Costumes Movie Reviews

Margaret Cho is a very talented speaker. She can communicate a message clearly and effectively, and that is exactly what she did in "I'm the One That I Want."

It was not funny. She didn't make any jokes. She told stories in a way that I personally found to be very annoying.

As noted by other reviewers, all of her material alternates between mostly personal gay stories or fills in with other stories about her personal life. I don't care about her life or personal stories more than I would anyone else. I didn't need to watch an hour and a half of boring life stories from someone I don't even know. I already get enough of that in real life.

Korean-born Margaret Cho is one of today's top female-comedians. Like most standup artists, she delivers a good stage-appearance and keeps her audience laughing.

Even though she is a favorite of mine, I believe that Maragret could improve on her act.

Margaret Cho's humor is X-rated, so don't expect the same lines as Bill Cosby. Margaret speaks about things such as her obeseity, her experiences with her boyfriends, and [most noticeably] her mother.
Although Maragret Cho will probably keep you laughing, it seems as if she's still learning the ropes of comedy. Her humor is still somewhat jaded, and is viewed as offensive by some people [including the national leaders of Korea].

Margaret Cho is doubtlessly funny, but she can upgrade herself, possibly to the heights of other *explict-humor* greats such as Eddie Murphy and Richard Pryor.

Margaret Cho describes the rise and fall of her TV show "All-American Girl," her close ties with the gay community, being Asian-American, and her dead-pan impersonations of her mother. By far one of the funniest stand-up films around, what makes this a great film is that she lets the audience see her human side. It takes much courage to discuss the whirlwind of emotions as well as the physical and mental stresses surrounding her failed TV show -- the producers said she was too fat to play herself, she wasn't Asian enough, the alcoholism, the hospital time. To go through that hell and still come out strong and with your sense of humor intact and then want to share it...she is to be admired.

This is one film that I truly can watch over and over. Even though I know the jokes and though my friends and I quote some of the lines to one another (the line about Gwen will drive you mad!!!), I still laugh so hard and so loud and wipe the tears from my eyes. The DVD extras are also worth watching. A definite winner!

Many films have a convoluted history, but few so much as A STAR IS BORN. The basic story of a famous Hollywood alcoholic who promotes the career of an unknown--only to see her star rise as his falls--was based on the lives of a number of silent-era figures and first filmed in 1932 as WHAT PRICE HOLLYWOOD? After a number of plot changes, the story reemerged in 1937 as A STAR IS BORN starring Janet Gaynor and Frederic March. Then, in the 1940s, A STAR IS BORN was recycled into a radio play--and the leading lady was Judy Garland.

Garland's private life was difficult, and in 1950 she made a highly publicized suicide attempt. When she proved unable to recover herself quickly, she was fired by MGM amid much negative publicity, and it was assumed her career was over. But within a few years Garland reemerged as a powerful concert performer, and momentum began to build toward a screen comeback. Garland, who recalled her radio presentation with fondness, suggested A STAR IS BORN.

The production was plagued with problems. A number of leading actors turned down the male lead before James Mason accepted. A considerable portion of the film was shot when Warner Brothers decided to present it in Cinemascope, and this entailed scrapping all previous footage reshooting from scratch. Garland herself proved typically highstrung, and her temperament led to numerous delays. The budget ran out of control, and by the time A STAR IS BORN arrived on the screen it had become the single most expensive film made up to that time.

The film's opening seemed to justify all the difficulty and expense. Critics were positive and the public was eager. But Warner Brothers remained concerned about the film's length--and although director George Cukor offered to recut the film gratis, the studio hacked it apart. It was soon apparent that critics and audiences alike were considerably less enthusiastic about the edited version, and the film ended its theatrical release with a whimper.

During the decades that followed the film gained a reputation as a mutilated masterpiece. A lackluster 1970s remake fueled interest in a restoration, but the missing footage could not be relocated. In 1983, however, the full, unedited soundtrack and many of the missing scenes were rediscovered. In working with the film, conservators pioneered the use of still photography to fill in the still-missing scenes, a technique that would be used to restore such classics as GREED, METROPOLIS, and LOST HORIZON. And upon release, A STAR IS BORN was once again hailed as a masterpiece.

Stylistically, A STAR IS BORN is an aggressive film filled with bright colors, bombastic music, and larger than life performances. As such, it seems typical of "blockbuster" films of the 1950s and 1960s. But A STAR IS BORN uses this "bigness" to a considerably different end than its counterparts: rather than containing garish display for its own sake, it contains it for thematic purpose.

