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Having never seen the original Dirty Harry, I judged this movie on a clean slate. And I must say, I quite enjoyed it. Sure, some of the acting by Sondre Locke made me a little squeemish - but hey, it was the 80's. But even if you can't get past her (and I almost couldn't) or her revenge killings (which seemed a little.. overdone ;P), it's worth it just for Dirty Harry. Or at the very least, the bull dog he affectionately names 'MeatHead' :P<br /><br />7/10. | 1pos
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Clint Eastwood reprises his role as Dirty Harry who this time is on the case of a vigilante (Sondra Locke)who is killing the people that raped her and her sister at a carnival many years ago. Eastwood makes the role his and the movie is mainly more action then talk, not that I'm complaining. Sudden Impact is indeed enjoyable entertainment. | 1pos
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Clint Eastwood would star again as the battle-weary Detective Harry Callahan, but would also direct the fourth entry in the 'Dirty Harry' series. 'Sudden Impact' again like the other additions, brings its own distinguishable style and tone, but if anything it's probably the most similar to the original in it's darker and seedy moments (and bestowing a classic line "Go ahead. Make my day")
but some of its humor has to been seen to believe. A bulldog
named meathead that pisses and farts. Oh yeah. However an interesting fact this entry was only one in series to not have it set entirely in San Francisco.<br /><br />The story follows that of detective Callahan trying to put the pieces together of a murder where the victim was shot in the groin and then between the eyes. After getting in some trouble with office superiors and causing a stir which has some crime lord thugs after his blood. He's ordered to take leave, but it falls into a working one where he heads to a coastal town San Paulo, where a murder has occurred similar in vein (bullet to groin and between eyes) to his case. There he begins to dig up dirt, which leads to the idea of someone looking for revenge.<br /><br />To be honest, I wasn't all that crash hot on Eastwood's take, but after many repeat viewings it virtually has grown on me to the point of probably being on par with the first sequel 'Magnum Force'. This well-assembled plot actually gives Eastwood another angle to work upon (even though it feels more like a sophisticated take on the vigilante features running rampant at that time), quite literal with something punishing but luridly damaging. It's like he's experimenting with noir-thriller touches with character-driven traits to help develop the emotionally bubbling and eventual morality framework. His use of images is lasting, due to its slickly foreboding atmospherics. Dark tones, brooding lighting
like the scene towards the end akin to some western showdown of a silhouette figure (Harry with his new .44 automag handgun) moving its way towards the stunned prey on the fishing docks. It's a striking sight that builds fear! Mixing the hauntingly cold with plain brutality and dash of humor. It seemed to come off. A major plus with these films are the dialogues, while I wouldn't call 'Sudden Impact' first-rate, it provides ample biting exchanges and memorably creditable lines
"You're a legend in your own mind". Don't you just love hearing Harry sparking an amusing quip, before pulling out his piece. The beating action when it occurs is excitingly jarring and intense
the only way to go and the pacing flies by with little in the way of flat passages. Lalo Schfrin would return as composer (after 'The Enforcer" had Jerry Fielding scoring) bringing a methodical funky kick, which still breathed those gloomy cues to a texturally breezy score that clicked from the get-go. Bruce Surtees (an Eastwood regular) gets the job behind the camera (where he did a piecing job with 'Dirty Harry') and gives the film plenty of scope by wonderfully framing the backdrops in some impeccable tracking scenes, but also instrument edgy angles within those dramatic moments.<br /><br />Eastwood as the dinosaur Callahan still packs a punch, going beyond just that steely glare to get the job done and probably showing a little more heart than one would expect from a younger Callahan. This going by the sudden shift in a plot turn of Harry's quest for justice
by the badge even though he doesn't always agree with it. I just found it odd
a real change of heart. Across from him is a stupendous performance by his beau at the time Sondra Locke. Her turn of traumatic torment (being senselessly raped along with her younger sister), is hidden by a glassily quiet intensity. When the anger is released, it's tactically accurate in its outcome. Paul Drake is perfectly menacing and filthy as one of the targeted thugs and Audrie J. Neenan nails down a repellently scummy and big-mouthed performance. These people are truly an ugly bunch of saps. Pat Hingle is sturdy as the Chief of the small coastal town. In smaller parts are Bradford Dillman and the agreeably potent Albert Popwell (a regular in the series 1-4, but under different characters). How can you forget him in 'Dirty Harry'
yes he is bank robber that's at the end of the trademark quote "Do I feel lucky? Well, do ya, punk?" | 1pos
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I liked nearly all the movies in the Dirty Harry series with the exception of the one I think is titled "Enforcer". "Deadpool" was a bit weak in areas too, but I still enjoyed it. This one is one of my favorites of the series, if nothing else for the great line of "Go ahead, make my day". This one also features an interesting albeit familiar plot of someone killing those that have done her wrong. Just think "Magnum Force" with less mystery about who is behind the killings and you have your plot. Granted there is a bit more than that as this one does feature a very nice final showdown at an amusement park. It also features Dirty Harry getting a bulldog as a gift and it tripping up Sandra Locke in a rather humorous scene. The only question that remains is why Clint Eastwood had to have the rather mediocre actress Sandra Locke in so many of his movies. She brings the score down a point every time even when overall the movie is enjoyable to me. Granted she is not to bad here, but her character could have been so much better by someone else. Another problem with this movie and other Dirty Harry movies, at times they almost seem to be advertisements for guns. I like guns as much as the next person, but do we really need scenes of him explaining all the different strengths of his newest weapon and how many bullets it holds? Still, very nice entry into the Dirty Harry series of movies. | 1pos
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Sudden Impact is a two pronged story. Harry is targeted by the mob who want to kill him and Harry is very glad to return the favour and show them how it's done. This little war puts Harry on suspension which he doesn't care about but he goes away on a little vacation. Now the second part of the story. Someone is killing some punks and Harry gets dragged into this situation where he meets Jennifer spencer a woman with a secret that the little tourist town wants to keep quiet. The police Chief is not a subtle man and he warns Harry to not get involved or cause any trouble. This is Harry Callahan Trouble follows him. The mob tracks him to this town and hell opens up as Harry goes to war. Meanwhile the vigilante strikes again and the gang having figured it out is ready for her. Jennifer Spencer is caught and Harry comes to her rescue during the film's climax. Sudden Impact is not the greatest Dirty Harry but at the time it gives us a Harry that is very much an anti hero ready to go to war just to pursue Justice. Again not the best not the worst but the one with the most remembered line. Go Ahead Make your day. | 1pos
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Clint Eastwood returns as Dirty Harry Calahan in the 4th movie of the Dirty Harry series. Clint is older but he's still got it, Harry was told to have a vacation after some trouble that happened because of a robbery (where the memorable "Make My Day" catchphrase comes from!) But the city he took a vacation was worse, a woman turned vigilante after a rape attack in a funfair and starts getting the punks one by one. The last movie to see Sandra Locke in a Clint Eastwood movie! An improvement after The Enforcer which was a bit more of a comedy and less serious. Clint Eastwood's sunglasses were Gargoyles which are best known for the sunglasses that are worn by Arnold Shwartzeneger in The Terminator. Worth a watch if you like Clint Eastwood, the Dirty Harry films or like action crime thrillers. | 1pos
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In Don Siegel's 1971 masterpiece "Dirty Harry", Clint Eastwood epitomized the super-tough, super-cool unorthodox, no-nonsense cinema-cop with his role of the eponymous Inspector 'Dirty' Harry Callahan. Two sequels followed, the first of which, "Magnum Force", tamed down on the delightfully politically incorrect attitude of the first one that had outraged many critics but enthused audiences. The second sequel, "The Enforcer" was grittier again, and was promoted as "the dirtiest Harry of them all". This title, however, truly belongs to the fourth film in the series, Clint Eastwood's own "Sudden Impact", which is doubtlessly the grittiest, nastiest, most violent and downright dirtiest of all Harry films, and, in my humble opinion, the second-best after the masterpiece original.<br /><br />***Warning! SPOILERS ahead!*** In a small town near San Francisco, a mysterious sexy lady (Sondra Locke) lures men into being alone with her. What these men don't know is that mysterious beauty is their former rape victim, longing for bloody revenge. As fate wants it, San Francisco's toughest cop, Inspector Dirty Harry Callahan, who has been suspended once again for angering his superiors, spends his leisure time in this exact little town... "Sudden Impact" is the dirtiest Callahan film in several aspects. The film is extremely gritty and graphically violent. Harry Callahan himself is dirtier than ever. Not afraid to make use of his 44. Magnum in order to stop trouble, Harry treats 'punks' as they are to be treated and even allows a person to get away with several murders because the revenge-murders are justified in his opinion. Clint Eastwood is, as always, brilliant in the role of Harry Callahan. Eastwood epitomized coolness and bad-assery as the "Man With No Name" in Sergio Leone's Dollar Trilogy, and he did so again in the Dirty Harry films. "Sudden Impact" gives us the dirtiest Harry we have ever seen. Eastwood's real-life girlfriend Sondra Locke fits very well in the role of the vengeful beauty. The great Pat Hingle, who had already worked with Eastwood in Ted Post's tough-minded Western "Hang 'Em High" in 1986 plays the police chief of the small town. The film furthermore includes a wide range of truly despicable scumbag characters, including a pathetic criminal played by Kevin Major Howard (best known for his role in Stanley Kubrick's "Full Metal Jacket") and a woman named Ray Perkins (Audrie J. Neenan), doubtlessly one of the most disgusting and despicable female characters ever in cinema. Albert Popwell, who played the bank robber in the famous "Do You Feel Lucky?" scene in "Dirty Harry" and the black militant leader in "The Enforcer" is also part of this one again, this time as Harry's colleague and buddy. Overall "Sudden Impact" is the grittiest, dirtiest and probably the most violent of all "Dirty Harry" films, (though "The Dead Pool" isn't exactly tame either), and my second-favorite after the brilliant 1971 original. An absolute must-see for Callahan fans, and highly recommended to all lovers of police thrillers and cinematic bad-assery. My rating: 8.5/10 | 1pos
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Sudden Impact was overall better than The Enforcer in my opinion. It was building up to be a great movie, but then I saw the villain(s) and was disappointed.<br /><br />Sudden Impact was different than the previous installments. The plot went a different direction in this movie, as Dirty Harry doesn't take as much of a police approach this time around. We also don't see the villain(s) until later, which means less screen time for them, which is better for us all.<br /><br />Clint Eastwood once again steals the show as Dirty Harry, enough said. Pat Hingle was enjoyable as Chief Jannings, Harry's new assigned boss. Bradford Dillman seemed to change his name to Captain Briggs here, either way, he wasn't any different. Michael Currie is decent as Lt. Donnelly, Harry's annoying superior. I personally enjoyed Kevyn Major Howard as Hawkins, the young punk who has a vendetta against Harry. Albert Popwell was excellent as Horace, Harry's buddy. Audrie J. Neenan was good as Ray Parkins, a famous lesbian around town. Jack Thibeau was well cast as Kruger, a pervert. Now for the really bad part. Sandra Locke, Eastwood's long-time lover was horribly miscast as Jennifer Spencer, Harry's love interest. And Paul Drake was just horrible as Mick.<br /><br />The movie would have been so much better if not for better writing and acting on some parts.<br /><br />8/10. | 1pos
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When this film was originally released it was promoted with the notably unimaginative tagline "Dirty Harry is at it again". Whatever this pitch lacks in originality is more than compensated for by it's complete and total accuracy. "Sudden Impact" retains all the aspects that made the previous three Dirty Harry movies so successful- tight pacing, a compelling plot, strong supporting characters, endless gunplay, and bone-dry humor. Some of these elements are not only retained but amplified- this is easily the darkest, bloodiest, and most overtly right-wing installment of the franchise.<br /><br />The plot is somewhat intriguing: after killing a ridiculous number of hoodlums, Inspector Callahan is sent on a forced "vacation" by his superiors to the sleepy coastal town of San Paolo. He is tasked to investigate the background of a recent homicide victim who was shot in the genitals before being put out of his (no doubt considerable) misery by a second shot to the head. Early on in the film, the audience is made aware of the identity of the killer- an artist named Jennifer Spencer (Sondra Locke) who is hunting down the thugs who gang-raped her and her sister at a fun fair some ten years earlier. This incident is shown in a very disturbing flashback, snippets of which recur before each new murder. As more bodies start to appear with the same M.O, it becomes clear to Harry that both the local police chief and his new love interest (guess who?) know more than they are telling. To make matters even more complicated, the one-time rapists realize who is hunting them and start to hit back hard.<br /><br />"Sudden Impact" offers relentless action from beginning to end. Clint Eastwood directed this film himself and expertly handles a series of set pieces that culminate in an exhilarating climax. Sondra Locke's performance effectively conveys the blend of ruthlessness and fragility that define her character. That having been said, it is fair to wonder if another actress (who was not Eastwood's off-screen companion at the time) could have brought more charisma and dramatic weight to the role- Theresa Russell and Cybill Shepherd jump to mind as possible candidates. Members of the supporting cast that punch significantly above their weight include Albert Popwell as Harry's partner Horace, Paul Drake as the psychopathic Mick, and the truly scene-stealing Audrie J. Neenan who portrays the vicious Ray Parkins. <br /><br />However the film has some notable problems- some of the subplots (the animosity between Harry and a gang of twentysomething hoodlums, a Mob vendetta against him) take up too much screen time and don't really have any bearing to the larger story. Their only real use is to raise the body-count to absurd levels. In the first half of the film it sometimes appears that Dirty Harry shoots people more often than he has to use the restroom. However the film moves into top gear as it progresses and the triangulated cat-and-mouse game between Callahan, Spencer, and her former tormentors assumes prominence. This second hour makes it clear that a more stripped-down and slightly refocused screenplay would have given "Sudden Impact" the potential to be a first-class, neo noir-style thriller that could have taken the series to new levels but still have contained more than enough .44 magnum heroics to satisfy the Harry loyalists. Instead we get the film that Eastwood and Warner Bros. clearly wanted to make- a superbly executed but prototypical Eighties action flick that mostly declines to particularly challenge the intelligence of it's intended audience. <br /><br />This was by far the biggest grossing of the series at the box-office and it is not hard to see why. Though not the film that it could have been, this is still big, trigger-happy fun. Even after repeated viewings, it's going to make your day. | 1pos
