newcomer. According to this site, she has been acting since 1983. To me, and hopefully to others, she is well known as Charlie Sheen's Italian love interest in both the "Hot Shots!" movies. But good review.<br /><br />Although I think it's one of the rare films I've seen and it's really good (which is why I gave it 10 stars above), I will give the grade of what I thought when I first saw it.<br /><br />8/10 | 1pos
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The main reason to see this film is Warren William, who is in top form as the shyster campaign manager. He is electric, constantly finding ways to fool the public and defeat the opposing party in the midst of the biggest disasters. William is a great actor -- I feel he never got his due. Bette Davis as his girlfriend also shines in an under-written role. Personally, I found Guy Kibbee not quite right as the lame-brained candidate that William and the others are trying to foist on the public. He seemed more like an empty canvas than a person. I would have preferred to see a real character emerge rather than a non-character. The story itself is implausible, silly and clichéd. But Warren William and Bette Davis are well worth watching. | 1pos
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Guy Kibbee gives the viewer a lot of laughs. Like most candidates, he knows almost nothing. Warren William, a very, under rated actor, is superb in giving instructions to Kibbee; that is, he teaches him to say something which means nothing to the voting public. A campaign based on no comment, "I'll take it under advisement," and "Maybe yes, but then again, maybe no," is the nearly perfect way to win an election. Succinctly, the dumber the candidate, the greater the chance he or she will win. After all, the public can identify with such a person. With respect to the movie, it makes for a lot of comedy. | 1pos
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I do see what my forebears saw in the youthful Bette Davis. She's splendid throughout this almost-madcap political comedy which actually stars Warren Williams as the political operative constantly behind on his alimony. Vivienne Osborne is brilliant as his ex, and I found myself rooting for her throughout. The Williams character is not at all sympathetic, and he's not even a decent op.<br /><br />Guy Kibbee is one of the best at what he does. As a candidate dragged out of his sleep at a political convention and nominated to be governor in order to prevent a rival candidate from being nominated, so this whole mess is borne of internecine political warfare in a party called the "Progressive Party." If you're of a political mind, you will probably see a party other than the one with which you are affiliated reflected in the fictional "Progressive Party" of Williams and Kibbee. I could draw exact parallels, but we're not here for that.<br /><br />This is a good movie for those of us who love these old comedies. If you've ever watched any of the old Wheeler & Woolsey titles (HALF SHOT AT SUNRISE, THE RAINMAKERS), you'll find Frank McHugh, as Williams's right arm, looking and behaving a lot like Bert Wheeler. He had me fooled.<br /><br />Yes, both my wife and I recommend this one. | 1pos
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This was a hit in the South By Southwest (SXSW) Film festival in Austin last year, and features a fine cast headed up by E.R.'s Gloria Reuben, and a scenery-chewing John Glover. Though shot on a small budget in NYC, the film looks and sounds fabulous, and takes us on a behind the scenes whirl through the rehearsal and mounting of what actors call "The Scottish Play," as a reference to the word "Macbeth" is thought to bring on the play's ancient curse. The acting company exhibits all the emotions of the play itself, lust, jealousy, rage, suspicion, and a bit of fun as well. The games begin when an accomplished actor is replaced (in the lead role) by a well-known "pretty face" from the TV soap opera scene in order to draw bigger crowds. The green-eyed monster takes over from there, and the drama unfolds nicely. Fine soundtrack, and good performances all around. The DVD includes director's commentary and some deleted scenes as well. | 1pos
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I really enjoyed this movie. It took a pretty dark story-that of Shakespeare's Macbeth- and wrapped it in a quirky, often funny and poignant modern yarn.<br /><br />Kudos to the way the filmmaker brought the very different worlds of modern NYC and Macbeth's Scotland together under one roof. The opposing worlds act to<br /><br />really bring out the intrigue and comedy of the play and you have to love Harold Perrineau as the Chorus, a part which doesn't exist in the play but really helps to jazz things up. The ending stands out among little indies I've seen for it's closure and originality. | 1pos
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Having seen and loved Greg Lombardo's most recent film "Knots" (he co-wrote and directed that feature as well), I decided to check out his earlier work, and this movie was well worth the effort and rental. Macbeth in Manhattan is a tongue in cheek, excellent take on the Shakespeare favorite, updated and moved to NYC. I was impressed by the underlying wit and intelligence of the script and was wowed by the way the storyline of the production in the movie mirrors the storyline of the play itself - and very cleverly at that. The trials and tribulations of life in Manhattan parallel many a Shakespeare play, and Central Park was rarely put to better use than as the woods around Macbeth's castle. Mr. Lombardo obviously has a fond place in his heart for New York and New York stories (Knots is a funny and warm sex comedy about six thirty-something New Yorkers set primarily in a charming Brooklyn neighborhood, with Manhattan offices and a downtown loft thrown in for good measure) and has spent considerable time around the plays of Shakespeare. The movie is well-paced and the story reflects a deep understanding of the essential drama at the core of Macbeth. It reminded me of Al Pacino's "Looking for Richard" - another wonderful Shakespeare "play within a movie." I highly recommend checking out Macbeth in Manhattan. | 1pos
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This is a very entertaining film which follows the rehearsal process of a NY production of Macbeth. Although it has a lot to say about power, jealousy and ambition (the themes of Macbeth) in our modern world, the film works best when it is not taking itself too seriously. Recognizable actors such as John Glover, Gloria Reubens and David Lansbury do nice jobs in the main roles, but the highlight for me was the hilarious scene where the "murder" of Banquo (John Elsen) is rehearsed. Probably a more entertaining film for those involved in theatre, but anyone who enjoys Shakespeare should enjoy this film. | 1pos
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Though it had the misfortune to hit the festival circuit here in Austin (SXSW Film) just as we were getting tired of things like Shakespeare in Love, and Elizabeth, this movie deserves an audience. An inside look at the staging of "The Scottish Play" as actors call "Macbeth" when producing it to avoid the curse, this is a crisp, efficient and stylish treatment of the treachery which befalls the troupe. With a wonderfully evocative score, and looking and sounding far better than its small budget would suggest, this is a quiet gem, not world-class, but totally satisfying. | 1pos
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Nice, pleasant, and funny, but not earth-shattering. It does a good job of showing the "behind the scenes" world of theater groups and the lives of the actors. The three witches are great- both on- and off-stage. I would assume the movie works wonderfully (lots of apparent inside jokes) if one was involved in theater (which I'm not). | 1pos
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This episode is certainly different than all the other Columbos, though some of the details are still there, the setup is completely different. That makes this Columbo unique, and interesting to watch, even though at times you might wish for the old Columbo. I liked it a lot, but then, I like almost any Columbo. | 1pos
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I have a 19-month old and got really tired of watching Care Bears all the time. Rooney is a great dancer, who cares if he is gay. This guy must have been a cheerleader or something.<br /><br />Beats Barney, cant get the songs out of my head....must...stop singing........Doodlebops songs........NOW.<br /><br />Must have 10 lines of text so I must continue.....what about when the say all the Canadian stuff like OOOUT Aboooot. Whacky Canadians.....Jazmine is rhyming too much, she must be Dutch.<br /><br />Knock knock, who's there, Dee Dee, super Hottie<br /><br />Bus driver Bob cannot dance, take lessons from Rooney | 1pos
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My husband and I enjoy The DoodleBops as much as our 8 month old baby does. We have bought him DVD's and CD's just so we can watch and listen to them ourselves. They are fun, energetic, and very entertaining. They encourage children to be active, share and care. They always have a positive message along with fun entertainment. Every time our son hears the theme song he quickly turns his head toward the television and starts bouncing up and down in excitement. Dee Dee is a wonderful singer, she has a great voice. Moe is a great dancer. I would recommend The DoodleBops to anyone with children. Our favorite song is The Bird Song. You just can not help but smile and want to dance when you hear it. | 1pos
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My 2 year old likes the Doodlebops show, it seems to keep his attention for awhile. The characters are interesting, vibrant with primary colours and all. There's not much educational content that the intended target audience could benefit from, but they do seem to have a theme each show and try to teach kids about sharing and respect and other basics, so I like it for that. It's well produced with high production values. But it's really just an average show like most of the shows on TV these days. We don't buy into the merchandise angle and have our son wearing everything Dooblebop. I don't think we'd spend money to go to a live show, if they ever came to town. Going to The Zoo or the Science Centre is a far better experience for everyone involved and in my opinion is money better spent. | 1pos
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I work with children from 0 6 years old and they all love the Doodlebops. The Doodlebops are energetic, vibrant and appealing. Once they start singing, ''We're the Doodlebops We're the Doodlebops We're the Doodlebops Oh yeah Come and join the fun because we're laughing and we're singing all day" it is almost impossible not to join them in song. The Doodlebops brings the viewer into a world of color and fun. Each show is an adventure, the Doodlebops do not try to change the world with preachy messages all they do is have fun while sorting out everyday life challenges that the young child may relate to. The Doodlebops is an refreshing, high action alternative to regular children's television programs. | 1pos