The theme developed by writer Moss Hart and director Cukor (who considered this his masterpiece) is one of the various levels of artificiality intrinsic to show business, and differences between degrees of artificiality are carefully drawn in scene after scene. The audience enjoys a show--never knowing that the star is blind drunk. The set crew prepares to film an upbeat musical number--never aware that the leading lady is having hysterics in her dressing room. Guests join their hostess in watching a movie--never knowing that their host is being quietly fired in an adjoining room.

The performances that drive A STAR IS BORN are perfectly in line with the film's juxtaposition of reality and artifice. Garland offers a justly famous bravado performance in broad strokes and with an undercurrent of artifice that becomes increasingly noticeable as the film builds, underscoring her gradual immersion in and consumption by the film industry. Mason, in equally brilliant fashion, contrasts her with a performance that becomes painfully realistic as the film progresses. The dissonance created is quite startling: it is easy to see why the two characters attract each other, but it is also easy to forecast how they will self-destruct.

Although musical numbers abound, A STAR IS BORN is not typical of the genre, for the music does not form the primary structure of the film. Still, like most other elements in the film, the songs feed into the film's themes--and always in the most ironic way possible. Near the film's conclusion, Maine ask Vicki to sing for him while he, unbeknownst to her, prepares for suicide. The song she sings is "A New World." And indeed after Maine's death it will be all of that, a world in which unreality will go unchecked and Vicki will win applause by introducing herself as "Mrs. Norman Maine," turning her private grief into box office salvation.

A STAR IS BORN is profoundly bitter film that for all its brashness operates in a remarkably subtle way to make a very dark statement about Hollywood fame: the entertainment we enjoy on screen is an illusion with a price, and that price is a confusion of reality and fantasy played out with stakes of life and death. The DVD offers the film in its restored state, in Cinemascope, and with television broadcast footage of the Los Angeles premiere. If you're serious about film, this is a must-own, must-see.

--GFT (Amazon.com Reviewer)--

Everyone watches and adores this film because Judy Garland is so magnificent in it. It's her comeback film and rarely has she been so riveting. But I'd like to concentrate on an aspect of the movie that is curiously (tragically) overlooked: the understated and beautiful performance by James Mason.

Mason's portrayal of the tortured, alcoholic Norman Maine is a performance of depth and grace. Mason was a brilliant, quiet actor who infused Maine with a sardonic sense of humor and a haunting sort of pathos. While this is Garland's picture from beginning to end, I will always argue that it's Mason's character who is central to the movie and that Mason was pivotal in getting Garland's performance to resonate.

Most Garland biographers say that Judy was in love with Mason and that the two had an affair. One senses their chemistry and Judy's almost desperate willingness to please the handsome British star. Their interplay together is touching and holds up wonderfully well after half a century. I contrast the Garland-Mason chemistry to the non-existent interaction between Gaynor-March and the dismal Streisand-Kristoferson remake in 1976.

Appreciate also the supporting performances by Charles Bickford and Jack Carson, two characters too-often overlooked. One of my favorite scenes is when Bickford visits Mason in the aftermath of his arrest for DUI, and offers him a script with a supporting role. The proud character of Norman Maine refuses the role and lies by saying another studio is interested in him. Bickford knows this is balderdash, but is so gentle and insistent that he at least try his hand once more at acting.

So watch this marvelous film and enjoy the incomparable talent of Judy Garland, but save a thought and glance for the gorgeous gentleman who played Norman Maine. What an actor he was.

A STAR IS BORN is a remake of the very successful 1937 movie. This time lots of good music is added to the story about the rise of a fresh young talent and the simultaneous descent through alcoholism of her actor husband. The script is by Moss Hart and the director is George Cukor.

The performances in the lead roles by James Mason and Judy Garland are superb. James Mason gives a very believable portrayal of a drunk who is disintegrating rapidly in the most pathetic way as the film progresses. Veteran character actors Jack Carson, Charles Bickford and Tom Noonan make their usual dependable contributions.

George Cukor had been a stage manager and had run his own stock company before coming to Hollywood. He won an Oscar for his work in the movie version of MY FAIR LADY in 1964.

A STAR IS BORN was nominated in 1954 for Oscars for Best Actor (James Mason), Actress (Judy Garland), Color Costume Design, Color Art Direction, Scoring of a Musical Picture and Song ("The Man That Got Away"). The main competition for Academy Awards in that same year came from ON THE WATERFRONT and THE COUNTRY GIRL.