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This was without a doubt the best of the "Dirty Harry" series. From the opening credits, you're swept up in a revenge tale that hits hard and is profoundly engrossing. Sondra Locke is perfect in the role of a traumatized woman out for revenge. Eastwood has many "aside" sequences that have nothing to do with the plot, but show Harry at his bad-assed best. Loaded with unforgettable characters in minor roles, this film rocks and should serve as the standard for detective/action flicks. This is the one Dirty Harry flick that's raw and devoid of any "fluff". I can watch this again and again (okay, not in one sitting) because it's a gratifying "out for revenge" yarn. The pace is quick and several of the scenes are unforgettable. "Go ahead - Make my day...You feel lucky, Punk? ...." classic Eastwood as only Eastwood, with his anguished, rubbery expressions, and whispery, menacing voice can do it. | 1pos
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Sudden Impact tends to be treated as Eastwood's artistic failure at a point in his career when he had established a good reputation as a director. The reason is actually not the film itself but the attitude it takes towards vigilantism which it seems to support. In some places it actually owes more to Death Wish than the original Dirty Harry film. One might argue if that is so- at the end of the day it's a film about guilt, justice and retribution. For me, at the end of the day it's more empathy than sympathy. However, in view of all these arguments it is easily overlooked that sudden impact is an awfully well made film. Forget the "Go ahead punk, make my day scene", that's iconic but not original. But look at the views of San Fransisco taken from the air, zooming in on the city. The first 15 or 20 minutes are quite spectacular. Or have a look at the brilliantly made scene where Sondra Locke's character visits her mentally ill sister in hospital. Eastwood makes great use of the juxtaposition of faces. So all in all Sudden Impact is a very visual film that really shows how mature Eastwood is as a director. And if I remember correctly it was actually the first time Eastwood put that on screen albeit in an action film of debatable ideology. Also, I think this is the first well paced film Eastwood directed. Although Eastwood has enormous talent as a director, dramaturgy has always been his weak point (see Play Misty for me, Breezy etc.) Thepace of the narrative leads to the visual elements being well integrated into the film and not distracting from the story. The only thing that is really annoying is the farting dog. | 1pos
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Clint Eastwood has definitely produced better movies than this, but this one does not embarrass him. Dirty Harry catches everyone's attention and unless one wants to watch romance, there is no reason why you won't like him. He is cool because he is dirty, is great because he kills without much thinking, is perfect because he gets the bullet right through your heart and a hero because he doesn't care.<br /><br />From what I have seen in movies in which Eastwood acts, the character of the lead role always captivates the audience. In White Hunter Black heart, he is the crazy director, in "in the Line of Fire" he is the "Old 'un" while here is the "almost" jobless with his job, that is to say he makes work for himself, doesn't care one damn about his superiors who practically send him out for a vacation.<br /><br />Based on a rape victim, this movie is promising for all the "no non-sense" movie watchers. The movie has nothing that goes away from he central plot. However, what makes it slightly inferior to the better movies of Eastwood is that though the character of the lead role is captivating the plot is not, as it is far too obvious from the beginning. It is not a movie that is going to make you sit at a place without moving. Also, there are too many people far dirtier than Dirty harry. | 1pos
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After what was considered to be the official Dirty Harry trilogy with The Enforcer(1976) to be the final chapter in the series. Dirty Harry is back, older, more dirtier and grittier than ever since the original 1971 classic.<br /><br />Dirty Harry in the past has killed a psychopath killer, vigilante cops, and Vietnam veteran terrorists. But now he's after a new killer, a killer who wants payback, by gunning down her attackers.<br /><br />Sudden Impact brings a new meaning and more darker tone to Dirty Harry. Callahan is on a new murder case that is circling back to a woman(played by Sondra Locke), who was brutally raped, along with her sister, who is left traumitized. Ten years after, she's out for revenge by gunning down her attackers. At the same though Callahan is on a heat of trouble by his superiors after he provokes a mob boss to a heart attack, of which the mob are hunting him as well. So in order to let the heat die down within the city, Harry is on order to take a vacation on a seaside town, but at the same time the raped victim is in town as well, while hunting her attackers one by one. Harry is on the investigation and finds the killings very similar, as he homes in on the killer's trails.<br /><br />Sudden Impact in my opinion, has to be one of my top 10 revenge films, as well as being the second best Dirty Harry movie yet, far better than both The Enforcer and The Dead Pool combined. Sudden Impact has what the original Dirty Harry had, a dark tone with entertaining value.<br /><br />So do you feel lucky, punk? | 1pos
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Dirty Harry has to track down a rape victim who extracts revenge by shooting her assailants in the goolies before killing them. Probably a more apt punishment would be to let them live after the initial shot and let them suffer forever like she and her sister has...Anyway..... an action-packed story set again in San Francisco and Santa Cruz. The chief rapist, played by Andy Drake is suitably vile and gets his punishment at the end (of course!). Not a classic movie but better than the others except for the original Dirty Harry. | 1pos
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****Excellent<br /><br />***Good<br /><br />**Fair<br /><br />*Poor<br /><br />`Go Ahead, make my Day!' <br /><br />The fourth picture in the series is directed by Eastwood himself (Who was rumored of directing most of Magnum Force) and he brings back the violent society from the first two films. However, the film still lacks impact and believability. This film was released in the early `80s, the time of Regan and the young republicans. The premise of a raped woman taking vengeance on her rapist doesn't appeal to this time frame. This plot would have been better for the Enforcer, which actually would have made it a good movie. What Sudden Impact needed was a plot like in Wall Street but with Dirty Harry in the middle. <br /><br />RATING: 3 STARS | 1pos
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I dont know why people think this is such a bad movie. Its got a pretty good plot, some good action, and the change of location for Harry does not hurt either. Sure some of its offensive and gratuitous but this is not the only movie like that. Eastwood is in good form as Dirty Harry, and I liked Pat Hingle in this movie as the small town cop. If you liked DIRTY HARRY, then you should see this one, its a lot better than THE DEAD POOL. 4/5 | 1pos
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Sudden Impact is the best of the five Dirty Harry movies. They don't come any leaner and meaner than this as Harry romps through a series of violent clashes, with the bad guys getting their just desserts. Which is just the way I like it. Great story too and ably directed by Clint himself. Excellent entertainment. | 1pos
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Despite the other comments listed here, this is probably the best Dirty Harry movie made; a film that reflects -- for better or worse -- the country's socio-political feelings during the Reagan glory years of the early '80's. It's also a kickass action movie.<br /><br />Opening with a liberal, female judge overturning a murder case due to lack of tangible evidence and then going straight into the coffee shop encounter with several unfortunate hoodlums (the scene which prompts the famous, "Go ahead, make my day" line), "Sudden Impact" is one non-stop roller coaster of an action film. The first time you get to catch your breath is when the troublesome Inspector Callahan is sent away to a nearby city to investigate the background of a murdered hood. It gets only better from there with an over-the-top group of grotesque thugs for Callahan to deal with along with a sherriff with a mysterious past. Superb direction and photography and a at-times hilarious script help make this film one of the best of the '80's. | 1pos
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Main theme in this Dirty Harry is that revenge is a dish best served cold. Sandra Locke is as cold in this film as she is beautiful. Locke is an "8" normally, but, with a deadly pistol in her purse, "cocked" for the bad guys, she climbs all the way up the scale to a "10". Having been gang-raped, along with her younger sister, some years ago, Locke, as Jennifer Spencer, has tried to block out the attack from her life, as best she can. Her sister, tho, is almost comatose as a result of the trauma, so the memory is never far from her mind. One day, Jennifer sees one of her attackers on the street in S.F.; she buys a pistol, follows him to a bar, lets him pick her up, then when they're alone in his Cadillac, beginning to make love, she shoots him....once in the genitals, once in the brain - - this in the opening scene!! Ya gotta love this spunky lady. She's got her priorities straight. Plus, Jennifer is a professional artist, putting all her anger on canvas UNTIL NOW. After executing her first perp, Jennifer curiously watches Det. Insp. Harry Callahan process the fresh crime scene after the body is found in the Caddy. Then, she insults some creepy teenage bucks who are hassling women on the street, visits her sister in a nursing home, then goes a'hunting in San Paolo, CA "up the coast" where the rape event took place years ago. With more bullets in her suitcase and more resolve in her mind, our heroine relives the rape inside her head with vivid recall, as she comes closer to executing each subsequent rapist. Not uncommon to us right- wingers, when it comes to sentencing or executing a violent criminal, don't be sorrowful for his own wretched humanity, we REMEMBER the CRIME and the SUFFERING he inflicted. Such recalled events steels Jennifer to pull the trigger on each of her attackers - once in the genitals, once in the brain. Throughout the movie, scenes of Jennifer's revenge are interspersed with good, IL' Dirty Harry blowing away some gangstas in a coffee shop, remember "Go ahead. MAKE my day."? Later on, he threatens to step on a punk kid (who'd just insulted Callahan) in a courthouse elevator like he'd step on dog- s**t....leaving a young female govt employee staring after Clint as if to say "I want to have your baby." My favorite scene is only about 30 minutes into the action, when Harry threatens and frightens a murderous Mafia boss named Threlkis into a fatal coronary during his granddaughter's wedding reception at the Mark Hopkins hotel. Michael Grazzo (Pantangeli in Godfather II) does a wonderful job as the sinful Mafia Don, even if he's only in one scene, dying in a most-convincing manner. However, Harry's troubles aren't over with yet! The elevator punk's gang AND Threlkis' henchmen each attempt to assassinate Harry in two close-ordered scenes, and most of them bad guys end up dying horribly. Yup, some of the gun-play comes off as uninspired screen violence....looking like Clint the Director may have been tired that day of shooting this movie. But, there's only so many ways you can dispatch a man with bullets. The punk kids die much more creatively, though, as they both burn to death and drown in S.F. Bay. Warms my heart. With so much violent intent directed at Insp. Callahan, his bosses send him to San Paolo to try to get some background on the "22 caliber vasectomy killing" as Jennifer Spencer's crime is now known, but not before Harry delivers one of his famous sermons-to-the- chowder-headed-liberals. Love that Harry. While our hero' up annoying the local cops and citizens in San Paolo, two more murders happen, same M.O., on a sleazy, lazy fisherman and on an equally-creepy hardware entrepreneur. Then Harry meets Jennifer! They find they both agree on subjects such as Law and Order, Making the Guilty Pay, etc. Could a hot, love scene be in the offing soon? We're led to believe just that. Characters abound in this Real-Man meets Real-Woman crime drama, and we get to meet a brassy bull-dyke named Raye Parkins who's both irritating and entertaining. Raye set up Jennifer's rape for her "boyfriend" years before, and she'll get hers eventually. The San Paolo Police Chief, played by reliable Eastwood co-star Pat Hingle (the Hanging Judge in 'Hang Em High'), is strangely at odds with Callahan's detective work related to the 22-cal vasectomies, until we find out that his own adolescent son was one of the gang of rapists. Much like Jennifer's sister, Chief Janning's son is now a comatose adult, but driven mad by guilt. It can't end here, though. The dyke's rapist boyfriend, Mick, now a kinky-sex jerk of a criminal, drives in from Vegas becuz Raye's dropped a dime on Jennifer, summoning him up to San Paolo to prevent more executions. Mick sleeps at Raye's house, but his timing is all wrong, and he's arrested before he can spend more time with Raye, mostly due to the fact that she's since been sent to the Island of the Eternal Lesboes by a shot from Jennifer's revolver. Psycho Mick makes bail at long last, with Jennifer gunning for him. A desperate chase ensues, as Harry tries to keep these two from killing each other. It all turns out well in the end, with the good gal and the good guy walking off into the sunset together to a beautiful Roberta Flack blues song. | 1pos
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This two-parter was excellent - the best since the series returned. Sure bits of the story were pinched from previous films, but what TV shows don't do that these days. What we got here was a cracking good sci-fi story. A great big (really scary) monster imprisoned at the base of a deep pit, some superb aliens in The Ood - the best "new" aliens the revived series has come up with, a set of basically sympathetic and believable human characters (complete with a couple of unnamed "expendable" security people in true Star Trek fashion), some large-scale philosophical themes (love, loyalty, faith, etc.), and some top-drawer special effects.<br /><br />I loved every minute of this. | 1pos
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In all truth, this really isn't a "movie" so much as an extended final episode; by this I mean that, had you NOT followed the TV series (Homicide: Life On The Street) I suspect that you would have a hard time following this made-for-tv movie. Having said that, "Homicide: The Movie" is still a great watch. I think it says a lot about a television production that EVERY single cast member would return, many after years of absence, to once again portray their characters and bring closure to an incredible program. The movie brings out that sense of "family", not only amongst the characters, but amongst the actors, as well. It's all very bitter-sweet knowing that this will be the LAST time we will see them all together again under the title of HOMICIDE. Story-wise, I found this film somewhat lacking. Giardello's mayoral candidacy seems particularly contrived, and I felt his shooting could've been dealt with within the parameters of his regular position, as Leiutenant. Also, Det. Bayliss's extreme plot twist, which was left hanging at series end, is finally resolved, but I, for one, NEVER felt that it needed to be; I enjoyed being left with a mystery (let us recall that the very first episode's first case also went unsolved for the entire series run!). As a DEVOTED fan of the TV series I can love this movie, and the fact that it even got made after H:LOTS had been canceled, but I would not recommend it to anyone who hasn't had the slightest exposure to the series. Now, if they'd just release it on DVD... | 1pos