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I LOVE the Doodlebops. My son has been watching them for over a year. We went to the Doodlebops concert last year as well as one concert yesterday (connecticut). He LOVES them. The doodlebops do not teach the alphabet or numbers but who cares? are you being serious? the TV isn't suppose to teach your children about numbers or the alphabet. the parents should. Get over it. The Doodlebops actually CAN sing. Deedee has a beautiful voice and in concert you can tell all 3 of them have nice singing voices and do NOT lip sing. Imagine, they dance, jump around and STILL sing. they have talent, the kids love them i even enjoy watching the show. This show is by far the best show on TV for kids. AND a rock band for children. How amazing is that? Why are people saying Chad (rooney) is gay? where did you hear that from? Whether he is or not, He is awesome! Leave him alone. Its not like he or anyone else is promoting homosexuality to our children! | 1pos
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I have a six month old baby at home and time to time she fights sleep really bad. One morning she was having a particular difficult time getting to sleep when the doodle bops theme song came on T.V. She stopped crying almost instantly, and for the rest of the show was content. I sat her in her bouncy seat and watched her kick her legs, swing her arms, and actually laugh at this show. The kept her entertained and happy the entire time. I also got a video of them so that at times when my little one is flustered I have something to calm her. Granted, late at night if she awakes with colic to fuss the doodle bops are not her cup of tea, but they sure do come in handy when I need a little time to do housework,etc. The biggest surprise about the doodle bops is that my child doesn't even like watching T.V. She'd rather be in the floor playing with a toy or with our small toy poodle than watch T.V. yet, the doodle bops have totally captured her attention. I don't know if she will continue to like them in the future but for now she's attached. | 1pos
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The Menagerie parts one and two was the only 2-parter during the 3-year run of the original Trek series and it was because Roddenberry was able to insert most of the footage from the 1st pilot "The Cage." The move was made out of necessity, to combat deadline problems in getting episodes produced (such a sf show back in the 1960s was a hassle to get done on time). One positive outcome back then was that audiences, unaware of the pilot produced almost a couple of years earlier, were treated to a whole new crew and captain for these two episodes on top of the regular cast of characters, as if the producers had spent double the money on these episodes to present a TV epic spanning a dozen years of Starfleet history (though they still used terms such as 'United Space Fleet' in these early episodes).<br /><br />The wraparound story begins as a space mystery plot: the Enterprise is diverted to Starbase 11 for unknown reasons and very soon Spock is a suspect in these shenanigans. Astonishingly, though even McCoy belabors the fact that Spock's Vulcan heritage makes subterfuge on his part impossible, it does turn out that Spock is indeed acting out some mutinous scheme to shanghai our precious starship and kidnap his former captain, Pike, now horribly crippled. Well, Spock is half human, we tend to forget. Or has he simply gone mad? It may very well be, for he's directing Enterprise to Talos IV, a planet so off-limits it's the subject of the only known death penalty on Starfleet's books. When the jig is up, there's a great scene of Spock surrendering to a flabbergasted McCoy, as Uhura looks on in shock. Even Kirk, usually steady as a captain should be, doesn't know what to make of his first officer's illogical conduct.<br /><br />In the 3rd and final acts, we begin to see transmitted images of a mission of the Enterprise from 13 years prior, when Capt. Pike was commanding and Spock was one of his officers. We really don't know where all this is going and what Spock hopes to accomplish - and that's another thing that makes this a very good 2-parter - we really need to find out what it's all about in the 2nd part. Not only is Spock facing severe penalties, but it looks like Kirk's career may be finished, as well. Double jeopardy, folks. This is also the 1st televised episode to feature one of those shuttlecrafts (none were available in the earlier "The Enemy Within" when the crafts were really needed). There's also one of those neat matte paintings to convey the ambiance of a futuristic starbase - this was the only way to visualize such things back then. Finally, check out Kirk's smug approach at the start of the episode - boy, do things go sideways on him as the story progresses. | 1pos
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In the old commercial for blank audio cassettes, the tag line was "is it real or is it Memorex?" The same might be said for the events in this episode - a compilation and remix of "The Cage," the first pilot of Star Trek. Mr. Spock has cleverly commandeered the ship to take it to the forbidden planet Talos IV in order to allow Capt. Christopher Pike, his first captain who has been burned and paralyzed, to return there. Why the finagling? Because to have any contact at all with Talos IV invites a death sentence. Why this is so is never explained - that bothered me tremendously - but, if nothing else, it adds to the story. After he has gotten the ship to travel to Talos IV, Mr. Spock turns himself in to Dr. McCoy (the senior-most officer present; Capt. Kirk was off the ship) for arrest and says, "The charge is mutiny, Dr.; I never received orders to take over the ship." What follows is a court martial in which - thanks to the Talosians - we learn why it was so important (besides the obvious paralysis) for Capt. Pike to get to Talos IV even at risk of Mr. Spock's death. The illusions the Talosians create, the background music and the entire storyline are fantastic. And Meg Wyllie as The Keeper (the head Talosian) is wonderful. Call me sexist but it never occurred to me to have a woman in that role but she was perfect! The Talosians, having given up almost all physical activity and becoming almost completely reliant upon the power of illusion, are also unisex; you can't really tell if they're male or female and it really doesn't matter. This episode, more than almost any other in the series, makes me hope and pray there are other worlds out there and that there are civilizations that are so far advanced! What a neat thing if this were so! This is one of my favorite episodes and, no matter how many times I've seen it (I even have it on video), it never fails to fascinate me. Meg Wyllie LOOKS like an alien and I do NOT mean that unkindly. | 1pos
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It is a well known fact that when Gene Roddenberry first pitched Star Trek to NBC, the original pilot episode, The Cage, was rejected for being "too cerebral". When the series was given another chance, Roddenberry thought it would be fun to establish the events of the rejected episode as canon, and did so by writing The Menagerie, which has the unique distinction of being the sequel to what was still, at the time, an unaired episode.<br /><br />This time, rather than exploring a new planet, Kirk and his crew are on Starbase 11, paying a visit to the former commander of the Enterprise, Christopher Pike (Sean Kenney), now horribly disfigured and paralyzed because of an accident. Pike joins his successor on the starship, where an unpleasant surprise awaits: Spock, who used to serve under Pike, has effectively hijacked the vessel and set the course for Talos IV, a planet which is off-limits (the punishment is death) since Pike and Spock's last visit there, 13 years earlier. Naturally, being a logical creature, Spock turns himself in and arranges a court-martial so that he can justify his actions.<br /><br />There's no need to say more about the plot, since the rest will play out in Part 2. What really impresses is how Roddenberry creates the connection between The Cage and the rest of the Star Trek universe, by coming up with a particular type of flashback (to say more would be too much) that allows everyone, on screen and off, to see what could have been of Trek, had NBC not turned down the original project. In particular, it's fun to see Jeffrey Hunter (who was unable to return in The Menagerie) play Pike as a more serious captain than Kirk usually is and Nimoy's early days as Spock, whose personality hadn't been fully established yet: this is the only time in the entire series that everybody's favorite Vulcan spontaneously grins.<br /><br />In short, not just a great "mystery" episode, but also a treat for those who can't be bothered to track down The Cage in its original form (it's available as part of the Season 3 box set). | 1pos
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Imagine that you could have anything you wanted, go anywhere you wished, be anything you'd ever dreamed of being - through thought alone. Now imagine yourself sharing this gift with the love of your life. What would you do? Would such powers be worth your soul? This is the dilemma presented to Captain Christopher Pike in "The Cage" the now-legendary pilot episode of the original Star Trek series. Famously deemed "too cerebral" and "too cold" by NBC brass and rejected, "The Cage" was nevertheless the most ambitious and costly pilot ever made in the history of the network at the time, and Gene Roddenberry did not want to let all that effort and expense go to waste, with the result being this truly classic Star Trek episode, which embeds "The Cage" into a frame story which deepens and extends the emotional and philosophical depth of this haunting tale, a landmark in TV history and one of the first truly serious sci-fi stories ever filmed for the small screen...Star Date 3012: The USS Enterprise diverts to Starbase 11 after Mr. Spock receives an urgent message from the former commander of the Enterprise. Surprisingly, the message cannot be from Captain Pike after all, as he is now confined to a wheelchair, mute and horribly disfigured after a tragic accident. Kirk and Starbase commanding officer Commodore Mendez attempt to get to the bottom of the mystery, but before the matter can be cleared up, Spock - for reasons as yet unknown - commits an act of open mutiny, kidnapping the helpless Captain Pike and hijacking the Enterprise via a brilliantly thought-out and timed plan aided by a few Vulcan nerve pinches. Soon, the Enterprise is headed for the remote, forbidden planet of Talos IV. Mendez informs Kirk that Talos IV is under interdiction, and any contact with the planet by Starfleet vessels or personnel carries an immediate death sentence, meaning that Spock appears to be deliberately destroying himself, and Kirk as well, given that the Captain will be held responsible for the ship's activities. Appalled, Kirk and Mendez give chase in a shuttlecraft, which itself becomes dangerous when the Enterprise refuses to answer their