Semi-spoilers

The storyline was great. The jokes were funny. And the romance was believable. I'm not used to seeing Cary Grant so taken with the lead actresses. He usually seems so aloof and indifferent to their advances. But the chemistry in North by Northwest was good between Grant and Eva Marie Saint.

The story line was fun. This is one of Grant's better ones. And one of Hitchcock's better ones, too. The bad guys were excellent as well.

One of Hitch's best and most effortless suspense movies has the benefit of a brilliant, witty script by the late Ernest Lehman and star performances by Cary Grant as the put upon Thornhill (whose initials are R.O.T. a nice representation of what's happened to his world), the sexy Eva Maire Saint, the menacing Martin Landau (in his first film role)and the charming but deadly James Mason.

Grant plays Thornhill an advertising executive who, through a case of mistaken identity (he raises his hand calling for someone to come take a telegram at the exact moment that a telegram is announced for Mr. Kaplan). As a result, he's kidnapped, taken to the country retreat of a diplomat by the name of Vandamm. Vandamm (Mason)believes that undercover agent Kaplan has too much information about his spy ring and plans.

He has his men get Thornhill drunk and they put him behind the wheel so he can have a fatal auto accident. Fortunately, Thornhill survives. He's determined to find out who Kaplan is and what Vandamm really wants. From there Thornhill's life spirals out of control as Vandamm tries to have him killed during the famous cropdusting sequence and convince his lover Eve Kendall (Eva Marie Saint)to become involved with him and, later, betray him. There's so many twists and turns in this hairraising classic that you have to see the film to appreciate the beauty of the direction, writing and performances.

This new spruced up digital transfer looks terrific. Warner evidently had the film digitally restored (not quite as painstaking as the restoration for Vertigo, Rear Window and Lawrence of Arabia but considerably less expensive)so that the colors are closer to the original release prints from 1959. The soundtrack has been beautifully remixed for 5.1 Dolby Digital. While the soundtrack can't completely take advantage of the remix, it sounds terrific. There's also a really good feaurette on the making of the film featuring Landau, Saint, Lehman and Patricia Hitchcock.

The inclusion of Ernest Lehman's nicely detailed audio commentary is a nice extra as well although it's clear that some of the same comments show up again in the documentary. Bernard Herrmann's marvelous music score is isolated on one track so that music fans can hear the original score in all its glory.

North by Northwest was the next to last in a string of classics directed by Hitch during the 60's (Hitch only made one movie in the 60's that comes close to his best films and that's the brilliant, dark The Birds). After a string of great movies and box office smashes including Rear Window, To Catch A Thief, Vertigo, The Trouble With Harry, Strangers On A Train and other lesser known works, North By Northwest was a brilliant conclusion to a decade that showed enormous growth in Hitch's directing ability and style. Psycho which would come out the following year would continue Hitch's groundbreaking approach to cinema as well but North by Northwest was the last of Hitch's complex thrillers to capture the public's attention.

Isn't it interesting that the two best movies made by the great Alfred Hitchcock both starred Cary Grant? He plays completely different roles in the two films. In Notorious (Hitchcock's best movie) he is a sullen, lovestruck, jealous fiend who drives Ingrid Bergman into the arms of another man, using the love she feels for him and not confessing his love for her until it is almost too late and she is almost dead.

However, in North by Northwest, he plays a funny, completely clueless advertising man who gets caught up in espionage within the first five minutes of the movie. He is mistaken for a spy who is trailing a man named Van Damme (James Mason) Grant is not a spy at all, but Van Damme won't hear any of that and attempts to kill him.

Grant gets away, of course and then the fun begins. He tries to figure out what's going on and who the spy really is and Mason tries to get rid of him. The ride takes you from Manhattan on a 2,000 mile trip to the face of Mount Rushmore. Along the way, Grant meets a woman (Eva Marie Saint) who may not be who she seems to be, even when you think you have it figured out.

The film is littered with reliable supporting actors including the hilarious Jessie Royce Landis as Grant's mother. She absolutely steals her scenes early in the movie. Leo G. Carroll, a Hitchcock regular, shows up to provide the movie's most critical information, and finally, a very young Martin Landau is James Mason's second hand henchman.

The famous scenes from this movie are the crop dusting scene featured on the cover of the DVD and the final chase on the Mt Rushmore face. However, the whole movie is great to watch. The story is just unbelievable enough to laugh at, but realistic enough to take seriously as well. Grant is fabulous here, having lots of fun with the situations presented.