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What can I say? An excellent end to an excellent series! It never quite got the exposure it deserved in Asia, but by far, the best cop show with the best writing and the best cast on televison. EVER! The end of a great era. Sorry to see you go... | 1pos
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Homicide: The Movie proved to be a good wrap-up to a well-written, well-directed, and well-acted series. Loose ends were tied up that weren't properly addressed at the end of the final season. The entire series, and especially the movie, provided a life-like look at life (and death) in Baltimore, a culturally unique city with an extremely high murder rate. My attraction to the series began long before I moved to Baltimore, but once I experienced life here for myself, I realized how realistic it was. And the movie certainly retained that spirit. I will certainly miss new original episodes of the series, but am very grateful to NBC and the producers and cast for giving us one last glimpse at the dark side of Charm City. | 1pos
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Following a roughly 7 year rocky road on NBC, it was decided to do just one last Super Installment. The Series had been on the bubble several times thanks to not having the numbers that would qualify it as a block-buster of a TV hour. It had always had a sizable, hard core of hard corps of followers. <br /><br />It was almost as if the series with the full title of "HOMICIDE: LIFE ON THE STREET" (1993-99) was a sort of "Mr. In-Between" of series. It was too big to just cancel, but too small to get a case of 'Rabid Ratings Ravings' over. <br /><br />During the precarious tenure on Friday evenings, they had presented some of the best and most daringly Artistic of Hourly Dramas. There, I've said it Artistic, Artistic!! But please, remember we mean Artistic, but not just Phony, Pretentious, Pedantic, Politically Correct preaching.<br /><br />When at last, it was a sure thing that it was the end of the line for "HOMICIDE"; this super episode was prepared as this 2 hour made for TV Movie. <br /><br />Looking at all the past seasons' happenings and parade of regular characters, the Production team went out and gave us what proved to be a super send off.<br /><br />OUR STORY
. As we join the story, we find that Baltimore Homicide Unit Commanding Officer, Lt. Al Giardello has "pulled the pin", Retired from the job, that is. But 'G' isn't ready to really retire-retire yet. So, instead of a rocking chair o a fishing rod, we find that Al is running for Mayor of 'Charm City.'<br /><br />While out in the City, making some campaign stops and speeches, the former Detective Lieutenant takes an assassin's bullet. Alive, but in a comatose state, he is taken to the Hospital. <br /><br />News spreads quickly and as if officially summoned, we find all of the Detectives of the Baltimore Unit we've seen on the show showing up to offer their services and assistance. There is a great meeting of all of these former and present gumshoes as they pitch in and follow every lead and possibility of a lead.<br /><br />The Producer found a way to deal with those who had died previously in bringing their memory into the story. They managed to answer some long standing questions and even introduced some here to unrevealed ones. The whole story winds up the series in a most satisfying and original way. But at least for now, we'll leave that as "classified".<br /><br />In wrapping up everything into a neat, little package, this TV Movie surely gets our endorsement. As for grading "THE HOMICIDE MOVIE", we must give it an A or A+, even. But, no matter the Grade here, it didn't score as high as a typical weekly episode. | 1pos
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My favourite police series of all time turns to a TV-film. Does it work? Yes. Gee runs for mayor and gets shot. The Homicide "hall of fame" turns up. Pembleton and nearly all of the cops who ever played in this series. A lot of flashbacks helps you who hasn´t seen the TV-series but it amuses the fans too. The last five minutes solves another murder and at the very end even two of the dead cops turn up. And a short appearance from my favourite coroner Juliana Cox. This is a good film. | 1pos
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The movie was excellent, save for some of the scenes with Esposito. I enjoyed how it brought together every detective on the series, and wrapped up some plotlines that were never resolved during the series (thanks to NBC...). It was great to see Pembleton and Bayliss together at their most human, and most basic persons. Braugher and Secor did a great job, but as usual will get overlooked. It hurt to see that this was the end of Homicide. Memories, tapes, and reruns on CourtTV just aren't the same as watching it come on every Friday. But the movie did its job and did it very well, presenting a great depiction of life after Al retired, and the family relationship that existed between the unit. I enjoyed this a lot. | 1pos
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For anyone who liked the series this movie will be something to watch. However, it also leaves you wanting more. I loved the way that every character (detective)made an appearance. Least with the ending of who is the fourth chair for they leave a reason for another movie. My guess is Bayless of course. This like the series was a very well put together series of scenes. This is a series I wish had lived on. Thanks to the cast for some wonderful TV. | 1pos
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This is the final episode we deserved. At the end of the last season, things were left in a 'life goes on' mood, which was hardly the wrap-up that this realistic series deserved. While not a happy show, this series was always one that made you think (a rare thing on television), and this is no exception. 'Is death justified by reasoning?' 'Are morals reflective of society, or is society shaped by the morals that are selected by the few in power?' 'What is a just death, and can it exist?' All of these questions, and more, are posed by the writers of this show every week, and this is their final thesis. Fine acting, great writing, wonderful camera-work, brilliant editing, clean direction. If you have seen the series and you missed this when it first ran, then get a hold on a copy somehow. If you never watched the series when it ran, then this will stand up on its own, but it may be heavy going trying to keep up with who all the characters are and what they are alluding to in their varied pasts. For those of us who were avid viewers of the series in the last two seasons, this is very satisfying viewing. | 1pos
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For all the Homicide junkies out there, this movie was great! Every single character that ever was on the show made an appearance in the movie. It helped to resolve some (but not all) issues from the series. Unfortunately, unless you actually did watch the series, most of the enjoyment would be lost, as the movie made heavy references to every season of the show's existence. This probably would have been appropriate as a series finale as opposed to being a separate movie, but we gotta take what we can get. I hope they make more movies, and continue to feature Homicide characters on Law and Order. | 1pos
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HLOTS was an outstanding series, its what NYPD Blue will never be, on HLOTS the plots are real, the dialog is real, the Relationships are real. With HLOTS back as a movie, Tying up all the loose ends, it was good to have all the gang back together, even a few that passed away show up (wont say how) The storyline was fast paced, emotional and full of the spirit the series had week in and week out. Homicide , Life on the Streets, Network drama at Its BEST!!!! 5 STARS!!!! Thumbs UP and all That. Thanks NBC for giving us the Finally we didn't get! | 1pos
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***SPOILERS*** ***SPOILERS*** Well, seeing as I am a major H:LOTS fan, maybe I liked the movie more than normal people would. However, this movie is still excellent. It had tons of surprises, and it gave some more closure to the series. While I was sad that Bayliss turned into a murderer, the overall feeling I felt was satisfied. | 1pos
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Not only was this movie better than all the final season of H:LOTS. But it was better than any movie made for TV I have ever seen!<br /><br />Looking at the "Top 250" I see that only one small screen movie has made it: How the Grinch Stole Christmas. I think it is time to increase that group to 2.<br /><br />I will admit that the original series had several shows that were better than this, but I didn't mind. I just LOVED being able to enter the world of the Baltimore Homicide Squad again! | 1pos
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Although there were a few rough spots and some plot lines that weren't exactly true to character, this was Classic H:LOTS. The characters, outside of Mike Giardello (Giancarlo Esposito), were true to form, and the reunion scenes of Pembleton (Andre Braugher) and Bayliss (Kyle Secor) were as deep and well acted as anything ever to grace the small screen.<br /><br />"Homicide: The Movie" aka "Life Everlasting" is a fan flick, but stands on its own as well as any 2-hour episode of the series. Fontana, Overmeyer and Yoshimura did a wonderful job in pulling loose ends from 7 seasons and every major cast member of "the best damn show on television" together for the series finale that NBC never bothered to give it. True to "Homicide" form, there were no happy endings, such is life. That's what has always set this show apart from the mindless cookie-cutter cop shows left on television. Kudos to the writers and the cast for creating something over the span of the series and in the movie that challenged television viewers and producers alike.<br /><br />** I call myself a "Homicidal Maniac" if for no other reason than to keep my co-workers in a cooperative mood. ** | 1pos
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I have always been a fan of the show so I'll admit that I am biased. When the show's run ended, I felt like too many questions remained unanswered. This movie to me felt like closure. To see all the people I'd followed over the past few years together at last was most rewarding. I have heard that this is probably the only Homicide movie that we can expect. If that is so, this is the appropriate way to go out. This movie is sometimes poignant, sometimes upsetting, but always satisfying. If you are or ever have been a fan of the show, watch this movie. | 1pos
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The acting in this movie was superb, but mixed with the truth about the condition of many Africans in South Africa made it heart wrenching. It was good that the writer isolated Boesman and Lena from others run from their homes, so we could share fully in their triumphs and defeats; the conflicts they shared as they grew together and apart. Worth seeing when you put the movie in it's proper context. | 1pos
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I did not read anything about the film before I watched it, by chance, last Saturday evening. And then, as I was watching it, I felt the misery of Lena and Boesman into my bones. I was so captivated by the acting and the tone and the filming that I listened only partially to the dialogues. My husband fell asleep soon after we went to bed and I was sleepless, under the impact of the film. I wanted to wake him up just to say:"if I would ever vote for an Oscar nomination, it would be for these two actors." I decided to wait until the next day. Then I read more about the film on IMDb, and was sad to learn that Mr. Berry died before the release of the film and that he had probably never seen the last version of his brilliant masterpiece. I still want to tell him that to me his film was a true independent film, in its concept and spirit. The actors are to be praised not only for their brilliant performance but for accepting a part with no shine, no showing off, well to the contrary, displaying the true image of human depression. Sad but poignant. | 1pos
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] Haven't seen this film? Haven't even heard of this film? It wouldn't surprise me. One of the few truly "independent" films produced in the last ten years, no studio had faith in the picture and it was never picked up for major distribution. The independent company Kino Films, gave BOESMAN AND LENA a very limited run with virtually no promotion, and the majority of major film critics didn't even bother reviewing it. I guess a movie based on a one act, one set play about the apartheid and its affect on two individuals never really had a chance in today's market - and it's the intelligent film-lover's loss.<br /><br />For the record, both Angela Bassett and Danny Glover deserved Ocsar nominations (as did the cinematographer) but the film received such little fanfare that I can't even blame the academy on that one. This is a film that is challenging, thought-provoking, and heartbreaking, and it actually requires the audience to meet it on it's own terms. Taking that into consideration, it is definitely not a movie for mindless entertainment. Director John Berry wisely does not attempt to dress-up Athol Fugard's play. Sure, we're given a few fractured flashbacks and some breathtaking scenic shots, but the film version of BOESMAN AND LENA remains, on the whole, a story of two people living in inhumane conditions.<br /><br />Stripped of their basic human rights, Boesman (Glover) and Lena (Bassett) have no one left to attack but each other. A third character joins them for awhile (Willie Jonah, amazing in a largely silent role), but the film's focus never strays from the title characters and what they've become. Bassett and Glover give brave performances as the broken couple, performances that simply could not be improved upon. Vigorously and brutally stimulating, both intellectually and emotionally, BOESMAN AND LENA deserves to be rediscovered of home video. Hands down, the best film of the year 2000. | 1pos
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It's always nice to see Angela Bassett getting to do a role that she can really sink her teeth into. She is at times intense, funny and even sexy in her role as Lena, a "colored" woman forced to make a home on a desolate mudbank just outside of Cape Town, South Africa. Danny Glover is also good in a not entirely sympathetic role as her partner, Boesman. Willie Jonah gives a finely nuanced performance as the stranger that discovers Boesman and Lena's new living area. It's not often that you get a chance to see an intelligent film dealing with mature themes. Although it is based on a play, the late director John Berry (who also directed Claudine) opens the material up by having the film shot in the widescreen Cinemascope format. He also keeps things visually interesting through the creative blocking of actors and by showing us things only mentioned in the play. Just like Diahann Carroll in Claudine, John Berry may have directed Angela Bassett into an Academy Award nomination. This is definitely a film worth searching for. | 1pos
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An absorbing (although repetitive and rather didactic) analysis of exploitation and despair in a situation where there is no way forward or up, where the attempts to make yourself feel better by violating and putting down whoever is below you seems to be the only option. But even here, in this desolate wasteland of lost dreams and no future, that does not work, and reaching out to something or someone to comfort and share with, a simple act of charity, gives some reward, even if it just makes the present bearable by reviving memories of the past.<br /><br />Although there is little actual on screen violence, this is a harsh and brutal film about the small mindedness of oppression (politically and personally) that does not make for easy entertainment. Clearly based on a play, with a small cast, a broader more expansive relation to the general social and political environment would possibly have helped the film to reach a wider audience. | 1pos