calls or pick up the craft until power and oxygen are nearly gone. Spock - knowing that Kirk must be the one following the ship - is of course unable to consign the Captain to certain death. After ordering the craft to be retrieved and the occupants beamed aboard, Spock reveals what he has done to McCoy and demands to be arrested, after having set the starship on an irreversible course to Talos IV. Upon reassuming command, Kirk demands an explanation, whereupon Spock requests immediate court martial by a tribunal of Starfleet commanding officers - of whom there are three on board - Mendez, Kirk, and the crippled invalid Captain Pike. Spock's encyclopedic knowledge of Starfleet regulations enables him to manipulate the tribunal into allowing him to present otherwise inadmissible evidence. Spock presents video recordings of the only contact ever made between the Federation and the inhabitants of Talos IV - a journey taken 13 years earlier by the Enterprise itself under Pike's command. Kirk expresses doubts about the authenticity of the video due to its extreme detail, but the reality of the events depicted is confirmed by Pike himself, who turns out to have been lured to Talos IV by a distress call from the alleged survivors of a Federation research vessel which crashed there 18 years previously. Among the survivors is Vina, a stunning beauty said to have been born just before the disaster. Pike is attracted to the girl and allows her to lure him to an isolated spot, whereupon he is waylaid and captured by the Talosians, a race of androgynous humanoids with enormous cranial capacity and the power to transform thoughts into virtual reality. After Pike's capture, the rest of the "survivors" vanish as none of them really existed except Vina. The episode ends when the tribunal learns that Spock's "evidence" is in fact being transmitted to the Enterprise directly from Talos IV, in violation of Starfleet regulations. Starfleet orders an immediate halt to the transmissions, and we wonder what will happen next...To be continued in a review of "The Menagerie: Part II"! | 1pos
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For a long time, 'The Menagerie' was my favorite 'Star Trek' episode though in recent years it has been eclipsed by 'City on the Edge of Forever.' What I used to prefer about 'Menagerie' was that it's more hard-core Star Trek with this fascinating back-story to the then-current Trek storyline. I still think it's fairly ingenious the way Gene Roddenberry incorporated the original pilot into a two-part episode. Though the 'new' part of the story is largely an excuse for Kirk and a few others (and us) to watch the pilot, the idea of Spock being court-martialed is a clever one. You can poke holes in the plot if you want. For instance, given the Talosians' mind-control abilities and Captain Pike's condition, why is it even necessary to physically bring Pike back to their planet? And there are other confusing questions about Pike and Commodore Mendez... best to not think too hard about the details and just enjoy ST's only two-parter. | 1pos
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"The Classic War of the Worlds" by Timothy Hines is a very entertaining film that obviously goes to great effort and lengths to faithfully recreate H. G. Wells' classic book. Mr. Hines succeeds in doing so. I, and those who watched his film with me, appreciated the fact that it was not the standard, predictable Hollywood fare that comes out every year, e.g. the Spielberg version with Tom Cruise that had only the slightest resemblance to the book. Obviously, everyone looks for different things in a movie. Those who envision themselves as amateur "critics" look only to criticize everything they can. Others rate a movie on more important bases,like being entertained, which is why most people never agree with the "critics". We enjoyed the effort Mr. Hines put into being faithful to H.G. Wells' classic novel, and we found it to be very entertaining. This made it easy to overlook what the "critics" perceive to be its shortcomings. | 1pos
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I didn't mind all the walking. People really did walk places back then. It loaned an air of authenticity to this period piece and some perspective on the technology of the Martians. I too was disappointed by the effects, in particular the "Thunderchild" scene, which I regard as one of the most exciting in the book. But I can't praise this film enough, for its faithfulness to Wells's story! It's about time. The actors are likable and the performances are charming. Also this film is very much worth seeing just to hear Jamie Hall's truly great musical score. It was interesting to see the same actor play both the writer and his brother in London. | 1pos
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The H.G. Wells Classic has had several Incarnations. The 05' Speilburg Version and the classic 53' version But only this one stays completely true to the book. Nothing is changed nothing is removed.<br /><br />Originally Released as a 3-hour film. The director Re-Cut the film down to 2-hours of pure excellence. Its got a chapter by chapter visualization of the novels pages that "Wells would be Proud Of" The story is as everyone remembers. Martians Invade the Earth with Capsules containing an army of Tripod walking War Machines. The people of 19th century earth are ill-prepared to repel the alien forces and fight back with canons and guns who mes shells bound right off the Walkers and when humanity is no longer a world wide power they are saved by the smallest of organisms on earth.<br /><br />The Film is an excellent accomplishment for director Timothy Hines who has great potential as he brought this vision to life with a meager 5 Million budget. Today B-Movies have larger budgets. | 1pos
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This movie is a lot better than the asylums version mainly its war of the worlds. The tripods look pretty cool but their walking and deaths could have been better. The action scenes were really cool. Walking... walking...walking...walking!!! oh my god stop walking please or i'm going to kill myself. The thunder child scene was my favorite sequence mainly because a ship rammed bunch of tripods. Good movie I recommend it for people ho have read the book. The music is awesome and the directors cut looks pretty cool.<br /><br />pros. Good soundtrack 99% to the book Cool violence Tripods and handling machines are cool to look at<br /><br />cons. some bad acting cheesy looking London | 1pos
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I have waited a long time for someone to film a faithful version of H.G. Wells' classic novel, "War Of The Worlds". Timothy Hines has finally done it! I just couldn't believe how good it was! From the acting, to the costuming, the out-of-this world special effects, I just can't say enough!It was wonderful! Dramatic, intense, full of first-rate performances by a top-notch cast! It's got to be seen to be believed. I sure didn't. And I've read all those negative comments by the others, and can't believe what they were saying. We must've been watching a different movie, huh? And those real bad comments by that vepsaian guy, guy whoever he is, well, he just doesn't know what he's talking about.<br /><br />Keep up the good work, mr. Hines. | 1pos
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All of the people reviewing this film, and probably many professional film reviewers, just don't get it. This film was made with matting sequences and art techniques quite like the works of the great Czech filmmaker, Karel Zeman. If you want to know what I'm talking about, I suggest you get any of Zeman's films, such as The Fabulous World of Jules Verne, Baron Munchausen, Journey to the Beginning of Time, or On The Comet. If you are unable to locate a film, then read the reviews in AMG. They will explain the processes used. If one were to look at Zeman's work and try to compare it to any of the other sci/fi fantasy films of the time, viewers probably wouldn't have gotten it then either. It is unfair to compare either of these filmmakers' styles to the standard technologies of the day, because both Zemen and Hines "do not compute". They have a style that is unique to them and should be judged for their creativity only. If you look at this film from a perspective where you KNOW that he intentionally tried to create a pastiche collage of mattes mixed with live action, you could easily come to the conclusion that he did a masterful job. It isn't easy making a bunch of computer cutouts flow. I thought that the creatures were also quite good, also considering how they were made. Hines took a great gamble, and I think his film will not be fairly judged for years to come. Someone promoting the film should have tipped the audience off as to what they would be seeing, rather than let them blindly go into the theater expecting the usual CG work. Regarding the actors, I think Hines also took a page from Zemen's book, in that many of Zemen's actors were somewhat expressionless at first, but became much more engaging as the film and action went on. It is totally refreshing to me to have this movie in my library. I will watch it for years to come, all three great hours of it. | 1pos
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i honestly think that that was the best version of war of the worlds i've every seen. it was funny but it was also educational i learned whole lot the movie and if i could i would by that movie. my favorite part was when the soldiers killed on robot and another one came right from behind it. in the last movie war of the world i think that it should have been more like the first one and it would have been better. but any way i give this movie 2 thumbs up. <br /><br />and if they where to make another movie like this i will definitely watch it.<br /><br />thank you | 1pos
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The year 2005 saw no fewer than 3 filmed productions of H. G. Wells' great novel, "War of the Worlds". This is perhaps the least well-known and very probably the best of them. No other version of WotW has ever attempted not only to present the story very much as Wells wrote it, but also to create the atmosphere of the time in which it was supposed to take place: the last year of the 19th Century, 1900