This movie is really atypical for Hitchcock, who was more about what happens in the mind than action on the screen. (See Notorious or Vertigo, possibly his most cerebral film) Even movies like Psycho were more inside the head than the physical action (save the two gruesome murders) But not North by Northwest. There really isn't anything to figure out, it's just great actors going at breakneck speed for two hours and 16 minutes to duke it out on the face of Mount Rushmore. What more can you ask for?

Quite possibly the greatest concert film ever made. Scorcese does a wonderful job of digging into the lives of the Band, with some wonderfully candid comments backstage between the glorious songs of this concert. The Band was in full flight, with memorable guest appearances in what was ostensibly their swan song. Take your pick of favorites. Mine were "Who Do You Love" with Ronnie Hawkins, "The Weight" with the Staple Singers, "Mystery Train" with Paul Butterfield, and "Baby Let Me Follow You Down" with Bob Dylan. Some of the guest performers looked a little out of place like Emmylou Harris, who didn't seem to find her voice on "Evangeline." But, then there is Joni Mitchell singing a lovely rendition of "Coyote." The concert builds to its closing crescendo on "I Shall be Released" with everybody joining in for this rousing rendition of the classic gospel song. You will not be disappointed!

This has got to be the best jam session ever recorded. Everyone looked as though they were having a great time. I wish I was old enough to have been there. "The Night They Drove Old Dixie Down" "Caravan" "Weight" and "Ophelia" oooowee!!!!!!!!!!!! The sound is spectacular and the various inputs by the Band members were insightful and a little bitter sweet.
Go for it!!!

I don't know how this concert film could rate anything but five stars; I don't know what more one could expect. One of the greatest bands, period, with an incredible array of guests "stars" that all shine brightly without ever outshining The Band. All beautifully captured on 35 mm film by the brilliant Martin Scorsese. The off-stage interviews capture the slyness, charisma and chemistry of the individual members, particularly Robbie Robertson, and are edited between the concert songs in such a way as to provide marvelous, illuminating segues. I don't know which is more brilliant, the concert or the direction and editing. It just all melds into one fantastic experience.

If you want to become an instant Band afficiando, just put this DVD into your surround sound system, and you'll be hooked, I guarantee. You'll also sharpen your appreciation for a host of artists at least as influencial (and just plain good) as The Band.

What a way for the Band to go out! The Last Waltz, indeed.

Really, there isn't anything I can tell you about this movie that hasn't already been said. This is one of the most wacked out movies in history. Riki is a very angry person...and a violent one to boot. The way he punches the tops of peoples heads off baffles me to this day. Watch this movie with some of your friends just to get their reaction(s). Do you remember when Craig Kilborn was the host of The Daily show? Well the clip of the guy's head getting crushed was from this movie.

A funny fact- the menus of this dvd have better quality than the film itself. But come on, this is RIKI-OH, THE ULTIMATE G MOVIE. (yes, it's lower than a B movie. So low that it goes lower into the alphabet)

This IS a must see if you like gory movies, action films, b-movies, prison films or your just an idiot(e.g. me and my friends.)This film doesn't have much of a plot but who gives a sh*t! I guarantee this is the only movie you will see a person use HIS OWN ORGANS to strangle someone. There are many colorful characters and its gory but funny gory not like House of 1000 corpses which disgusted even me. that takes skills. Buy the unrated version the R-Rated version is bad out the a$$

When I saw this I was shocked to see all the gore they used. This film has a little bit of everything to keep you interested, extreme gore and slapstick humor are the main highlights of this incredible film. From my point of view this isn't a martial arts or kung fu film it has those elements but didn't seem like it. The plot is thin but you won't notice Ricky HO (NOT OH) is in prison in the future for killing a drug kingpin to avenge the death of his girlfriend, while hes there he has to put up with corrupt wardens and gangs while keeping the somewhat peaceful and kind prisoners (And himself) alive. The gore F/X in this film are good to decent the head crushings and intestine F/X are well done, but the exploding bodies leave you wanting more blood, but this film is bloody enough, its SO gory youll be grinning at the extreme bloodshed and gore (this one is about two less times gorier then Dead alive). However the only minor points are the quick ending and some bad gore F/X but don't let that ruin your fun. I HIGHLY Recommend this DVD and avoid the R rated version like HELL. In addition to this film I also recommend this film to people who liked: Dead alive, bad taste and evil dead 2, because this movie reminded me of those films while I saw it.