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If this had been done earlier in the Zatoichi series it could have been one of the best. It is good enough, as most of them are, but the plot and the characters seem too complicated for the series at this point. The situation is unusually intriguing: the farmers in the province have two champions, a benevolent boss (for once) and a philosopher-samurai who starts a sort of Grange; both run afoul of the usual local gangsters, who want the crops to fail because it increases their gambling revenues and their chances to snap up some land; their chief or powerful ally is a seeming puritan who is death on drinking and gambling but secretly indulges his own perverse appetites. (He also resembles Dracula, as the villains in the later Zatoichi movies tend increasingly to do.) These characters have enough meaning so that they deserved to be set against Zatoichi as he was drawn originally, but by now he has lost many of his nuances, and the changes in some of the characters, such as the good boss and the angry sister of a man Zatoichi has killed, need more time then the movie has to give, so that the story seems choppy, as if some scenes were missing. Other than that, the movie shows the virtues of most of the others in the series: good acting, sometimes lyrical photography, the creation of a vivid, believable, and uniquely recognizable landscape (the absence of which is obvious in the occasional episode where the director just misses it), and a technical quality that of its nature disguises itself: the imaginatively varied use of limited sets so their limitations seem not to exist. And of course there is the keynote actor, whose presence, as much as his performance, makes it all work. This must be one of the best-sustained series in movie history. | 1pos
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This is one of the oddest films of the Zatôichi series due to its very unusual pacing and the role that Ichi plays in the film. Interestingly enough, this was the first Zatôichi film made by Shintaro Katsu's new production company. Now, instead of just playing the blind swordsman, Katsu is in charge of making the films. This could easily explain why this film seems so different in style to the previous 15 films. As far as Ichi's role, the film is very different because he isn't in the film as much as usual. He's also easy to fool and actually, for a while, does a lot to harm people instead of helping! <br /><br />"Zatôichi Rôyaburi" begins with Ichi talking with an old lady who tries to take advantage of his blindness. Oddly, in this scene, Ichi says that he's been blind since a toddler, though in an earlier film he says his blindness set in when he was 8. This is a minor mistake, and only a crazed fan like myself would have noticed.<br /><br />This film takes place over a period of at least six months and is more likely to have taken a year--so you can see what I said about odd pacing. Most films in the series take place over a few days or weeks. Ichi comes to a town where there is a boss (Asagoro) who tries very hard to be nice to Ichi because he knows of the blind man's reputation. The boss is quite charming and surprisingly Ichi is totally taken in by the evil man. At the same time, he meets another boss (Shushui)--a sort of guru to the poor. Shushui admonishes the people to forsake all violence and even Ichi falls under his teaching--giving up his blade for many months. Shushui's teachings are very similar to Daoist teachings from China--non-violence and acceptance of life as it is (for good or for bad). <br /><br />Months after leaving this town and thinking all was well, Ichi learns that as soon as he left, Asagoro showed his true colors--enslaving women, oppressing the poor and being an all-around jerk. In a way, Ichi is responsible for this, as he helped Asagoro and counted him as a friend. Now, Asagoro has captured Shushui and several innocent people have killed themselves due to the evil boss' actions.<br /><br />When Ichi returns, he doesn't accept automatically that Asagoro is good or evil but tests him cleverly. This bit with a scarecrow is inspired and leads to a finale where, what else, Ichi kills the baddies and frees Shushui. This finale was very good and occurred in the rain. Then final scene with Asagoro and the rocks is great, though the beheading is a tad cheesy by today's special effects standards.<br /><br />Pluses for the film are that although poorly paced, it is different and cannot be mistaken for the previous 15 (which often seem very similar). Additionally, it does end very well. Minuses (aside from pacing) are that some might dislike seeing Ichi so fallible and the scenes with Ichi and the other blind men that are included for comic relief fall flat...very, very, very flat. They are tacky and unfunny...that's the sort of flat that it is. | 1pos
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Zatoichi The Outlaw was the first film made by its hero's (Shintaro Katsu) own production company, this is perhaps why this is a slightly lesser entry in the series, though it is by no means weak overall. It tells of our hero coming across two towns, rival bosses and a mysterious ronin helping the poor and from this set up spins a tale encompassing tragedy, violence and no little interest, all served up with lashings of the unshowy but inspired swordplay that is one of the series trademarks. It is a fairly predictable plot and it mounts in unsurprising fashion, but it zips along with style and is interesting stuff. The helpful ronin for example is a nobly inscrutable revolutionary character, upsetting the established order without being painted as a truly likable or heroic figure, Zatoichi himself makes one or two mistakes and causes harm by his actions, whilst the ruling system fuels the exploitation of the poor. Its a harsh world, with one or two more visceral than expected moments in the fighting, though things aren't as rousing as they could be. Shintaro Katsu turns in a typical bravura performance as Zatoichi, mixing wisdom, deadly skill and worldliness with a subtly sad sense of vulnerability, while solid work comes also from Rentarô Mikuni and an effectively baleful Kô Nishimura (later to appear as Katsu's superior "Snake" Magobei in the Hanzo trilogy) as the two main bosses in the film. There is also a good emotional turn from Yuko Hamada as a wronged woman. The film loses out through shaky pacing and a not so well constructed sequence of events, there is at least one slightly jarring time jump and the power of the plot becomes a little lost, meaning that when things heat up towards the end the film isn't as exciting as it could be, emotional impact is lost also. The action or scenes of Zatoichi using his ingenious skills are well handled by director Satsuo Yamamoto, though some of the gambling is less interesting and the film builds up in a workmanlike rather than really inspired way, without the lively characters or strong verve of some other installments. Still, I enjoyed this one, it has its flaws and isn't one of the best of the series but it still packs a sweetly satisfying dose of entertainment, a good story and decent doses of Zatoichi's trademark ingenious and quirky cool. Recommended for fans of the series, and a reasonable entry point, classy stuff though not a true great. | 1pos
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I finally watched these episodes in 2008 and I had to continually go back and verify when they were actually produced. They are absolutely scary in that they made spot on fun of what would be the future. Either Parker and Stone lived in Texas and witnessed the idiocy of Gov Bush or they are those weird, eerie people that pay attention to things. Boo, scary! Bush's frat bros invading the White House dressed as Arabs wielding rifles? Bush 'accidentally' executing someone? (No, wait. He did sort of do that as gov.) This may have seemed a failure as a sitcom at the time, but must now be considered as brilliant, if spooky, prescience. | 1pos
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That's My Bush is a live action project made by South Park creators Trey Parker and Matt Stone.The show was cancelled after one season, not because of bad reviews(it actually got good reviews), but because it was very expensive.That's my bush is a pretty funny spoof of an average network TV sitcom.It is also a political satire.Now, this is nowhere near as good as South Park, but it is a very funny spoof of a sitcom and also a pretty good political satire.The guy who plays in that's my bush looks a lot like him! If you can find the show, check it out.There are plenty of laughs to be had!<br /><br />9/10 | 1pos
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Thats My Bush is first of all a very entertaining show by Parker and Stone, I thought. Its often very very funny, and its quite subversive and crazy. South Park fans would surely get something here. <br /><br />Another surprise is the production value here. A lot of money must have been put into this, and it shows. A lot of expensive little details. Its not a little show. And Comedy Central is not an extremely rich channel, but they put a lot into this show obviously. In a way I understand that was the death of the show as well though, too costy. It surely could have been done cheaper and went on the will was there. <br /><br />The critics liked it, and it had its little fanbase, but it failed gaining a big audience. As we know, the show stopped after 8 episodes, which I guess is almost 1 season. <br /><br />As I really liked the show it has its faults. The problem of the show is kind of that it doesn't know what it wants to be really. Its like it tries to be a sitcom AND a parody of a sitcom at the same time. The actors do a good job, and some of them are well casted, but in my opinion they seem to not always get 100% the bizarre humor they're supposed to present. <br /><br />I personally think that the show needed some characters that were more down to earth for the show to work. In South Park you have Kyle and Stan, that are kind of a realistic touch in the more looney universe. I think thats kind of what makes South Park work. You need some sane characters that you can relate to in a realistic way, and that makes the insane stuff so much more interesting too because that forces you to take them seriously at some level. If everything is archetypes and stereotypes its difficult to get emotionally included in the show, which really is Thats My Bush biggest problem. Kyle and Stan is characters in South Park that makes sense of the insanity in the show. We have nothing like that here, and this show suffers from it. <br /><br />Another anchorpoint is Parker and Stones flirting with republicans. Its the only thing about them I don't really get what they're trying to do. Not portraying Bush as nothing else than a dumb Homer Simpsons lovable kind of character IS kind of subversive in a world where a lot of people that can't stand him and think he's the worst president since Nixon, and a parallel comedy world of Letterman and so on that only satirizes his every move... but its difficult to understand if Parker and Stone actually means anything by it. Its like the joke is on us, but somehow it doesn't hit the mark. It seems awkward, because it doesn't remind you of the real Bush at all. <br /><br />Besides that I actually thought the show was very enjoyable. Some of the jokes in here are hilarious. The pro-life supporter who was a surviving aborted fetus is probably one of my favorite jokes by them in any show. And the show is packed with great material, and is sometimes insanely funny if you use your head a little while watching it. | 1pos
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An extra is called upon to play a general in a movie about the Russian Revolution. However, he is not any ordinary extra. He is Serguis Alexander, former commanding general of the Russia armies who is now being forced to relive the same scene, which he suffered professional and personal tragedy in, to satisfy the director who was once a revolutionist in Russia and was humiliated by Alexander. It can now be the time for this broken man to finally "win" his penultimate battle. This is one powerful movie with meticulous direction by Von Sternberg, providing the greatest irony in Alexander's character in every way he can. Jannings deserved his Oscar for the role with a very moving performance playing the general at his peak and at his deepest valley. Powell lends a sinister support as the revenge minded director and Brent is perfect in her role with her face and movements showing so much expression as Jannings' love. All around brilliance. Rating, 10. | 1pos
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Josef Von Sternberg directs this magnificent silent film about silent Hollywood and the former Imperial General to the Czar of Russia who has found himself there. Emil Jannings won a well-deserved Oscar, in part, for his role as the general who ironically is cast in a bit part in a silent picture as a Russian general. The movie flashes back to his days in Russia leading up to the country's fall to revolutionaries. William Powell makes his big screen debut as the Hollywood director who casts Jannings in his film. The film serves as an interesting look at the fall of Russia and at an imitation of behind-the-scenes Tinseltown in the early days. Von Sternberg delivers yet another classic, and one that is filled with the great elements of romance, intrigue, and tragedy. | 1pos
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1927, and Hollywood had been on the map as the centre of the cinematic world for a little over a decade. Now that it had become the site of a multi-million dollar industry and the vertically integrated studio system had been established, some of those in the calmer quarters of this film-making factory were taking the time for a little self-reflection. The Last Command, while its heart may be the classic story of a once prestigious man fallen on hard times, frames that tale within a bleak look at how cinema unceremoniously recreates reality, and how its production process could be mercilessly impersonal. It was written by Lajos Biro, who had been on the scene long enough to know.<br /><br />Taking centre stage is a man who was at the time among Hollywood's most celebrated immigrants Emil Jannings. Before coming to the States Jannings had worked mainly in comedy, being a master of the hammy yet hilariously well-timed performance, often as pompous authority figures or doddering old has-beens. He makes his entrance in The Last Command as the latter, and at first it looks as if this is to be another of Jannings's scenery-chomping caricatures. However, as the story progresses the actor gets to demonstrate his range, showing by turns delicate frailty, serene dignity and eventually awesome power and presence in the finale. He never quite stops being a blustering exaggeration (the German acting tradition knowing nothing of subtlety), but he constantly holds our attention with absolute control over every facet of his performance.<br /><br />The director was another immigrant, albeit one who had been around Hollywood a bit longer and had no background in the European film industry. Nevertheless Joseph von Sternberg cultivated for himself the image of the artistic and imperious Teutonic Kino Meister (the "von" was made up, by the way), and took a very distinctive approach to the craft. Of note in this picture is his handling of pace and tone, a great example being the first of the Russian flashback scenes. We open with a carefully-constructed chaos with movement in converging directions, which we the audience become part of as the camera pulls back and extras dash across the screen. Then, when Jannings arrives, everything settles down. Jannings's performance is incredibly sedate and measured, and when the players around him begin to mirror this the effect is as if his mere presence has restored order.<br /><br />Sternberg appears to show a distaste for violence, allowing the grimmest moments to take place off screen, and yet implying that they have happened with a flow of images that is almost poetic. In fact, he really seems to have an all-round lack of interest in action. In the scene of the prisoners' revolt Sternberg takes an aloof and objective stance, his camera eventually retreating to a fly-on-the-wall position. Compare this to the following scenes between Jannings and Evelyn Brent, which are a complex medley of point-of-view shots and intense close-ups, thrusting us right into the midst of their interaction.<br /><br />As a personality on set, it would seem that Sternberg was much like the cold and callous director played on the screen by William Powell, and in fact Powell's portrayal is probably something of a deliberate parody that even Sternberg himself would have been in on. Unfortunately this harsh attitude did not make him an easy man to work with, and coupled with his focus on his technical resources over his human ones, the smaller performances in his pictures leave a little to be desired. While Jannings displays classic hamming in the Charles Laughton mode that works dramatically, it appears no-one told his co-stars they were not in a comedy. Evelyn Brent is fairly good, giving us some good emoting, but overplaying it here and there. The only performance that comes close to Jannings is that of Powell himself. It's a little odd to see the normally amiable star of The Thin Man and The Great Ziegfeld playing a figure so stern and humourless, like a male Ninotchka, but he does a good job, revealing a smouldering emotional intensity beneath the hard-hearted exterior.<br /><br />The Last Command could easily have ruffled a few feathers in studio offices, as tends to happen with any disparaging commentary on the film-making process, even a relatively tame example like this. At the very least, I believe many studio heads would have been displeased by the "behind-the-scenes" view, as it threatened the mystique of movie-making which was still very much alive at this point. As it turned out, such was the impact of the picture that Jannings won the first ever Academy Award for Best Actor, as well as a Best Writing nomination for Lajos Biro and (according to some sources, although the issue is a little vague) a nomination for Best Picture. This is significant, since the Academy was a tiny institution at this time and the first awards were more than ever a bit of self-indulgent back-slapping by the Hollywood elite. But elite or not, they recognised good material when they saw it, and were willing to reward it. | 1pos