using Wells' original setting, in and near Woking, England.<br /><br />IMDb seems unfriendly to what they regard as "spoilers". That might apply with some films, where the ending might actually be a surprise, but with regard to one of the most famous novels in the world, it seems positively silly. I have no sympathy for people who have neglected to read one of the seminal works in English literature, so let's get right to the chase. The aliens are destroyed through catching an Earth disease, against which they have no immunity. If that's a spoiler, so be it; after a book and 3 other films (including the 1953 classic), you ought to know how this ends.<br /><br />This film, which follows Wells' plot in the main, is also very cleverly presented in a way that might put many viewers off due to their ignorance of late 19th/early 20th Century photography. Although filmed in a widescreen aspect, the film goes to some lengths to give an impression of contemporaneity. The general coloration of skin and clothes display a sepia tint often found in old photographs (rather than black). Colors are often reminiscent of hand-tinting. At other times, colors are washed out. These variations are typical of early films, which didn't use standardized celluloid stock and therefore presented a good many changes in print quality, even going from black/white to sepia/white to blue/white to reddish/white and so on as you'll see on occasion here. The special effects are deliberately retrograde, of a sort seen even as late as the 1920s and yet the Martians and their machines are very much as Wells described them and have a more nearly realistic "feel". Some of effects are really awkward such as the destruction of Big Ben. The acting is often more in the style of that period than ours. Some aspects of Victorian dress may appear odd, particularly the use of pomade or brilliantine on head and facial hair.<br /><br />This film is the only one that follows with some closeness Wells' original narrative as has been noted. Viewers may find it informative to note plot details that appear here that are occasionally retained in other versions of the story. Wells' description of the Martians a giant head mounted on numerous tentacles is effectively portrayed. When the Martian machines appear, about an hour into the film, they too give a good impression of how Wells described them. Both Wells and this film do an excellent job of portraying the progress of the Martians from the limited perspective (primarily) of rural England plus a few scenes in London (involving the Narrator's brother). The director is unable to resist showing the destruction of a major landmark (Big Ben), but at least doesn't dwell unduly on the devastation of London.<br /><br />The victory of the Martians is hardly a surprise, despite the destruction by cannon of some of their machines. The Narrator, traveling about to seek escape, sees much of what Wells terms "the rout of Mankind". He encounters a curate endowed with the Victorian affliction of a much too precious and nervous personality. They eventually find themselves on the very edge of a Martian nest, where they discover an awful fact: the Martians are shown to be vampires who consume their prey alive in a very effective scene. Wells adds that after eating they set up "a prolonged and cheerful hooting". The Narrator finally is obliged to beat senseless the increasingly hysterical curate who revives just as the Martians drag him off to the larder (cheers from the gallery; British curates are so often utterly insufferable).<br /><br />This film lasts almost 3 hours, going through Wells' story in welcome detail. It's about time the author got his due in a compelling presentation that builds in dramatic impact. A word about the acting: Don't expect award-winning performances. They're not bad, however, the actors are earnest and they grow on you. Most of them, however, have had very abbreviated film careers, often only in this film. The Narrator is played by hunky Anthony Piana, in his 2nd film. The Curate is John Kaufman also in his 2nd film as an actor but who has had more experience directing. The Brother ("Henderson") is played with some conviction by W. Bernard Bauman in his first film. The Artilleryman, the only other sizable part, is played by James Lathrop in his first film.<br /><br />This is overall a splendid film, portraying for the first time the War of the Worlds as Wells wrote it. Despite its slight defects, it is far and away better than any of its hyped-up competitors. If you want to see H. G. Wells' War of the Worlds and not some wholly distorted version of it see this film! | 1pos
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Pendragon Pictures' new film "H G Wells' War of the Worlds", the first faithful adaptation of the original novel, has been in development for about 5 years. A theatrical release was intended for earlier this year (March, 2005) but this never happened. The DVD was rushed out to coincide with the release of Spielberg's version, which hits theatres June 29.<br /><br />I liked this film, with certain reservations.<br /><br />How faithful is the adaptation? It's not quite 100% faithful to Wells' book, but 90 - 95% faithful is good enough for me. At least several scenes were totally new, such as Ogilvy the astronomer's confrontation with a farmer, and the unnamed writer/narrator awkwardly having tea with his cousin. But on the whole, this film follows the book very closely -- certainly much more than the classic 1953 version by George Pal.<br /><br />Its greatest fault is that it was obviously made on a very cheap budget. The majority of it seems to have been shot blue-screen and composited with digitally rendered backgrounds. This is particularly annoying during most of the interior shots, and scenes of crowded city streets. The overviews of 1898 London look like something from a video game. Numerous scenes in horse-carriages were faked -- I guess they couldn't afford to rent a horse. The only scenes shot for "real" seem to be those in open fields or forests.<br /><br />But within those budget restrictions, they managed to do quite a lot. Artistically, the film looks right. The Martians and their tripods are quite well done, and very true to Wells' descriptions. I was particularly impressed with the heat ray. Although the Thunder Child sequence, which should have been one of the film's highlights, is very disappointing. It's a great shame that they couldn't afford more actual sets, or better quality animation.<br /><br />The acting and direction won't win any Oscars. For the most part, they are competent, not bad, but not outstanding. The music is quite good also, though not on a par with any of the major Hollywood composers.<br /><br />I'm actually glad this didn't get a theatrical release, because the budget limitation would have made it look much worse on a big screen. As it stands, I would rate this similarly to a BBC-TV adaptation of classic literature.<br /><br />A few nitpicks: Most of the scenes are presented with various colored filters (mostly red). This may have been an artistic choice, but it is used very inconsistently, and seems more like a sloppy job of mastering the DVD. And the writer/narrator's obviously fake moustache mutates from scene to scene.<br /><br />Bottom line -- Is it worth seeing? If you can look past the technical and budgetary limitations, and get into the story, I think you will enjoy this, especially if you've actually read the original H G Wells novel. If, however, you are easily put off by cheap production values, you'd best pass on this (unless you're a MST3K fan). Be warned, however that the film runs a full 3 hours, so I don't recommend watching it all in one sitting.<br /><br />BTW: An entirely different version of War of the Worlds (aka "INVASION") came out on DVD the same month that Spielberg's hit the theatres: http://imdb.com/title/tt0449040/. This was also made on a budget, but is updated to the present day like the Spielberg film - but it's much better! And to top it off, Jeff Wayne is making an animated film of his best-selling album from 1978, but that won't be out until 2007. | 1pos
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Just watched this after my mother brought it back from America for me, was dreading watching this after all the negative comments on here but I have to say, yes the acting is cheesy, some of the effects are laughable.<br /><br />But you have to remember this was meant to be 1898 not 2005, and for such a low budget I thought it was quite good. I enjoyed this version much more then the Spielberg version I saw last week.<br /><br />I have read the book so many times, and found myself going "ahh yes that's in the book" almost all the time, with the other version hardly anything of the book existed.<br /><br />So well done for at least trying to make a true version. | 1pos
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I suggested renting this movie to my friend and he obliged since he had already seen the film and he said it was okay. I thought the title was a bit campy since the version at our store was called "The Fear:Halloween Night". I expected this movie to be somewhat of a Halloween rip off with a killer wooden guy. But it opened with a good scene and the killer murdered two victims immediately and flashed forward twenty years later where his son who had witnessed him kill the two people(including his mother) and he even witnessed his fathers suicide is going to a secluded cabin in the woods with his friends and his girlfriend where he attempts to face his fears until a wooden statue comes to life with his fathers spirit. Pretty good for a sequel and I never even seen the first. | 1pos
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It's a great American martial arts movie. The fighting scenes were pretty impressive for American movie made in 90's. Of course the fighting scenes aren't that good as in Honk Kong movies, actually only few American movies have fighting scenes which are as good as in Honk Kong movies, even nowadays. When you watch American martial arts movie, you are expecting to see less impressive fighting scenes, but still having some nice moves, which can be surprisingly good sometimes, or at least that's what I'm expecting from these movies. I was impressed by this film. Some fighting scenes were really impressive, the acting, direction and the plot were good enough, so it's a really worth watching movie, if you like American martial arts films of the 90's. | 1pos
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This movie really rocks! Jeff Wincott is terrific in the film! His fighting incredible! He is such a fast martial artist! Brigitte Nielsen & Matthias Hues was very good! Mission of Justice is an action packed movie that is never boring! If you like fighting movies with incredible non stop action then check out Mission of Justice today! | 1pos
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The plot:Kurt Harris (Jeff Wincott), a bitter, ex-cop goes undercover in the "Peacemakers" after his friend is killed by their leader. While there, he discovers that the woman wants to run for mayor, and will do anything to achieve this goal, even murder.The cast is good(Jeff Wincott is a good martial artist and good actor)...Brigitte Nielsen plays a sexy antagonist together another bad guy plays Matthias Hues also him good martial artist.The direction is good(the fight scenes also).The rest is OK, with Tony Burton who plays a friend of Kurt killed from Nilsen,and Cyndi Pass plays a bad girl.From producers of another action/martial arts film(Bounty Tracker with Lorenzo Lamas)a good action film.The best film of Martial Law series. | 1pos
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I could not take my eyes off this movie when it showed up on cable. The dialogue and costumes are of a quality most readily associated with soft-core porn. In this case the expedient plot serves as a vehicle not for sex but for serial thrashings with nunchuks. (Perhaps for sex as well, but not on Indian TV, anyway.)<br /><br />Not being a fan of the genre I couldn't place Jeff Wincott, and had no leads to search from. Only once Brigitte Nielsen traded in her futuristic-nurse coif (so mayoral!) for the high-top fade we remember from Beverly Hills Cop II did I make the positive ID on her.<br /><br />This movie will no doubt entertain any admirer of early 90's couture or nod-and-wink schlock à la Paul Verhoeven. Can we add a genre tag for "so-bad-it's-good"? | 1pos