I must start out that I have only been alive for some 20 years and have not have been privy to the evolution of movies. As an example, I wasn't all that impressed with Citizen Kane when compared to modern day movies. However, I can see how it was a pivotal piece of work that laid the foundation for other movies. This is exactly the same way that I feel about Ben-Hur. While the cinematography and acting are spectacular, the over drama becomes heavy handed when it doesn't advance the story. The whole romantic interest was thrown in to draw more people into the theaters. I feel that more time should have been focused on the actual plot. The movie ponders along and eventually comes back to the story in a lazy manner. If this movie were brought out today, then it would be seen as a valiant effort, but overproduced and bland. Overall, not bad, but not too good.

They used to know where to place academy awards which movies those days....Know days they ignore a superb movie like.Lord of the Rings and give to Chigago best picture.11 academy awards for one movie like Ben Hur.Not far fetched at all.Befor I get into plot and diolage,it seems this movie rating is not quite acurate.Rated G.Know I watched this movie when I was say 9 or 10 again.I found some scenes a little strong.Messala about to be amputated and is screaming aloud,The leper cave dark and fearful.I think parents probaley should watch this with their children.So PG might be a better rating.Rankin Bass's Cartoon The Return of the King had a PG rating.It is not even that scary.This is a truly wonderful movie.The parts with Jesus are really stirring and vibrant.Chaleston Heston is a very strong actor.(funny thing.I found Bradford Dillman has also some very same expresions and looks like his brother.Watch Francis of Assisi.)His love Esther and him have a passion to their love. The Chariot Race is Fantastic.Christians will love this movie best.A movie for the whole family.

When I first saw Ben-Hur in the cinema (about 25 years ago) I remember vey well a scene in which Ben-hur's mother and sister were inside the prison cellsitting on the floor. I have seen the film many times again but that scene is missing. Such scene appears between the one of the prison guard opening the door's cell, looking inside and with a horrified face saying: lepers! and the face of Messala's friend. But no trace of the two women inside. After commenting this issue with some friends, some did not remeber such scene but others where as convinced as me of having seen it. Certainly there is a possibility that I am mistaken and that when I affirm having seen such scene In reality I am wrong because it only exists in my imagination. I do not know but would like your comments. Many thanks. Jose

..... "Live on Broadway" shows an artist attempting to rediscover his rhythms and delivery after being away from the stage since the Reagan Administration. It takes him a long time to get any traction - the first twenty minutes feature a string of breast jokes that might make even Governor Schwarzenegger blush - and he falls back on obscenities like a cushion when his material falls out beneath him.

Still, it is great to see him back on stage and when he finally gets rolling, the show's a blast. His legendary quick stream-of- conscious delivery clicks in and he transforms himself into an amazing variety of characters - a French ice-skating judge, German doctors, Scottish golfers, Jamaican bong-smokers, and Donald Rumsfeld. And, despite many of the complaints here, its good to see Williams get a little raunchy, he's been too squeaky-clean for too long. (I disliked his breast jokes because they were lame not because of the subject matter). ....Its an engaging document of a comedian rediscovering his talents ....

I'm still in stitches from watching it for the third time. No political or religious organization is safe from his wild satire! Robin is truly a gifted comedian. One of the funniest men alive!!

This is not your typical family-rated comedy, but you probably already know that. Robin Williams is a comic genius, but this is not his best work. It is definitely worth viewing and will get many laughs, but some of the spark is gone (no, not the drug-induced sparks either). Sometimes you can see that fine line between genius and madness, but Williams pulls back and gives the audience a great show. I originally gave this four stars, but I was comparing it to his best. When compared with the competition, however, it is easily a five star. Just be forewarned that it is for "mature" audiences.

An anti-war theme is prominent throughout this classic sci-fi flick. In the lead you have Rod Taylor starring as inventor H.G. Wells, a man seeking relief from, and improvement of, the world in which he lives. Demonstrating a miniature version of his time machine for a trio of friends (including Sebastian Cabot of "Family Affair" fame) on New Year's Eve 1899, he laments that he was born in the wrong time...and that he would like to journey into the future to live among more civilized peoples. He desires the utopia that he thinks technology will inevitably bring, but also cries out at the corruption of technology for other than peaceful purposes.