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The Last Command (1928) is a silent film directed by Josef von Sternberg.It shows us Czarist General, Grand Duke Sergius Alexander (Emil Jannings) in his days of glory.In 1917 he had all the power but after the revolution and the collapse of Imperial Russia he has nothing.He also had the love of a woman, Natalie Dabrova (Evelyn Brent).About ten years later he applies for a small part in a film about the revolution.His old enemy Lev Andreyev (William Powell) is the director who gets to choose whether to hire him as a film extra or not.The Last Command is very good silent drama.Emil Jannings does memorable role work in the lead.Evelyn Brent is wonderful playing the woman lead.William Powell is great as always.There are plenty of scenes to remember in this movie.Like many scenes with Jannings and Brent.And then there is the ending with Powell and Jannings.This is a movie that touches in many parts. | 1pos
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Russian emigrant director in Hollywood in 1928 (William Powell) is casting his epic about the Russian revolution, and hires an old ex-general from the Czarist regime (Emil Jannings) to play the general of the film, and the two relive the drama and the memory of the woman they shared (Evelyn Brent), of 11 years before.<br /><br />Try as I might, I feel it hard to warm to 'The Last Command' for all its virtues. 'The Docks of New York' was indubitably a great film, and 'Underworld' is a film I have always been craving to see, but 'The Last Command' is rather heavy-going. The premise is fascinating, but the treatment does really make the script come to life, except in the sequences set in Hollywood, depicting the breadline of employable extras and the machinations of a big movie production with state-of-the-art technology.<br /><br />Emil Jannings is, predictably, a marvelous Russian general, distinguishing wonderfully between the traumatized and decrepit old ex-general, transfixed in his misery, and the vigorous, hearty officer of yore.<br /><br />The ending is great and worth the wait, but in order to get there you must prepared to be slightly bored at times. | 1pos
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While this movie's style isn't as understated and realistic as a sound version probably would have been, this is still a very good film. In fact, it was seen as an excellent film in its day, as it was nominated for the first Best Picture Oscar (losing to WINGS). I still consider WINGS to be a superior film, but this one is excellent despite a little bit of overacting by the lead, Emil Jannings.<br /><br />Jannings is a general from Czarist Russia who is living out his final days making a few bucks in the 1920s by being a Hollywood extra. His luck appears to have changed as he gets a casting call--to play an Imperial Russian general fighting against the Communists during the revolution. Naturally this isn't much of a stretch acting-wise, but it also gets the old man to thinking about the old days and the revolution.<br /><br />Exactly what happens next I'll leave to you, but it's a pretty good film--particularly at the end. By the way, look for William Powell as the Russian director. Despite being made in 1928, with the makeup he doesn't look much younger than he did in many of his later films. | 1pos
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One of the most important artistic movements in the history of cinema was without a doubt German expressionism, the highly atmospheric style of film-making developed during the 20s in Berlin. Classic movies like "Das Cabinet Des Dr. Caligari." (1920) and "Nosferatu, Eine Symphonie Des Grauens" (1922) were the most famous direct results of this movement, and while the movement didn't have a long life, its enormous influence over cinema can still be felt today, specially in the horror genre. One of the key figures of this style would be director Paul Wegener, director of 1920's "Der Golem, Wie Er in die Welt Kam", as in his debut as a filmmaker, seven years before the making of that classic, he was already making experiments with expressionism in film. That early prototype of German expressionism was incidentally, another horror film: "Der Student Von Prag".<br /><br />"Der Student Von Prag" ("The Student of Prague"), is the story of Balduin (Paul Wegener), a student with the reputation of being the best fencer in Prague, but who always find himself with financial troubles. One day, Balduin rescues the beautiful countess Margit (Grete Berger) from drowning in a lake after her horse drop her by accident. Balduin falls immediately in love with her and tries to see her again, but soon he discovers that he'll have to compete with her rich cousin, Graf Von Schwarzenberg (Lothar Körner), who also wants to marry her. Knowing that he can't offer her much, Balduin wishes to be wealthy, and this is where a sorcerer named Scapinelli (John Gottowt) enters the scene. Scapinelli offers Balduin infinite wealth in exchange of whatever he finds in his room. Balduin accepts the proposal, only to discover in horror that what Scapinelli wants is his reflection in the mirror.<br /><br />Loosely inspired by Edgar Allan Poe's short story "William Wilson" and the classic legend of "Faust", the story of "Der Student Von Prag" was conceived by German writer Hanns Heinz Ewers, a master of horror literature and one of the first writers to consider scriptwriting as valid as any other form of literature. Written at a time where cinema in Germany was still being developed as an art form, "Der Student Von Prag" shows a real willingness to actually use cinema to tell a fully developed story beyond a camera trick or a series of scenes. Like most of the scriptwriters of his time, Ewers screenplay is still very influenced by theater, although "Der Student Von Prag" begins to move away from that style. While a bit poor on its character development (specially on the supporting characters), Ewers manages to create an interesting and complex protagonist in the person of Balduin.<br /><br />While "Der Student Von Prag" was Paul Wegener's directorial debut and Stellan Rye's second film as a filmmaker, it's very clear that these two pioneers had a very good idea of what cinema could do when done properly. Giving great use to Guido Seeber's cinematography, the two young filmmakers create a powerful Gothic atmosphere that forecasts what the German filmmakers of the following decade would do. Wegener would learn many of the techniques he would employ in his "Golem" series from Seeber and Rye. Despite having very limited resources, Rye and Wegener manage to create an amazing and very convincing (for its time) visual effect for the scenes with Balduin's reflection (played by Wegener too). Already an experienced stage actor at the time of making this film, Wegener directs the cast with great talent and also attempts to move away from the stagy style of previous filmmakers.<br /><br />As Balduin, Paul Wegener is very effective and probably the best in the movie. It certainly helps that his character is the only one fully developed by the writer, but one can't deny that Wegener was very good in his role as the poor student who loses more than his mirror reflection in that contract. John Gottowt plays the sinister Scapinelli with mysterious aura that suits the character like a glove. Few is said about Scapinelli in the film, but Gottowt makes sure to let us know that he is a force to be feared. The rest of the main cast is less lucky, with Grete Berger being pretty much average as countess Margit, and Lothar Körner making a poor Graf Von Schwarzenberg. However, it must be said that Lyda Salmonova was pretty good in her expressive character and Fritz Weidemann made an excellent Baron Waldis-Schwarzenberg, showing the dignity that Lörner's character should have had.<br /><br />Considering the movies that were being done in those years in other countries and the fact that its remake (made 13 years after this film) is superior in every possible way, it's not difficult to understand why "Der Student Von Prag" hasn't stood the test of time as well as other early films. The movie's main problem is definitely its extremely low budget, as it resulted in the film being considerably shorter than what Ewers' story needed to be fully developed. This makes the plot feel a bit too vague at times, or even incomplete, as if there was something missing in the narrative (of course, there's also the possibility that the existing print is really incomplete). However, "Der Student Von Prag" is a very interesting early attempt at a complex tale of horror and suspense in film that, while inferior to what other filmmakers were doing at the time, left a powerful impression in history.<br /><br />As the direct predecessor of the German expressionist movement, it's hard to deny the enormous importance that "Der Student Von Prag" has in the history of German cinema, probably in the history of cinema in general. It may look dated even for its time, but considering the limited resources its director had, it's truly better than most films from that era. As the movie that started Paul Wegener's career, and with that German expressionism, "Der Student Von Prag" is a must see for everyone interested in this slice of film history. 7/10 | 1pos
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If "The Cabinet of Dr. Caligari" is the father of all horror films (and of German expressionist cinema), this pre-WWI film is the grandfather. The titular student, starving in an empty garret, makes a deal with the Devil-- the Devil gives him a bottomless sack of gold, in exchange for "anything in this room." The Devil chooses the student's reflection in his mirror. He walks off with the student's doppelganger, who commits crimes for which the student is blamed.<br /><br />The film is marred by some limitations arising out of the technically primitive state of 1913 filmmaking; the plot cries out for chiaroschuro effects, but the film is, of necessity, virtually all shot in shadowless daylight. But the scene where the reflection walks out of the mirror still packs a wallop.<br /><br />More interesting for the trends it fortells than for its own sake, The Student of Prague is still worthwhile. | 1pos
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'The Student of Prague' is an early feature-length horror drama or, rather, it is an "autorenfilm" (i.e. an author's film). This film is a member of a movement of many movements that tried to lend respectability to cinéma, or just make a profit, by adapting literature or theatre onto the screen. Fortunately, the story of this book with moving pictures is good. Using Alfred de Musset's poem and a story by Edgar Allen Poe, it centres on the doppelgänger theme.<br /><br />Unfortunately, the most cinematic this film gets is the double exposure effects to make Paul Wegener appear twice within scenes. Guido Seeber was a special effects wizard for his day, but he's not very good at positioning the camera or moving it. Film scholar Leon Hunt (printed in "Early Cinema: Space, Frame, Narrative"), however, has made an interesting analysis on this film using framing to amplify the doubles theme: characters being split by left/right, near/far and frontal/diagonal framing of characters and shots. Regardless, the film mostly consists of extended long shots from a fixed position, which is noticeably primitive. Worse is the lack of editing; there's very little scene dissection and scenes linger. None of this is unusual for 1913, but there were more advanced films in this respect around the same time, including the better parts of 'Atlantis' (August Blom, 1913), 'Twilight of a Woman's Soul' (Yevgeni Bauer, 1913) and the short films of D.W. Griffith.<br /><br />An expanded universal film vocabulary by 1926 would allow for a vastly superior remake. Furthermore, the remake has a reason for the Lyduschka character, other than being an occasional troublemaker and spectator surrogate. Here, the obtrusively acted gypsy lurks around, seemingly, with a cloak of invisibility. I know their world is silent to me, but I assume, with their lips moving and such, that their world would not be silent to them, so how can Lyduschka leer over others' shoulders and not be noticed?<br /><br />Nevertheless, this is one of the most interesting early films conceptually. Wegener, who seems to have been the primary mind behind this film, in addition to playing the lead, would later play the title role and co-direct 'The Golem' in 1920--helping to further inaugurate the supernatural thread in German silent cinéma.<br /><br />(Note: The first version I viewed was about an hour long (surely not quite complete) and was in poor condition, with faces bleached at times and such. I'm not sure who was the distributor. I've also since seen the Alpha DVD, which, at 41 minutes, is missing footage present in the aforementioned print and also has fewer and very different title cards, but is visually not as bad. The repetitive score is best muted, though.) | 1pos
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A stupid young man becomes obsessed with a woman--so obsessed that he loses perspective and common sense. An evil magician approaches him and informs him he can give him great wealth that he can use to win the lady's heart IF he agrees to give him anything he wants that's within their room. The dumb guy agrees and the magician steals the man's reflection out of the mirror--and bad things naturally occur as a result.<br /><br />If this film had been made just a decade later, I am sure I wouldn't have been so charitable in reviewing and scoring this film. After all, the film's plot is a bit vague in spots and the acting is, at times, a bit stilted. However, when you consider that in 1913 "full-length" films were rare--and often only 20 to 30 minutes long! Plus, the whole idea of a complex story like you get in this film is very unusual--as stories were very short and broadly acted. So, given the limitations of the time, this film is pretty good and is one of the earlier horror films known. | 1pos
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Those engaging the movie camera so early in the century must have figured out some of its potential very early on. This is a good story of a playboy type who needs money and inadvertently sells his soul to Satan for a lot of money. Unfortunately, the soul is his double and he must confront him frequently, tearing his life apart. There are some wonderful scenes with people fading out and, of course, the scenes when the two are on the stage at the same time. The middle part is a bit dull, but the Faustian story is always in the minds of the viewer. One thing I have to mention is the general unattractiveness of the people in the movie. Also, they pretty much shied away from much action which would have at least given some life to the thing. I first was made aware of this movie about 25 years ago and have finally been able to see it. I was not disappointed. | 1pos