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This movie (with the alternate title "Martial Law 3" for some reason) introduced me to Jeff Wincott for the first time. And it was a great introduction. Although I had never heard of him before, he seemed to be an excellent fighter. The action scenes in this movie are GREAT! There are lots of them too, by the way. The recruit fight at the Peacekeepers HQ is especially good. There's just something about one single guy beating the crap out of a bunch of people that's really fun. And for the rest of the cast: Brigitte Nielsen was a good choice for the villain. Roles like this fits her (but others don't). Matthias Hues also did a good job, as always. He's a great fighter and macho-like character, and was a good rival for Wincott in this movie. | 1pos
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Jeff Wincott is not only a Hunk, he can kick butt! This movie has some of the best Martial arts moves I've seen in a very long time. Ok, so maybe Bridgette Nielson isn't the first person I'd hire to play a ruthless politician, she did a GREAT job nontheless! And let's not forget that Wincott has a partner in this movie played by Martial arts expert/stuntwoman Karen Sheperd. So she's not Cynthia Rothrock, Who CARES?! She's just as good, if not BETTER! (just check out her fight scene at the end of the movie, one word: OUCH!!). My suggestion would be to buy this movie as soon as possible, because if you haven't seen it, you're really missing out on some great martial arts action. | 1pos
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I must confess to not having read the original M R James story although I have read many of his other supernatural tales. I've also seen most of the previous BBC Christmas Ghost Stories and this one, in my opinion, surpasses most of them, only equalling The Signalman.<br /><br />I can't really fault A View From a Hill - the direction and 'mood' is perfect, as is the acting, lighting and, of course, the story and writing. I thoroughly enjoyed this and can only hope for more of this quality from the same director and production team. I understand that the BBC plan to make some more (not necessarily based on M R James stories) so that's promising.<br /><br />10/10 | 1pos
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This adaptation of M.R. James's short story 'A View From A Hill' was first shown on British television in 2005, on the little watched digital channel BBC 4. I saw that it was being repeated again on BBC 4, and decided to give it a go, remembering the BBC's successful 1970's adaptations of other M.R. James stories including 'Whistle And I'll Come To You My Lad' and 'The Signalman'. Though not in the same class as these masterpieces, 'A View From A Hill' is nonetheless an enjoyable and at times suspenseful drama.<br /><br />A historian arrives in a small rural village to look over the collection of a recently deceased collector of antique artifacts. Whilst out in the countryside, he sees an abbey that has been in ruins for hundreds of years. But what does this have in connection with an old pair of binoculars and a gruesome legend about the ominously named Gallows Hill? And what do the brusque country squire and his servant know about the situation? Whilst not scary in any way, I enjoyed this little production, and had the running time been longer than 40 minutes it could have become a truly great adaptation. As it is, it all feels a little rushed and a bit more exposition to set the mood would have been welcome.<br /><br />I give it 7 out of 10. | 1pos
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The young Dr. Fanshawe(Mark Letheren), an avid archaeologist, is dispatched by his Museum boss to the large country home of Squire Richards(Pip Torrens), where his task is to find provenance for and catalogue the collection of antiquities and curios belonging to the recently deceased father of the Squire. The Squire is surprised by the arrival Fanshawe, he hadn't been expecting him for another week, but none the less welcomes him and gets his only servant, Patten (David Burke..of Dr Watson fame), to show him to his room, as Fanshawe must stay over for some days in order to finish his rather large task. Patten it would seem is not the friendliest sort and seems to resent the extra work that Fanshawe's visit will entail, the large empty house providing an endless amount of cooking, cleaning and maintenance for him. Fanshawe is a fussy sort, very neat and precise with everything having its place, whether they be his clothes or his books and papers and he is rather disgusted by the dirt in his room. Needless to say he is rather eager to begin his work, but unpacking he finds his binoculars have been damaged in transit, so he asks the Squire for a replacement pair, The Squire who is a modern thinking man but also it would seem rather uncultured with such matters, is also eager to get rid of the clutter around the house, so he obliges and walks Fanshawe to the top of the hill so that he can survey the estate and the surrounding villages, there the Squire directs him to points of interest, including Gallows Hill, where locals were hung for their crimes and misdemeanours, his interest is also taken by a local abbey which the Squire describes as a ruin, but Fanshawe can see through the binoculars that it clearly isn't, he investigates further and pays a visit to the site of the abbey and is shocked to find that there are but a few stone remnants? Fanshawe doesn't have too much time to think about this conundrum as he darkness falls he feels he is being watched, he feels a presence, he begins to see moving shadows in the woods, startled he runs home. Over dinner he imparts details of his harrowing day to the Squire, Patten overhears the story and suggests an explanation for it..The Binoculars! they used to belong to a local man called Baxter, whom it would seem collected bones and skulls from Gallows Hill, boiling them up for some concoction or other, Baxter had disappeared mysteriously one night, the late Squire had acquired his belongings, including a mask made out of a skull and some old etchings of the area. These etchings fascinate Fanshawe as they portray the Abbey he seen through his binoculars, but he learns that the abbey had been destroyed during the reign of Henry VII and so it would be impossible for Baxter to have drawn the sketches, never the less they are signed and dated by Baxter to the recent past so he concludes that the binoculars have some special power. That night he has horrifically vivid dreams, when he wakes, he sets off with the binoculars to have a closer look at the abbey through them, what he finds surprises him but has he put himself in perilous danger by doing so? Fanshawe finally becomes trapped in his dangerous obsession, as darkness falls the Squire and a search party go in search of the now missing archaeologist, they are alerted by dozens of loudly cawing crows circling above Gallows HIll, they quicken their speed, but will they be in time to help or save Fanshawe from his destiny? The Ghost Story for Christmas series of films made by the BBC sadly ended its initial run of films in 1978 with The Ice House, they were for the most part based on the work of the great M.R. James. In 2005 and 2006 the series was revived briefly and thankfully A View from a Hill also marked a return to the work of James, whose ghostly writings have haunted many generations of readers. Director Luke Watson being new to the series might have worried fans of the older films, but he returns to the period setting abandoned by the later films which immediately sets the tone for a great Ghost story, his direction is assured as he stays true to the mood of the masters works and gradually builds up the fear factor to a terrifying climax, all the while keeping what the viewer sees to a minimum, thus upping the tension and mystery. The Autumn countryside provides oodles of atmosphere, the falling leaves and low lying sun providing an unsettling backdrop for the sinister events to come. The cast it must be said are all superb and are perfectly cast in their respective roles. The idea behind the binoculars is simple but very effective, the use of a man made object to see supernatural beings and events that the naked eye cannot see, may even have influenced Álex de la Iglesia in his film La habitación del niño (2006) of the following year, with which it bears striking similarity. I had heard mixed reviews of this particular film, but i must say i found it at all times intriguing and it even raised a few hairs on my head and gave me a few shivers, something that doesn't happen much these days, i think any negativity surrounding the film can only be attributed to its pacing, which to my eyes is perfection but to modern audiences it will be seen as deathly slow. Plenty of time is given, even within its brief 40 minutes running time, for character development and plot expansion and i must say its a new favourite of mine and certainly one of the better films of the decade. | 1pos
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I am one of Jehovah's Witnesses and I also work in an acute care medical facility. Over the years I have seen people die from hemolytic reactions to blood transfusions, have attended numerous conferences on blood born pathogens, and have seen several patients become seriously ill from pathogens induced by transfused blood. I have also heard several Jehovah's Witnesses being told that they will die if they refuse blood and after 26 years in the field I have never actually seen it happen, leaving the question, "is it really unreasonable to refuse blood transfusions or is the community at large benefiting from the battle on this issue?" The issue for Jehovah's Witnesses is a moral one. "You must abstain from blood" is not an ambiguous statement. Thank you for this movie and allowing comments on it. | 1pos
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Felt it was very balanced in showing what Jehovahs Witnesses have done in protecting American freedoms. It also showed the strong faith of two families who were first generation witnesses. I also appreciated how it showed how by becoming a Jehovahs Witness affects non-witness family members and how hard it is for them to accept the fact that they don't celebrate holidays, the sad part is that non-witness families do not think of having their witness family over for family dinners/visits or give them gifts at any other times but for holidays or birthdays. When it comes to medical care the witnesses want and expect a high standard of medical care, what people forget is that blood transfusions allow for sloppy medical care and surgeries whereas bloodless treatments causes the medical team to be highly skilled and trained, which would you prefer to treat your loved ones? I highly recommend this video! | 1pos