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This early version of the tale 'The Student of Prague' was made in Germany in 1913, starring Paul Wegener (who was also in 'The Golem' a few years later). In this film he plays a dual role (technically impressive for a 95 year old film to see them in the same shot) after meeting a mysterious old man who makes a pact with him for gold - the gold he needs to woo a countess he's previously saved from drowning.<br /><br />Moving at a fast pace (the film runs just over an hour) and fairly well written and characterised, 'The Student of Prague' has echoes of the Faust legend as well as Dr Jekyll and Mr Hyde, starting as it does with a pact with a mysterious figure of potential evil, and developing into good and evil sides of the same person. | 1pos
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In this truly fascinating, dark film, a young impoverished student sells his soul to the devil for a lot of money, in return the devil takes his mirror image (this is done brilliantly in the movie and eerily presaged when Balduin, the student is earlier practicing swordsmanship in front of the mirror), a visual metaphor for a "man at war with himself" which portents his immediate future. The student enjoys his money, but the woman he loves is unattainable (he has made a pact with the devil, he is cut off forever from love and other riches of the soul) you can have love or you can exchange your soul for money, you cannot have both. Balduin is haunted by his double (the intertitles express this beautifully as does the action. Some of the scenes are incredible, the sense of doom when the Devil disappears with Balduin's mirror image is amazing, as is the sense that his pact has forever cut him off from human society (the scene where he runs away from his double and ends up in the 'wasteland' at the edge of the town, no longer entirely human (he has lost his soul) he is like a hunted animal outside of human society. There are so many other things to say about this incredible film. Paul Wegener was an amazing actor and director, a cultural hero of mine. It helps if you know a bit about German history at the time this film was made and about German doppelganger tradition (don't google it, get a proper book)Just remember, it's a very early film, it's a little clumsy at times, but considering what it has to say and it's tragic finale, it's one of the best ever (yes it Is!) | 1pos
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A good film, and one I'll watch a number of times. Rich (the previous commenter)is right: there is much more going on here than is clear from the title boards, and I have to wonder how much has suffered in translation. Were there more in the original? Or was a native-language audience expected to lip-read more? Or -- since the screenplay was written by the author of the novel on which this was based -- was this a currently popular story with which the audience was already very familiar? In short, very worth a look, but it probably requires more work from contemporary viewers than the original 1913 audience had to put into it.<br /><br />The Alpha Video release touts the new organ score, but the music is not matched to the story progression in any way. Sure, it starts promisingly, but degenerates into a repetitive, Phillip-Glass-like monotony that reflects nothing of the action on the screen. After listening for a while, I turned off the sound and simply watched: much better! | 1pos
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"It wasn't me! It was, er, my twin brother Rupert!" Bobby says to Dugan when confronted about being over at Sally's place. I have used this line dozens of times over the years (no one has yet to believe it, though).<br /><br />This movie is one of the all-time best for sheer fun and nonbelieveability. Steven Oliver was perfect for the part of Dugan, so much so that he was in 1978's "Malibu Beach" as the same character (not nearly as much screen time, though).<br /><br />"Nobody calls Dugan a turd!" is another line for the ages. This classic film was definitely worth the price of admission. | 1pos
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...this is, above all else, the typical Crown International Pictures drive-in (read "passion pit") programmer. The 1975 Sammy Johns hit record "Chevy Van" is heard repeatedly on the soundtrack (this movie has even been reissued with the title CHEVY VAN), despite the film's title vehicle being a Dodge. Danny DeVito makes only six minutes of on-screen appearance, but countless VHS reissues falsely credit him as the star of the flick. The movie is a comparatively sexist morality tale -- will Bobby find sexual satisfaction through the one-night-stand his customised van facilitates, or must he wait until Tina, the girl of his dreams, gives him the time of day? Still, it is representative of the prevailing carnal dream of male American high schoolers of the time, and on that basis alone THE VAN has, almost in spite of itself, become an artifact of the period that must be referenced in any honest retrospective of the period's popular American cinema... | 1pos
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In 1979, I was a boy of 12 years old, My parents had just got the home box office which was pretty new to our neighborhood. As a 12 year old boy, this was the first time I saw boobs on television. I will never forget the joy of those times. Racing vans, the total ass-wipe with the baddest van, the water bed, the smoking of herbs, the hot 70's chicks, the 'makin love in my Chevy van song, it was all so new to me. A complete movie with all of the memories you could hope for. I own it and enjoy it about once a year. When I watch this movie, it makes me want to get my skates, with 4 wheels, not in a strait line, go to the park and hunt down some babes with feathered hair. truly great memories of young adolescence! | 1pos
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I am proud to say I own an uncut copy of this choice chunk of 70's Crown International drive-in sexploitation comedy cheese on DVD. It's a really goofy and enjoyably inconsequential flick with a nicely breezy'n'easy 70's vibe to it. It does attempt to make a sincere point about true love and friendship being more important in life than a cool set of wheels and a quick piece of tail. Sure, it's essentially a blatant adolescent male fantasy pic -- the main teen goofus character Bobby Hamilton gets the girls, the respect of his friends, and a chance to show-up a local van-racing bully -- but it's way too dopey and good-natured to hate. Stuart Getz as our gawky protagonist makes for an endearingly dorky lead, Deborah White as the main object of Getz's affection is a definite cutie, Connie Lisa Marie is likewise quite luscious as a beauteous blonde babe, and sneering beefcake Neanderthal Stephan Oliver (a 60's biker movie perennial) is wonderfully hateful as the brutish Dugan Hicks. A pre-stardom Danny DeVito in particular is an absolute riot as Getz's cranky carwash owner boss Andy, a lovably cantankerous ne'er-do-well slob who wears very ugly loud Hawaiian shirts and suffers from a severe gambling habit. I especially love the scene where two thugs brutally beat Danny up -- one holds his arms behind his back while the other guy works over Danny's torso! And Sammy Johns' insidiously catchy fluke hit theme song will be bouncing around your skull for at least a week. In short, it's great groovy retro-70's fun! | 1pos
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Simple-minded but good-natured drive-in movie about a simple-minded but good-natured high school graduate who has dreams of owning the coolest custom van in the world to use as his "ballroom". <br /><br />Bobby, our hero, spends his entire savings to acquire the vehicle of his dreams. Joint sharing and love making quickly commence with girls Bobby has picked up at the local pizza parlor, but he finds out much responsibility, danger and heartache come with being the owner of such a mechanical marvel.<br /><br />The Van is a guilty pleasure of mine. It captures the laid back mid 70's mood and has enough unintentional humor to put it into the "so bad it's good" category. | 1pos
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i found it highly intellectual and artistic in every way! i felt that the script was conveying all the things i feel physically and emotionally when i got home from work and watched, it. this is a tribute to cinema in the highest form and format.<br /><br />holy guacamole! how i wish those days would come again. i tried putting a bubble window on the side of my car (honda civic 1984), but the vacuum formed muffin trays didn't quite cut it. also in my civic, sexual positions are limited and are not supported by water bed as is brilliantly depicted in 'the van'.<br /><br />'the van' is of the utmost side splitting hilarity and can even substitute for porn if you watch some scenes privately.<br /><br />i highly anticipate that Sam Grossman (the director) has achieved his opus.<br /><br />Ratings john: ****1/2 Sam: ***** | 1pos
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THE VAN is a simple teensploitation picture made especially for the drive in that goes out of it's way to make you feel comfortable, providing many opportunities to laugh and cry with your friends. Danny Devito has a small yet plentiful role as the manager of a car wash and almost steals the show! All the leads are well acted, the characters complex and the directing quite competent for this type of picture. A Crown International Release. | 1pos
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Love trap is a "must see" independent film. When I sat down to watch the movie, I came in with low expectations, but left with a blessing. The story is poetic, substantive, and creative. The writer pulls you in further and further which each scene, allowing you to relate to the realistic characters that every one can identify with. The movie allowed me to reflect on my life and what I consider love to be. The movie displayed what love really is, action not emotion. I was also impressed with the quality of the cinematography and the soundtrack of the movie. The entire presentation surpassed my expectations. I give the movie two big thumbs up and recommend it to everyone of all ages and all backgrounds. | 1pos
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I picked this film up at my local library. Having met the director at a film festival late last year, I was curious to "check out" his work. I was pleasantly surprised.<br /><br />The film takes a fresh look at familiar subjects, love, infidelity, friendships, jealousy. It can be a bit 'talky' at times but never so much as to completely sink the film. I enjoyed watching a love story with characters that CLEARLY belong together and watching them make conscious decisions rather than haphazardly "falling" into something as important as love.<br /><br />The contrast between this film and the average low-budget shoot-em' up black film is quite distinct. Check it out. If you're lucky, your copy will come with a copy of the soundtrack like mine did. Good stuff! | 1pos
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Love Trap is not a short, it's quite obviously a full length feature film with a running time of 105 minutes.<br /><br />While I'm writing this, I might as well talk a bit more about Love Trap. I'm frequently asked what makes Love Trap different... this is how I respond to that question: 1) It introduces characters - one in particular - that have never been seen before in film, period.<br /><br />2) It reveals more truth about love, and delves more deeply into the very concept of love, than any other U.S. film ever made, in my humble opinion.<br /><br />3) Structurally, as in the way the story is told, it is unlike any love story you've ever seen.<br /><br />4) It offers extremely timely insights on various cultural issues, both within and outside the Black community.<br /><br />Over time, people will come to see Love Trap as about as wholly an original work as possible in this era, delightfully refreshing, authentic and honest. It is a rare morality play full of food for thought.<br /><br />Please visit www.lovetrapmovie.com for complete and accurate info about this film. | 1pos
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A realistic depiction of young love for the college set but also appealing to an older viewer like me. It has ups and downs and twists and turns and made me shed a tear or two. We rarely see movies with black urban characters that could appeal to older, non black audiences and show a more real life depiction of young black adults.<br /><br />This movie takes place on a college campus and town where two people meet and fall in love. In the background are various friends acquaintances and situations that impact them for better or worse. Typical plot some may say, but this really was unexpected. <br /><br />I found myself rooting for the survival of the couple's relationship, seeing my own past in their story. Moments of deep thought and revelation came pouring out of the actors performances. <br /><br />It's a bright film that I would endorse for those young at heart and in love or have ever been in love. Great movie. I'll be looking for a copy to add to my movie collection. | 1pos
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This movie earned every one of the ten votes I gave it! Thank you guys for making a movie worth watching. You showed the world,you can still write, direct, produce and star in a black movie without the negative stereotypes. The poetry was awesome as well, hats off to the poets and musicians.<br /><br />I watched it last night, as I fell in love with my darling all over again. I will be adding it to my movie collection today, and recommending it to my friends and family.<br /><br />Please continue to produce quality, don't worry about the quantity....<br /><br />Thank you again, and best wishes and blesses to you! | 1pos
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Sensual and tough Maria Braun. (Hanna Schygula) marries a soldier in the middle of World War II and spends a half of day and the whole night with him. That's how long her marriage lasts before she loses him to the war and then to prison. She carries on with her life, becomes a successful businesswoman being not only sensual but intelligent, ambitious, and willing to use sex whenever or wherever necessary: "I don't know a thing about business, but I do know what German women want. You might even say I'm an expert on it". While climbing up to the success she always remembers her husband, Hermann (her man) and convinces herself that whatever she does is for him, for their future happy life together. "Maria Braun"'s style reminds much of melodramas by Fassbinder's favorite Hollywood director, Douglas Sirk and offers a glimpse of the loss and survival in postwar Germany. Hanna Schygula literally shines in every scene of the movie and she is fantastic.<br /><br />8.5/10 | 1pos