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I think if you were to ask most JW's whether they expect a miracle cure because of their faith, you will find they do not. I know I do not. What you will find instead is that they believe the promises Christ made of a resurrection. So, even even if the worst were to happen and we die while holding onto our integrity, Jehovah can, and will correct this.<br /><br />It really gets down to a simple question: is God real to you or is this all just make believe? If he is real, and you trust him, you will follow his directions no matter what the short term outcome may be.<br /><br />I had a heart attack about a year and a half ago. One in my family was horrified when she saw the words "NO BLOOD" written in large letters over my chart. I reasoned with her that if I were in a position that only a blood transfusion would save my life, would that be a good time to anger the only one could return me to life when the time came? She didn't get it -- God just isn't real enough to her. Too bad. I wish she could have the comfort a strong faith gives. | 1pos
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Pushing Daisies is just a lovely fairy tale, with shades of "Amelie"'s aesthetic and romance. It's got a beautiful palette, its shots well thought out and detailed, its names and dialogue whimsical and too cutesy to be real, its imagination great, and its romance deep.<br /><br />Watch the blue in the sky pop out at you, as blue can't be found in the rest of the sets or shots (with few exceptions).<br /><br />Watch a weirdly natural and totally satisfying song break out of a scene.<br /><br />Its score is gorgeous, its cast is supremely likable, there's great music, and the two leading romantic stars can't touch each other or she'll die. How much more sexual tension do you need? (Actually, I had wished they found a way around this one, but c'est la vie).<br /><br />It is simply a show that it is a pleasure to spend an hour with, and I recommend it highly. There hasn't been other television quite like it, and I would like to see more. It got me through a flu one crappy week, as it makes for good company.<br /><br />Bring it back! | 1pos
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After having read two or three negative reviews on the main page of IMDb for "Pushing Daisies", and having literally minutes ago finished watching the final episode, I thought it was about time I said what I thought of PD.<br /><br />First off, to address what some of the issues that I have seen other people having with this show: something along the lines of "I expect the people who have been woken from the dead to have a more realistic reaction". Realistic, on this show ? Pushing Daisies is, truly, pure and utter escapism. It's colour palette, the dialogue used, the scenarios, situations, music: all of it, to me, is just an escape from everyday life. An escape from the mundane and boring. It is here where Pushing Daisies exceeds exceptionally well Pushing Daisies isn't for everyone: A large majority of the television audience don't "get" it, for some people it's just too out there and silly. But for people like me, even from the first episode I watched of it (Season 2's "Frescorts") and I was just blown away by the show. From then on, I bought both the box sets and they have barely been out of my DVD player. Other people I know can't stand it, it really seems to be like Marmite.<br /><br />The show follows the adventures of Ned, the Piemaker, with a magic finger, who brings back childhood sweetheart Charlotte Charles, works in association with private investigator Emerson Cod, owns the Pie-hole and employs waitress Olive Snook. Completing the main cast members are aunts Lily and Vivian, whom Charlotte (Chuck) is never allowed to see. They live in a fantasy world where the dead are brought back to life, everything is shown with a wonderfully bright splash of colour, and narrated by Jim Dale.<br /><br />Other than outlining the basics of the show, I really can't praise it much more without saying: Just watch it. Despite being screwed over by the Writer's Guild of America strike, with only 22 episodes ever to be made, it provides wonderful plot twists, story lines, characters and situations while providing (for me) a satisfying ending (yes, I could tell it had been tacked on the end and rushed, but I was still happy with the way it went out). Whether it is creative or just pretentious, for a lot of people (me included) it made the most addictive and wonderful viewing, and I hope for the future of television that more shows like this are created so I'm not left with just 22, 40 minute memories of what true entertainment can be. | 1pos
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Pushing Daisies was a wonderful show. Much like Dead Like Me and Wonderfalls, you can tell was created by Bryan Fuller. I can understand how people who don't have much of a love for theater, cinema, musicals and the like would be annoyed. This is not a typical television program and the fantastic is too much for some. These people seem to need some a little more linear and muted tone to keep them happy. This program explodes with color, winks at old movie scenes, hums with incredible music and talented performances. There is nothing random about the choices that are made from costume to leitmotif. The story takes many twists and turns but all very accessible because the conversations are about love, honesty, courage, loss and so many other things we face every day. The only unfortunate aspect was the ending of the show and that was rushed because Pushing Daisies was canceled. Don't approach this as a typical TV show. Think of it as an evening at the theater, then sit back and enjoy! | 1pos
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... but I enjoyed this show anyway. I've been reading some of the comments prior reviewers have had to say about this show, and I'm having a hard time completely nullifying all the criticism in my own head (except one: that the show was stale; this program was ANYTHING but stale). A lot of the stuff people take issue with about this show is on the money: pretentious; forced; overwrought; desperate for attention; self-satisfied; annoying ever-present narration. But you know what? I really liked it. It was different, it was original, it really, really TRIED; and that made up for all the minuses. The show was bright, verbal, quick, witty, interesting, fun to look at ... you know, it was only on once a week, I could take it once a week and look forward to it and enjoy it. I will mourn its passing. But I guess nobody will be bringing this back to life. | 1pos
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It was such a treat when this show was on because it was such a fresh, innovative, and original show. This makes every show I've ever watched look plain boring. The moment the first episode aired I was entranced and I became attached to all the characters so easy (which usually never happens because I always hate a few characters). It is a pity this show won't have a third season, because it has to be one of the best shows I have ever seen and that isn't exaggerating my feelings for the show at all. Nothing can ever replace Pushing Daisies, because what could ABC possibly find to replace this show? This is easily the best show on television. <br /><br />I came for Kristin Chenoweth and I stayed because I fell in love with the entire show. | 1pos
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"Pushing Daisies" for sure is one of the best TV shows of its genre in the last 5 years, agree you with that or not. Bryan Fuller, the creator, has an amazing creative mind. He's the mind behind other great TV Shows as "Dead Like Me" (2003), "Wonderfalls" (2004), and the other one not as great as these ones, but also interesting, "Heroes" (2006). It's a mix of the marvelous worlds Brian Fuller created in previous TV shows, mixing once again an amazing fantasy world with real kinds of people disguised into colorful images and exaggerated feelings, something that a fairytale always is. So, being a kind of fairytale, you cannot expect more than a unrealistic world and unexpected situations, or also situations a lot expected but not in a way that it would usually be told.<br /><br />A gift always comes with a curse, and what is sweet can also be bitter. That's so, Ned (Lee Pace), The Piemaker, is a simple guy with an interesting gift other than being an amazing chef: he can give life to the dead with just a touch. This could be a power that everybody would die - or live - for if wasn't for another simple and very sad thing: he can also gives the forever dead if he touches it again. The curse of this amazing gift doesn't stops there... everything has a compensation and if he brings anything to life for more than one minute, another specie of that one would die instantly. He's a guy full of unfortunate events in life in a way that he grown up introspectively, always afraid to touch everything and lose once more things he one day used to love. Till the day he could finally be close to his biggest childhood love, Chuck (Anna Friel), if wasn't for another sad fact: she was dead. He gave her life again and she loves him so much as he does, but this love is untouchable. The truly kiss of death. And that's how this beautiful modern fairytale starts.<br /><br />When I heard about "Pushing Daisies" for the first time it was promoted as something very familiar (or maybe some kind of tribute) to everything that Tim Burton has created since "Pee-Wee's Big Adventure" (1985) to "Big Fish" (2003) and "Charlie And The Cholate Factory" (2005). The results could not be better. The world around The Pie Hole was magnificent. The stories around Ned and Detective Cod (Chi McBride) to solve unsolved crimes can be a lot common in TV, but this is just a way to guide people thru amazing stories surrounding characters as Chuck and Olive (Kristin Chenoweth) in a wonderful world full of beautiful and dreamy images that you can almost sense the taste of the colors. Not only that, you are merged into a bunch of amazing and charismatic gentle characters, even those ones with the most deep dark humors.<br /><br />Forgetting the trivial concept of murders and unsolved crimes, the show brights and is triumphant in a lot of other things. The actors here are top of note. Lee Pace is tender, soft and contained as the character asks for. Anna Friel is the muse of the show as her character is supposed to be. But the most superb times are always with the supporting actors as Chi McBride (Detective Emmerson Cod), Swoozie Kurtz (as Lilly Charles), Ellen Greene (as Vivian Charles) and Kristin Chenoweth (as Olive Snook). Swoozie Kurtz shines performing a so dried character drowned in a impossible dark humor that could frighten a clown, for sure she has the best dialogs and her expressions and body languages are mesmerizing. But if the best dialogs are given by Swoozie and her character, the best funny moments are given by Kristin Chenoweth. Seems that she's improvising all the time, she's so naturally fun that every single scene is a show aside. Kristin shines so bright in the show that winning the 2009 Emmy for her supporting role in the show was totally fair and deserved. Also there's the chemistry between actors and their characters, that are also amazing.<br /><br />There are no words to express what this TV Show really is and what it was meant to be. For those ones who think this show is a waste of time or claimed to find no sense in it, for sure needs to open their minds and comeback to a time that they probably never had: childhood.<br /><br />Truth be told... TV has never been so daring in a TV Show as with this amazing one. "Pushing Daisies" was a huge step forward in terms of great artistic entertainment and its sudden death was a lot disrespectful. It's true that TV doesn't respect great TV shows as those ones Bryan Fuller created - except "Heroes" that's still on air and is far from being so amazing as the other ones. | 1pos
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I have to say, when "Pushing Daisies" came out I was immediately won out by the fairy-tale like setting of such grimness. The narrator made a cake out of the whole ordeal by making death seem as routine as, well, Ned (Lee Pace) baking pies. And that bringing them back to life was just as routine.<br /><br />The trio of Ned, Emerson Cod (Chi McBride) and Charlotte "Chuck" Charles (Anna Friel), plus sometimes-sidekick Olive Snook (Kristin Chenoweth, who made the musical Wicked such a delight) made for some fantastic dialogue and silliness. It definitely deserves the title of a (romantic) comedy/drama.<br /><br />Ned and Chuck made for a shy and not-quite-ready-for-love couple who are still exploring their feelings even though they cannot touch - an obstacle that seems to be truly no obstacle with aids such as gloves, cellophane, and quirky schedules around the apartment. But despite the awkwardness presented as they work their feelings around a strange secret which only a few know, they still manage to show their on screen chemistry in touching scenes like when Ned gives Chuck the beehives. The presence of Olive, though, makes for some break-out-in-song moments in the pie shop and unforeseen complications for the couple.<br /><br />Second season sharply declined, putting a damper on a show that had real potential. On some of the episodes, the plot line was rushed and awkward, making you ask "what just happened?" in both the overall dead-person-of-the-week plot and in the overriding plot line. The addition of Chuck's father plus two half-brothers for Ned didn't help, and at least one of the plot lines felt almost recycled (didn't the episode "Comfort Food" feel like the episode "Bitter Sweets" in the fact that the dead-person-of-the-week died in food?). A few touching moments (the beehives) happened to help advance the relationship between Chuck and Ned, but every time they got close, the writers decided to throw in another monkey wrench rather than let the relation develop (Oliver comes back from the monastery, Chuck's dead father comes back to life and doesn't go back, you get the picture).<br /><br />Shame it didn't work out, but the concept was good and seemed surreal in a good way, just enough Pleasantvillesque color/happy-smiley going on and implausible scenarios to remind you that it's not "Dead Like Me." Then again, it's in "Pushing Daisies time," according to Creator Bryan Fuller, so it makes it plausible again.<br /><br />It should have lasted longer, but it's merely wistful thinking at this point. Kudos to whatever new show attempts to replace this short-lived gem. | 1pos
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First I want to clarify that the average user's inability to appreciate imagination is appalling. What makes this show so unique is the hyper-reality it creates. You don't need to know why Ned can bring people back from the dead, or why it can only be for a minute. Where has the wonderment of childhood whimsical tales gone, much like A Wrinkle in Time.<br /><br />I say it is refreshingly original because it is a polar opposite to the masses of lay-it-all-out television that leaves no room for imagination or wonder.<br /><br />It's nice to add a bit of escapism to the television experience.<br /><br />The hyper-reality is my favorite aspect of the show. The 1950's-esque setting, the innocent and rare characters, and the scenery and physical setting which are not meant to be taken as pure reality.<br /><br />This show masks the morbid nature of death, while others embrace it. While entertaining, other television shows have taken a back shelf to this series. It truly has restored a sense of curiosity, imagination and wonder to television.<br /><br />Pushing Daisies quickly made it to the top of my list. | 1pos
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I for one have shamelessly enjoyed every episode of Pushing Daisies this season, and hope that the writers' strike won't brutally end the beginnings of a very good show. Ned is a pie maker who owns a restaurant in the middle of town and has a secret talent. Emmerson is a private investigator with his own unique quirks like his love of knitting. Charlotte (Chuck) is the once-dead-but-not-anymore childhood friend and sunny spot of Ned's life. Olive is the jealous but good-hearted waitress. Oh, and add the dog. Jim Dale brings all the characters together with his wonderful narration of the show. Chuck, Ned, and Emmerson along with Olive and occasionally the dog solve multiple murder mysteries with the assistance of Ned's special gift of bringing dead people back to life. The show is funny, clean, and romantic in a very cute and good-hearted way, and I'd recommend it to anyone. | 1pos
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It is a pleasure to see such creativity on TV again. This show is poetic, artistic and good fun. The characters relate well and the writing is not bad (I think it will improve as they get their legs). Definitely worth a look.<br /><br />The girls steal the show so far in this series. Chuck is adorable as is Olive. The two aunts are a delight. I sincerely hope they write them into bigger parts as they are magic.<br /><br />Well, that's all the news that is fit to print. Go make yourself a big bowl of popcorn and enjoy something fun in an old fashioned way. This is like Dr. Seuss for adults. | 1pos
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This show is quick-witted, colorful, dark yet fun, hip and still somehow clean. The cast, including an awesome rotation of special guests (i.e. Molly Shannon, Paul Rubens, The-Stapler-Guy-From-Office-Space) is electric. It's got murder, romance, family, AND zombies without ever coming off as cartoony... Somehow. You really connect with these characters. The whole production is an unlikely magic act that left me, something of a skeptic if I do say so myself, totally engrossed and coming back for more every Wednesday night. I just re-read this and it sounds a little like somebody paid me to write it. It really is that good. I just heard a rumor that it was being canceled so I thought I'd send off a flare of good will. This is one of those shows that goes under the radar because the network suits can't figure out how to make it sexy and sell cars with it. Do yourself a huge favor, if you haven't already, and enjoy this gem while it lasts. OK so one more thing. This show is clever. What that means is that every armchair critic/"writer" in Hollywood is gonna insert a stick up their youknowwhat before they sit down to watch it, defending themselves with an "I could've written that" type speech to absolutely nobody in their lonely renovated Hollywood hotel room. In other words: the internet. This is a general interest/anonymous website. Before you give your Wednesday TV hour to Dirty Sexy Money or Next Hot Model reruns or whatever other out and out tripe these internet "critics" aren't commenting on, give my fave' show a spin. It's fun. Good, unpretentious fun. | 1pos
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I have been a fan of Pushing Daisies since the very beginning. It is wonderfully thought up, and Bryan Fuller has the most remarkable ideas for this show.<br /><br />It is unbelievable on how much TV has been needing a creative, original show like Pushing Daisies. It is a huge relief to see a show, that is unlike the rest, where as, if you compared it to some of the newer shows, such as Scrubs and House, you would see the similarities, and it does get tedious at moments to see shows so close in identity.<br /><br />With a magnificent cast, wonderful script, and hilarity in every episode, Pushing Daisies is, by-far, one of the most remarkable shows on your television. | 1pos
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Very sweet pilot. The show reeks of Tim Burton's better films...Edward Sissorhands, Big Fish, Charlie & the Chocolate Factory. The cinematography, the narration, the music, the external sets all scream Tim Burton. There has to be a connection, or a STRONG influence, I just haven't researched enough to know where it is.<br /><br />As I've seen in the forums, yes Anna Friel is playing a poor man's Zooey Deschanel. Every time I see her on the screen I see Zooey. Don't get me wrong, Anna Friel does a great job. Her character is very sweet and lovable and you easily get attached to her. It's more of a distraction that I keep thinking "Why didn't they get Zooey Deschanel".<br /><br />Lee Pace does a great job too. I kept trying to remember where I knew him from and just looked it up. Wonderfalls!!! Great, short lived series from 2004. If you enjoy Pushing Daisies you MUST go rent Wonderfalls, which is another Brian Fuller creation
.hmmmm <br /><br />Loved seeing Swoosie Kurtz (World According to Garp) and Ellen Greene (Little Shop of Horrors) again. Two underrated character actresses that never fail to bring it with their performances. | 1pos
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I really enjoyed the first episode and am looking forward to more. A little soft on the crime front (it's almost an afterthought and not terribly suspenseful or fleshed out) but thought the romance angle was wonderfully charming. Will be watching again for sure! <br /><br />I'm hoping that they'll have a bigger role for the aunts who are wonderful actresses and were somewhat underused this time around. The actress who plays the assistant/waitress (also from Bewitched I think) is very sweet and bubbly and comes off as nicely dorky and sweet instead of dumb and annoying which is very nice.<br /><br />Check it out. | 1pos
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I'm one of those people who usually watch programs and keep my feelings about a show private. However, Pushing Daisies is my exception. I became curious about the program from the commercials that aired which gave glimpses of the premise of the show. I was skeptical about it at first, especially after the finale of Six Feet Under was still in my head. Here we go again, I thought. I watched the first, second, third and all the other episodes. Wow! First of all, I thought it took the subject of death and presented in a way that was palatable without being morbid. The characters were engaging and I like the thought of Ned the main character not being able to literally touch the love of his life, Chuck without the consequences of her dying.<br /><br />Most of the characters have a longing for things they can't have. Besides Ned and Chuck, Olive longs for Ned. Lily and Vivian longs for their niece Chuck and Emerson is always longing for the monetary rewards from the mysterious deaths they solve. I think the characters are picture perfect and believable. I like how Emerson who is black plays off of the rest of the characters since as an African American; I like the subtle cultural humor that sometimes comes from him.<br /><br />All in all, this visual fairytale is one of the most valuable pieces of entertainment that I've seen out of the 2007 season. I think the show has enough romance for the romantics and enough who-done-it for the mystery buffs. I just wish the writers would get back to work, so that the show can continue to evolve. | 1pos