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***SPOILERS*** ***SPOILERS*** This is without a doubt the best film Rainer Werner Fassbinder ever made and even with the marvelous script the film is enhanced by a great performance by Hanna Schygulla. Film starts out with Maria (Schygulla) and Hermann Braun (Klaus Lowitsch) just getting married as the bombs continue to fall and Hermann is shipped out towards the waning days of the war and now Maria and her mother and sister must scrape by to survive. Maria decides to get a job as a dancer/prostitute in a club that caters to American GI's and she meets a black Army soldier named Bill (Greg Eagles) and they start to see one another on a steady basis. Maria hears that her husband Hermann has died in the war so she gets very serious with Bill. But one day while getting intimate with Bill they see Hermann at the door. He hasn't died and when he enters the room a scuffle occurs and Maria breaks a bottle over Bill's head and he dies. Hermann takes the blame and he is sentenced to a long term in jail so Maria tells him that she will succeed at something and get him out. The war has ended and Germany must rebuild and one day on a train Maria meets Karl Oswald (Ivan Desny) who is a successful businessman in textiles and she uses her charms to get a job. Maria is determined to do well and climbs the corporate ladder and becomes Karl's mistress. She tells him that she will never marry him but he is in love with her. Hermann gets out of jail but goes to Canada to try and get over everything that Maria has done since he has been locked up.<br /><br />*****SPOILER ALERT*****<br /><br />One day Karl dies and leaves Maria just about everything in his will and Maria buys her own house. Then Hermann finally comes home to his wife and they are both ready to start they're marriage even though they have been married for some time now. But Maria leaves the gas on the stove and the house explodes with both of them still in it.<br /><br />There are so many interesting things in this film that its one of those movies that can be studied and talked about to great lengths. Like in all Fassbinder films the use of color is used in a very interesting way. As the film begins the tones are brown and gray to represent war torn Germany but as Maria starts to become successful they change to bright rich colors like red and white. The rebuilding of Germany with all the sounds of construction are used as only backdrop and the film stays focused on the exploits of Maria. Fassbinder did want the sounds of rebuilding to remind us of what was going on in Germany at that time. Hanna Schygulla was never better and her performance is the key to the success of this film. With a lesser actress this would have been just another interesting film but Schygulla is so strong that her performance elevates this film to an elite status. Schygulla shows Maria as very determined and smart but at the same time she uses her beauty and femininity to get what she wants. She's not embarrassed nor does she feel guilty about this and Fassbinder wanted to show Maria as a woman who practically sells her soul to survive. Schygulla wasn't nominated for an Academy Award but she gave a great performance that will stand the test of time. Fassbinder himself appears in the film as a peddler and his own mother Lilo Pempeit plays Frau Ehmke. I have heard many things about the ending of the film and it has to do with whether Maria purposely left the gas on. Later in the bathroom she is running water over her wrist and she appears to be sad. This is only speculation and if you think I'm wrong please e-mail me. I think she was overly excited by Hermann being home and left it on by accident (Remember her putting on a dress for no reason?). Then when the will is being read to her its at that point that she learns that Hermann and Karl had become friendly without her knowledge and I think she felt that everything she had done was for nothing. Thats the reason for the bathroom scene. So when the house explodes its by accident. But I think the reason for Fassbinder having an ending like that is to show that anyone who would sell their soul has no business living. Fassbinder was fascinated by survivors but he was also incredibly passionate. In his view Maria can't have it both ways. A fascinating film. | 1pos
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Maria Braun got married right in the middle of combat all around her and her husband Hermann. An explosion ripped through the building, to begin with, and she and Hermann had to sign the papers on a pile of rubble on the street. Perhaps this may strike some as a heavy-handed metaphor for what's about to come: marriage on the rocks, so to speak. It's a betrothal where the husband goes off to war and is held in a Russian prison camp, unbenownst to the helpless but hopeful and proud Maria, who keeps standing by the depressing rubble of the train station as some come home, others don't, with a sign awaiting Hermann.<br /><br />Trouble arises, as happens in Rainer Werner Fassbinder's melodramas, and as its one of his best and most provocative, we see as Maria (uncommonly gorgeous Hanna Schygulla in this role) will do a two-face: she'll stand by her man, even if it means working at a bar for American GI's and, even still after she hears from a fellow soldier that Hermann has died will still stand by him as she sleeps with a black GI and comes close to bearing his child (that is, naturally, until he reappears and a murder occurs and he takes the rap so she can be safe), or working for a German businessman (effectively sympathetic Ivan Desny) and becoming his sometimes mistress and rising star in the company. Maria will do whatever it takes to be successful, but she'll always be married.<br /><br />It's hard to say there's anything about Maria that isn't fascinating. Money, sex, power, all of these become interchangeable for Maria. She's like the feminist that has her cake and eats it with a sultry smile: she gets to have a husband, more or less (actually a lot less until the last ten minutes of the film) while obtaining things- a man who dotes on her whenever he can, a new and expensive house with servants, a secretary, money- that others around her aren't getting due to already being with a man or too weak in a position to rise anywhere (such as the secretary, played interestingly enough by Fassbinder's own mother).<br /><br />Maria is sexy, confident, and all alone, with an idealized life going against a life that should be made in the shade. She says of the two men- the American soldier and poor old and sick Oswald- that she's fond of them, and at the same time will stick by those roses the confused and soul-searching husband Hermann sends from Canada, after being released from prison. She's casts a profile that a feminist would love to trounce, but understand where she's coming from and going all the way.<br /><br />Fassbinder employs this inherent contradiction, and moments with Maria appear to go against the conventions of a melodrama (for example, Hermann walking in on the jubilant and half-naked Maria and GI is just about a masterpiece of a scene, with Maria's reaction not of surprise or guilt but pure happiness to see that he's there let alone alive), while sticking to his guns as a director of such high-minded technique with a storyline that should be predictable. But it isn't really. It's like one big metaphor for a country that, after the war, couldn't really move on to normalcy. A few times Fassbinder puts sound of the radio on in the background, and we see Maria walking around her family house, hustle and bustle going on around her, and the radio speaks of a divided Germany, of things still very unsettled, of a disarray. Maybe the only way to cope is excess, or maybe that's just my interpretation of it.<br /><br />It's hard to tell, really, under Schygulla's stare face and eyes, anyway. It's such an incredible performance, really, one of those showstoppers that captures the glamor and allure of an old-time Hollywood female star while with the down-and-dirty ethic of a girl of the streets. Most telling are the opposing costumes one sees in one scene when she finally is with her husband, where she stars in one of those super-lustful black lingerie pieces and high heels, and then moves on to a dress without even thinking about it. That's almost the essence of what Maria is, and Schygulla wonderfully gets it down, a headstrong but somehow loving figure who is adored and perplexed by the men around her, sometimes in a single sentence. This is what Fassbinder captures in his wonderful first part of his "trilogy"; while I might overall prefer Veronika Voss as a masterpiece, Maria Braun is perhaps just as good as a character study, of what makes a woman tick and tock with (almost) nothing to lose. | 1pos
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The Marriage of Maria Braun (MMB) is about a German girl (Maria) getting married to a German soldier (Herman Braun) just at the ending of the war. After being married for half a day and a night, Herman is send to the front again. To make ends meet, Maria starts working at a bar for mainly American soldiers and get to know a black soldier. She got word that Herman died at the front, and things develop between her and the American soldier. Herman walks in on them, in bed, and after a confrontation between him and the American, Maria killed the American. Herman admits to the murder, ends up in jail and Maria vows to wait for him. The country is in shambles; one sees people leaving everything that they are busy with for a cigarette. There are food shortages. It is in short, a time of survival of the fittest. <br /><br />Basically this film projects Maria's attitudes - those attitudes she permits herself under the mentioned circumstances, as a metaphor for Germany's loss of soul after they lost the war, and how it proceeds to rebuild itself. For example, Maria has the following conversation with a peddler (played by Fassbinder himself); the peddler tries to sell her an excellent copy of Kleist and she remarks that "Kleist burns out to quickly, it does not provide enough heat for the cold". The peddler answers "That's another way to look at it. Right now, it's probably the correct way". <br /><br />Maria meets a French/German business man, Karl Oswald after she bargains her way into the first class train compartment. She decides to get involve with Karl, "You're not having an affair with me; I'm having an affair with you". She also takes responsibility in the company, and after a while has the complete trust of the firm. When Karl says "I suppose we'll just have to wait for a miracle" she replies "I prefer making miracles then wait for them". In her own words, she has become the "Mata Hari of the economic miracle".<br /><br />In a lot of Fassbinder's films he tried to expose the psychological processes which lie behind social mechanisms (see Freud); in other words, he liked pointing his camera at the bullsh*t, the false social mechanisms, the pretending. The direct approach Maria takes in this film is successful to convey this ideology. For example, she phones Karl and when he picks up the phone her request is straight to the point "I need someone to sleep with". As Fassbinder said "the emotions people felt did not exist at all and were only a kind of sentimentality which we thought we needed to be properly functioning members of society". He also remarked that his films are anti emotional. <br /><br />I particularly liked the scene when Karl and Maria meet in the Munich restaurant (apparently, frequently visited by Hitler himself). Maria appears in control and Karl a bit on the down side, as if Maria's 'brutal honesty' wears him out, as if he is not completely up to the situation anymore. Karl says "I have to tell myself over and over that I love life". Maria replies "That's life isn't it. As if we signed a contract to enjoy life. And then we go out to eat and talk about food". I guess this is also about Fassbinder attitudes on relationships, to never submit completely to anyone. And why would you, if the central matter of most of his films is about "What love becomes in this society a commodity, an instrument of power, a weapon."<br /><br />It was remarked that it is typical Fassbinder to have the scenes with Maria and Betti walking in expensive dresses in the ruins after the war - with these clothing essentially the wrong period. What I think he wanted to portray here were those attitudes, when you feel bad, that "you can always put on your make up and face the day looking great". But, Fassbinder was not interested in perfection. Any mistakes made in a film could just be corrected in the next project. Since he completed films (approximately 4 a year) the way other people rolled cigarettes, it is not peculiar that this film has some very bad scenes. Peter Marthesheimer, who wrote most of the script, mentioned that Fassbinder likely dreamed up the whole scene with Maria and the American in the park, overnight. <br /><br />Hanna Schygulla is brilliant as Maria. Mostly, she just stares bluntly into the camera. In Maria's own words "It is a bad time for emotions. But, I like it like that". <br /><br />There are different opinions about the end. After Karl died of a hart attack, Herman finally shows up. (Herman left for Australia after he got out of prison, to "become human again".) After the testament is delivered (made out to her and Herman in half), Maria forgets to close the gas on the stove when she lights her cigarette, and blow her and Herman up. For me it is obvious that she just did that by accident. At the same time, she must have been rattled when her dreams finally seem about to come true. She must have felt as if she was not herself anymore. She felt as if she had outlived herself. | 1pos
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This film exhibits artful cinematic techniques wherein instead of landscape capturing the attention of the camera it is small details in how someone appears, how the woman may be wearing a cocktail hat and wrapped in a sheet. How the husband may be wearing a hat and socks and shoes and his underwear and both seem so completely at ease and comfortable. How provocative the woman is posed is another feature of the tableau that the director chooses to let us know she is a free spirit sexually and aims to get the pleasure she seeks without flirting directly or with any particular sensitivity to what the man may be feeling. The relationship between the wife and husband is unique. It is an open one wherein she holds nothing back, feels no particular shame for how she has behaved and wants to share these facts with him because her primary focus always is on the fact of their marriage. Nothing and no one can come between the two of them. Only the chances of fate can intervene---his imprisonment during the war and what follows after his return at long last. A very intriguing film which is totally absorbing. | 1pos
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Fassbinder's most lavish production sacrifices little of his talent for identifying and deconstructing a locus of suffering in long, mobile takes that somehow also act as social encapsulations; here, it's much more overt, since the story takes place in war-torn Germany at the end of WWII, and the central character is a woman (Hanna Schygulla as Maria) who capitalizes on vulnerabilities (both economic and gender-related) to catapult herself up the ladder of a prominent textile corp. that makes coveted goods like lederhosen available to indigent workers (as she once was). Married amidst allied air raids, Maria and her new husband Herrmann are allowed a brief honeymoon before he's shipped out to the Russian front. In his absence, her despair is great: she spends most days at the train station, waiting for him to return. When he is reported dead, she abruptly stops grieving and takes a job as a barmaid/prostitute at a brothel catering to American GI's.<br /><br />When he returns, things get plenty messy, as circumstances (and his sense of noble self-sacrifice) conspire to keep them apart. The message is Fassbinder's M.O. writ large: 'Love is colder than death,' but not only is Maria contending with her own sanity and a husband largely incapable of loving her, but a country in deep flux with no discernible light at the end of the tunnel. Fassbinder is making some kind of statement on post-war Germany selling out to the highest bidder, but as with all his films, I tend to block those elements out and focus on the unbearable passions on display: Fassbinder's as evoked through his characters; his actors' as filtered through their real-life connections with Fassbinder. Taken together, his films can be either unbearable or indescribably mesmeric, often at once; this falls somewhere in-between, although definitely closer to the latter. While I didn't like it quite as much as The Bitter Tears of Petra von Kant or Katzelmacher, Maria Braun certainly has a greater scope and what's more, I could feel its passion and authentic detail to human emotions. | 1pos
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My first Fassbinder was a wonderful experience. Film and alternative cinema (small hall, with uncomfortable seats; public had to wait while filmrolls were changed ) were perfect match.<br /><br />There were many cliches used in the film, but Fassbinder presented them so cleverly that I found them really amusing. Sound was also brilliant (sometimes back being louder than dialogue).<br /><br />Everything seemed to be in right place. And I loved the way how after-war-time was presented. Real fun!<br /><br /> | 1pos
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This is the best of the 43 films that Rainer Werner Fassbinder made; his most successful at least. He was one of the leading directors in the New Germany after WWII.<br /><br />Hanna Schygulla was magnificent as the cold, calculating Maria Bruan, who lost her husband to the War, found him after she took an American soldier as a lover, lost him again after he went to jail for her, and found him agin at the end. Her day and a half marriage before he disappeared was longer than their time together at the end.<br /><br />Such is life. Things come and go, and you do the best you can. You can give up or adjust you way of thinking to survive. Even though Maria adjusted her thinking and did what she had to do, she never stopped loving Hermann, which makes the end such a tragedy.<br /><br />Excellent drama. | 1pos