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Thank god ABC picked this up instead of Fox. The best description (for those in the know) is really Wonderfalls meets Dead Like Me in the best way possible.<br /><br />I'm not sure whether an experience with death and destiny early in life makes me a fan of Brian Fuller but I certainly enjoy his productions. I also enjoy checkered floors, pies, talking toys, gravelings and other mischievous items :) While a bit "Burtonesque", I certainly think this enjoys its own niche that doesn't require J Depp or HB Carter to be a wonderfully imaginative playground. Here we can find the joys and sorrows of childhood and adulthood crashing into each and actually making sense and making us want to live life to the fullest! | 1pos
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I watched the Pie-lette last night and the word that comes to mind is "original." It is a word not used much in TV as they all tend to copy whatever the other network is doing and you end up with seven nights of crime shows, unfunny comedies, and reality crap.<br /><br />The first thing that hit me like a brick was the presence of Jim Dale. Those not familiar with the British "Carry On ..." series or those who have not listened to a Harry Potter book, may not be familiar with Dale. I am not sure whether his presence as narrator adds or distracts. I will have to tune in more, but it does give the show a "Harry Potter" atmosphere. Maybe that's a good thing.<br /><br />Lee Pace (Infamous, The White Countess) has a gift. It never explains where he got it, but he can bring someone back from the dead for a minute. He teams with Chi McBride ("Boston Public," Roll Bounce) to solve murders using this talent. Everything is fine and funny until he comes across a childhood love, Anna Friel (Goal! The Dream Begins, Timeline) and things really get complicated. He can't send her back and he can never touch her. Boy, would that make a relationship difficult.<br /><br />I will be tuning in to see where this series goes in the expectation that it will continue to entertain. | 1pos
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This is indeed a funny show, done in a creepy sort of way, much like a Tim Burton film. It's worth a look, as it's far more creative than most of the shows this season. Best of all, it's not a "reality" show. I'm wondering why the viewing public is so ready to accept shows like that (which lack creativity) and ignore wonderful shows like this that actually have a creative bent.<br /><br />While some decry the premise, I think it's really unusual. Much more enjoyable than "Ghost Whisperer" and "Medium". I think it's the funniest thing on the tube since "My Name is Earl".<br /><br />Oh, and the narration and music are wonderful. If you enjoy shows that are a bit off the beaten path, I'd recommend it. It's not as strange as Twin Peaks was, but it's got a serious kink to it. | 1pos
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I instantly fell in love with "Pushing Daisies". This show manages to put a smile on my face with it's great storytelling, witty dialog and great acting. But that's not all: It also manages to keep you until the end. The basic idea behind the show - Bringing people back to life with one touch, ending the undead status with a second - is interesting and could still be in later seasons. But the suspenseful murder cases, the unique look of the show and the highly proficient narrator add to the experience. But "Pushing Daisies" is more than it's parts. It has a certain charm that I really enjoy and I'm looking forward to enter the world of Ned and Chuck for a second season. | 1pos
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I love this show. Now, I'm not a big fan of many science fiction shows, so if it bares any resemblance to them, I didn't notice. I like the storybook quality of the cinematography. I even like the love story, even though as I am enjoying it I wonder in the back of my mind how the heck that part of the story can truly develop seeing as Ned cannot touch Chuck or else... well, you know. I even like Chuck, I don't find her annoying at all, and I generally hate overly sweet, nice, perfect characters. I even like the narrator's voice, even if it bothers one of my family members and bares some resemblance to some Walgreens commercials. I could nitpick about all the other things about Ned's predicament and how the writers are going to address it in the future but I just rather watch and wait and see what tale the writers weave. | 1pos
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Many of these other viewers complain that the story line has already been attempted. That may be so, but the addition of the narrator and Dr.Suess like scenery makes this show a must watch. With adult innuendo throughout the series and a touch of childhood through the set, the show is both reminiscent and invigorating. The investigative portion of the show is not what drags viewers in. The twisted plot and love lines scattered throughout this seeming paradise are what keep loyal viewers coming back for more. This is a success that ABC should never let go of. Bravo ABC. LOST was getting old, way to revitalize prime time. 9 episodes prior to the writers strike left audiences wanting more. | 1pos
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This show was appreciated by critics and those who realized that any similarities between "Pushing Daisies" style and anyone else's was not a steal. (Yes, I've seen "Amelie." "Pushing Daisies" is somewhat similar but still different enough to be original.) Rather, there are too few shows on TV that have this kind of quirky charm. The greatest similarity is to "Dead Like Me" but "P.D" comes by that similarity honestly: Bryan Fuller created both shows. (Both shows involve an "undead" young woman, For example.) This show never stopped being funny and charming, and it was always odd, yet was consistently humane.<br /><br />I must say a word about the conventions of on-going story lines. some people have complained that this show lacked a moral center because in the first (and several subsequent) episodes Ned seems to get away with causing the death of Chuck's father without consequences of any kind. First of all, this must be a new definition of "without consequences of any kind" because, in spite of the fact that Ned was only a boy and did not realize that he had caused the death of Chuck's father, he nevertheless felt guilty from the moment he realized what he had done. Further, about a dozen episodes into the series, Ned finally did confess to Chuck that he had caused her father's death with his gift. Now, there are no police to charge people with magically causing one person's death by bringing another person back to life, so the questions of absolution and restitution have to be taken up without societal guidance. In other words, it's between Ned and Chuck, who was not inclined to forgive Ned anytime soon.<br /><br />But this does point out a problem with continuing story lines in network dramas. I remember when David Caruso's character on "NYPD Blue" did something wrong and it seemed he got away with it--for a whole year--then he got caught and was forced to resign from the job (and left the show). The point is, viewers should learn by now and not assume that just because a regular character does something wrong in a single episode, and is not caught in that episode, that he has gotten away with it. There is always next week--and maybe even next year. | 1pos
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When I first heard about the show, I heard a lot about it, and it was getting some good reviews. I watched the first episode of this "forensic fairy tale", as it so proclaims itself, and I really got hooked on it. I have loved it since. This show has a good sense of humour and it's fun to see a good show like this. The cast is excellent as their characters, and I wouldn't want to change them in any way.<br /><br />For those unfamiliar with this show, Pushing Daisies centers around a man named Ned (aka The Pie Maker, played by Lee Pace) who discovered a special gift when he was a boy: He could bring the dead back to life with the touch of a finger. He first did so with his dog, Digby. However, there is the catch: If he keeps a dead person alive for more than one minute, someone else dies. He learned this when he brought his mother back to life, and his childhood crush's father died in Ned's mother's place. The other catch is if he touches the person again, they're dead again, but this time for good. He learned this when his mother kissed him goodnight. His father took him to boarding school, and when he left, Ned never saw his father again.<br /><br />Almost 20 years later, Ned owns a pie bakery, cleverly titled "The Pie Hole." A co-worker of Ned's, Olive Snook (Kristin Chenoweth) has a crush on Ned, but Ned rejects her moves, trying not to get close to anyone, learning from past experiences. Private Investigator Emerson Cod (Chi McBride) discovered the gift that Ned has, and decides to make him a partner in solving murders. Ned touches the victim, asks who killed them, and when the minute is up, he touches them again, and they solve it. That's how they usually solve it. Throughout the episodes, the murders have very interesting plots and be what people least expect.<br /><br />One day, Ned discovers that his next murder to solve is his childhood sweetheart, Charlotte "Chuck" Charles (Anna Friel). He brings her back to life and decides to break the rules and keep her alive. In her place, the funeral director, who stole jewelery from the corpses, died. When Emerson finds out, and when Chuck wants to help with solving the murders, he doesn't agree a bit--for a while, we hear him call Chuck 'Dead girl'. This is all kept in secret from Olive, Chuck's aunts Vivian and Lily (Ellen Greene and Swoosie Kurtz, respectively), and everyone else for that matter, in case anyone recognized her from obituaries, the news, etc. Vivian and Lily, formerly synchronized swimmers, hadn't left the house in years. Emerson, Ned, and Chuck agree to work together. Ned and Chuck grow to love each other, though they can't touch each other ever again.<br /><br />This show is funny, has terrific characters, contains great plot twists, and will definitely get your spirits up. I hope it doesn't get cancelled at 13 episodes. | 1pos
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