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Maria Braun is an extraordinary woman presented fully and very credibly, despite being so obtuse as to border on implausibility. She will do everything to make her marriage work, including shameless opportunism and sexual manipulation. And thus beneath the vicey exterior, she reveals a rather sweet value system. The film suffers from an abrupt and unexpected ending which afterwards feels wholly inadequate, with the convenience familiar from ending your school creative writing exercise with 'and then I woke up'. It is also book-ended at the other end with the most eccentric title sequence I've ever seen, but don't let any of that put you off. | 1pos
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This first part of the BRD Trilogy has more passion and plot density than Lola, but less of the magic of Veronica Voss. The political musings have point to them: we see the shortages after the war, how the blackmarketers were able to control so much of the day-to-day life (delicious moment when Fassbinder, playing a grifter, tries to sell a complete set of Kleist to Schygulla, who remarks that burning books don't provide much warmth: she really wants firewood).<br /><br />There's some clumsiness in the first hour. The scene in Maria's room with the black soldier, interrupted by Hermann's appearance should go quicker. The train scene when Maria meets Karl Oswald falls flat when she insults the GI--I cringed, it was so bad. But as the story develops and the years go by, I was drawn more and more into this glossy, cold world. | 1pos
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So one person says, "This movie is a beautiful, delicate exploration of West German life after World War II." And the other says, "Former Nazis living in bombed out buildings, and the movie is 'beautiful, delicate'?" And the first sits there nodding, takes another sip of coffee. "I can't explain. Just see it." | 1pos
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This film seems to get bad critiscism for some reason. Probably just by the mass populace. Anyhow, this is actually a very interesting movie. The film is an under-budget sci-fi movie which actually works, due to an interesting storyline and well done scenes. <br /><br />This movie may not be for everyone though. If there are any Sci-Fi fans reading this, I truly recommend this movie if you like good ole science fiction. The film has crazy ideas. The setting includes nations going to war with GIGANTIC machines which the entire countries invest all it's money in! The world has been divied up into territories. Anyone can challenge anyone else to a war, or rather, a 'robot-duel'. The method of warfare is cleaner than nuclear war, since now everyone is wearing those breath masks. Definetly a movie that makes you think. Intelligent, well written, and good effects for the measly budget.<br /><br />I tend to like movies which have small budgets and actually work. | 1pos
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I read somewhere (in a fairly panning review) that this is something of a live-action mecha anime, and I think they're on the right lines. I first watched this movie when I was very young and I've been dying to see it again, and when I finally did just recently all the memories came flooding back. I don't think this is to be taken too seriously - it's just a bit of good old 80's almost-a-TV-movie fun (it is set against the backdrop of a fairly dark future, although this point isn't stressed too much). What I admired most about this movie was that the dialogue didn't sound generic - no clichés, no predictable lines - all in all just good fun! Maybe time hasn't been kind to this little movie, but still I can find appreciation for it in me. It's by no means perfect, but it's entertaining and doesn't try to be anything other than that. Let the nerds and comic-store-guys worry about technicalities - who cares? See it for yourself and make your own decision. No-one else's opinion matters. | 1pos
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Robot Jox tries hard, but is fundamentally a series of fight scenes strung together -- robot against robot, man against man, man against woman. The premise had potential, but it seems the script wasn't really given the couple of more drafts it needed. Still, it was fairly good, for a science fiction action movie. Part of it was because the script was by Joe Haldeman. For those who aren't familiar with the name, Haldeman wrote the award-winning science fiction novel "The Forever War." It's considered one of the very best powered battle armor novels, right up there with Robert Heinlein's "Starship Troopers" and John Steakley's "Armor." And this movie is really more like a giant powered battle armor movie, rather than giant robots. It's closer to what fans would have wanted instead of the travesty that was Paul Verhoeven's "Starship Troopers," which bore only a passing resemblance to the novel it was based on.<br /><br />Despite some assumptions, this really isn't based on Homer's "Iliad." A couple of names are all they had in common. Achilles having his robot's foot blown off had no parallel in the Iliad, which didn't include Achilles' death. Nor was the ancient Achilles a noble warrior. He was the mightiest, but also vengeful and petty. Even the robot jock killed off in the first scene doesn't fit. He was named Hercules, while the Greek Iliad would have had Herakles.<br /><br />The effects were fairly good for the time and the budget. True, it wasn't comparable to "Terminator 2" a year later, but that movie cost ten times as much. The stop motion was almost as good as the robotic walkers in "The Empire Strikes Back" and "Return of the Jedi." Better, in fact, than a lot of Ray Harryhausen animation, which is highly regarded, but quite dated.<br /><br />Don't bring high expectations into this and you probably won't be disappointed. It's better than a lot of other low-budget flicks and even some big-budget blockbuster wannabes that have better effects but far worse scripts. | 1pos
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If you like mech war games it's pretty good. Some of it is cheap but the robot fights is worth seeing. I've enjoyed the mech war field for some time and this is pretty much the only movie I've ever seen that come close to that feeling of what it would be like to pilot one of those huge mechs. If you like the genera then games you like are Mech Warrior Three and four and if you have an Xbox and $350 to spare Steel Battalion. The movie is worth seeing at least once. There really needs to be some more movies on the same theme out there. Less remakes and more original works. <br /><br />Enjoy | 1pos
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This movie i've loved since i was young! Its excellent. Although, it may be a bit much for the average movie watcher if one can't interpret certain subtleties in the film (for example, our hero's name is Achilles, and in the final battle between him and Alexander he's shot in the heel with a rocket, just as Achilles in mythology was shot in his heel). That's a just a little fact that is kind of amusing! Anyway, great movie, good story, it'd be neat to see it redone with today's special effects! Oddly enough, Gary Graham had average success, starring in the T.V. show Alien Nation. This movie is a fun watch and should be more appreciated! | 1pos
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Now I've always been a fan of Full Moon's puppet work. But I have to say that Robot Jox is one of there better projects. Yes, you heard me. The story works wonderful, the atmosphere really works and the actors do a first rate job. Gary Graham who really makes his mark on TV in shows like ALIEN NATION THE SERIES and STAR TREK ENTERPRISE shows that he can be an action star who kicks ass and takes name. The stop motion effects could have been a tiny bit better. The color was wrong, they look plastic to me instead of the metal they were suppose to be. But that is a minor complaint compared to the whole that is the Robot Jox, if you like Gary Graham or other Full Moon movies, then you will like this movie. 9 STARS OUT OF 10. | 1pos
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I remember this movie from when i was 12, it was amazing.. i remember it to the day not like most thing i watched back then, i have even tried to buy it but its like rocking horse sh*t! Anyway, the acting is a bit chewy but the story is amazing considering it was a real B movie with a low budget and event the fighting scenes were amazing to watch, i must have watched it about 20 times. It was a very well made movie and i loved the idea of fighting giant man controlled robots, pity they had to spoil it by making a crappy spin off "Crash and Burn", don't watch that movie by the way it is total pants! If your a real Sci-Fi movie fan then watch this, if it was re-made today it would be a winner.. i really would love to see a remake or even release the DVD of it. | 1pos
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What a great film it is. The notion of nations sending people fighting each other with giant robots is tacky. The ending is not just a fitting one, it's more inspirational.<br /><br />But I am intrigued by the characters. It is a pity we never see the relationship of Achilles and Athena more developed beyond just a couple of kisses and Athena's fear for Achilles's safety. Their romance is very enjoyable.<br /><br /> | 1pos
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My girlfriend and I have a thing for Robots. So I try to seek out movies that have robots. And this movie has robots. Big ones. They beat the clang and bang out of each other, with the fate of nations hanging in the balance. It's really cool. You have to forgive this movie its many shortcomings and just try to appreciate what the director and his crew of technicians were able to put on the screen while working with what was obviously a tight budget. It is very hard to dislike this movie. Because of those big robots. They looked like Transformers and they fought like pro wrestlers! It made my girlfriend smile. And that is good enough for me. And special mention must be made of veteran character actor Paul Koslo: as the maniacal Russian Villain, whether he is ruthlessly stomping on his helpless opponents after they've already surrendered or complaining that their close proximity to him in a bar has caused his vodka to taste "like blood" (a line he delivers with a deliciously campy sub-Bela Lugosi accent) he is clearly having a ball and the film benefits enormously whenever he is on-screen. This is a nifty little flick that deserves its cult reputation. | 1pos
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One of the best movies out there. Yeah maybe the cinematography wasn't the greatest, but an excellent plot and concept. Great for the time and brilliant and creative ideas. Something different from the usual movies and great fun. One of my favorites and would recommend to anyone who likes creative and imaginative movies. Post World War 3 and fighting in gigantic robots, the actors gave a great performance and made it all worth while. The sets are not amazing, but simple and worked for the overall look of the film. This movie is very hard to find on DVD, but also on VHS. Check it out cause I have loved it since it came out. Not a mainstream flick and not like anything you've ever seen. Take a look and think like a child. It's a great view and very fun. | 1pos
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<br /><br />Robot jox is a great little film ok some of the sets are bad and the acting is not that great but the special effects are very good for a film of this size and age. You have to remember that this film is over 10 years old now and was made very cheaply in the 1st place so you cant moan to much about the bad parts. So just sit back and watch a cool film with great big robots in it. | 1pos
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OK, this movie was cool. I don't think it was the best movie ever made but it sure was fun. My brother and I still act out scenes once in a while, and will occasionally yank the movie out of the cupboard, blow off the dust and pop it in. Enjoyable all the way until the end, but a great concept. This is a movie that one has to just forget criticism all together and just enjoy. Judgment is victory for Robot Jox. | 1pos
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Note to previous reviewer: This movie is "science-fiction adaptation of the Iliad" according to the screenwriter. So whether the references are painful or not, no apologies, it is the basis for the film. They admit they stole...though adapted is the P.C. term.<br /><br />Great flick but too short. Probably didn't come out as well as the author, director, or studio wanted, but pretty damn fun. The fact that the studio itself imploded during the making only helps add to its legacy.<br /><br />A big-budget remake wouldn't be as fun, and probably wouldn't do the screenplay any more justice. But it's fun to dream about the potential there. A DVD release with some meager extras is apparently available but I don't think it would play on NTSC players. I'm no expert and thus still trying to figure this out. For now, I live with the VHS incarnation. | 1pos
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What a master piece. To take the cold war conflict and transport it to the future. This film is satire of the highest order. In my humble opinion it outranks Dr. Strangelove.<br /><br />The clever naming of the two superpowers, as the Confederation and the Market. Cons being commies and Market, The west! outstanding. The Clever use of gen Joxs, was ahead of its time. only are we really seeing the dangers of genetic engineering. Robot joxs tackled the issue head on in 1989.<br /><br />The message of this film is about the comradeship of the humble man and how it can overcome the wishes of government. This movies screams DON'T DO IT YOU FOOLS YOU'LL KILL US ALL.<br /><br />EXCELLENT 10/10 | 1pos
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The scenes are fast-paced. the characters are great. I love Anne-Marie Johnson's acting. I really like the ending. <br /><br />However, I was disappointed that this movie didn't delve deeper into Achilles's and Athena's relationship. It only blossomed when they kissed each other. | 1pos
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The scenes are fast-paced. the characters are great. I love Anne-Marie Johnson's acting. I really like the ending. <br /><br />However, I was disappointed that this movie didn't delve deeper into Achilles's and Athena's relationship. It only blossomed when they kissed each other. | 1pos
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Hrm-I think that line was from the old movie posters.<br /><br />This is a dumb movie that seems to have been translated from some language that was totally unfamiliar to the translator. Here's a tip: Any movie that starts with a black screen and text reading "In the future..." is going to be fun. This means that the premise is so implausible that they have to explain it to you.<br /><br />In this case, "In the future..." means that, instead of fighting wars, nations have guys climb into giant robots and duke it out to determine, well, that's never terribly clear, but it's probably something really important. There are good guys (obviously capitalists, i.e. "us") and bad guys (Commies!) and there are big stop-motion robots.<br /><br />Sadly, the effects budget was pretty slim, so we don't get to see a lot of the big robots. There are plenty of cheap looking interior scenes, and then a big space fight near the end. The space fight is especially nice, as it serves precisely no purpose other than the blow the remainder of the effects budget.<br /><br />With said money now spent, the climactic fight degenerates into (and I'm not making this up) two guys hitting each other with sticks. I can always get a laugh in a bar by re-enacting the final scene, complete with a last line guaranteed to leave any audience scratching their heads.<br /><br />Like I said-it's dumb. That's why I bought the tape. | 1pos
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The one of the most remarkable sci-fi movies of the millennium. Not only a movie but an incredible future vision, this movie establishes a new standard of s/f movies. hail and kill! | 1pos
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