His journey, however, leaves him feeling overwhelmed as it is far from what he expects. He initially watches the years go by from his machine as represented by a manequin he observes in a shop window across the street. There, he views what he regards as a harbinger of societal descent into a more liberal way of life. As fashions change dramatically over the decades, he blushingly remarks, "You call that a dress?". He makes three intermediate stops on his way to his ultimate destination--the first in 1917, the second in 1940, and the third in 1964. They all, conveniently, coincide with raging wars (the final one, a ficticious World War III fought with nuclear weapons that lasts for 326 years).

Embittered and frightened, he moves on, ultimately coming to a stop some 800,000 years in the future. Wells is initially delighted with his new-found utopia and attempts to befriend the native Eloi, a blond-haired, blue-eyed, fair-skinned Aryan race of humans. He is quickly repulsed as he sees them passively watch as one of their own (Weena, played by the lovely Yvette Mimieux) starts to drown only a few feet from the others. After saving her, he learns that they are nothing more than a race of slow-witted, cowardly do-nothings who rely on the sinister Morlocks for survival.

The Morlocks, who look like a cross between the Hulk and the gill man on "The Creature from the Black Lagoon," were the humans who chose to continue living underground after the end of the last war. They deevolved physically and morally and, as a result, developed into ravenous cannibals who fattened up the Eloi so as to devour them at a later date (eating the oldest ones first).

There is no written word within either culture and that lends itself to the theory that cultures tend to stagnate without the written word. Without books there is no learning beyond pure observation and word of mouth and, in this case, both races eventually lost whatever skills and knowledge they once possessed.

Eventually, the Eloi and Morlocks took on a primitive symbiotic relationship. You have the peace-loving, vegetarian, let-nature-take-its-course Eloi one one side, and the militaristic (they still use air raid sirens to hypnotize the Eloi), meat-eating (of a sort), control-your-own-destiny Morlocks. Despite his appreciation for much of the Eloi philosophy--he initially mistakes them for economic genuises--he quickly realizes the truth about them and grows disgusted with their apathetic attitude towards self-improvement and advancement.

Ironically, circumstances dictate him teaching the Eloi the value of fighting (back), a trait he abhorred. As a result, the Eloi defeat the Morlock in a demonstration that while war may be bad it can also be the LESSER of two evils. Still, after their victory, the Eloi are left to answer the question "How do we fend for ourselves now?". Wells chooses to stay among them, returning to his time only long enough to retrieve three books to help them in their journey. In the final scene of the movie, one of the inventor's friends discusses Well's future with Well's housekeeper. He finally asks her (and the audience), "Which three books would you have chosen?".

The film confronts the positives and negatives of pacifism vs. militarism and, in an overall generic sense, liberalism vs. conservatism, all with regard to the survival and growth of a society. Eventually, the movie shows that raging examples of either philosophy isn't the solution--that the true solution resides closer to the middle of the spectrum (with the pendulum tilting into conservative territory.

The story is timeless, the script and acting good, and George Pal's special effects excellent considering the age of the movie. The movie's depth is often overlooked, and it is a worthy addition to any DVD library.

This review refers to the Warner Bros. DVD edition of "The Time Machine"(1960)......

I am so impressed with how this 43 year old classic Sci-Fi film looks and sounds on the DVD, that I am going to start with that this time. I wasn't expecting it to look as great as it did because the editorial review here gives it 3 out of 5 stars on both the picture and the sound. If you are a big fan of this film, or thinking of buying it as a gift for someone who is, you will not be disappointed with this transfer. The picture is presented in the original widescreen format,so you won't miss a bit of the action. To watch it you would think you went back in the time machine to 1960 and were viewing it for the first time. It is clear and sharp with vibrant color.The soundtrack is remastered in Dolby Dig 5.1 and is a welcome enhancement.The DVD also includes a terrific Behind The Scenes documentary called "Time Machine...The Journey Back". The film's star Rod Taylor hosts and fans will love this informative feature. You'll get a good look at how the actual machine was made and the journey that it has taken in the last 40 years as well as other interesting tid bits. This feature has it's own scene selections to choose from or you can just watch it straight through. The film may be viewed in French and has subtitles in English and French.(my only teeny complaint would be that the black bar area is not used for these subtitles, they are at the bottom of the film).

The story based on the novel by H.G. Wells is as captivating today as it ever was. You know the tale.....
George(Rod Taylor)has all the time in the world. He tells his friends an incredible story of his adventures traveling through the ages in a time machine that he has built. As his story begins, he starts out slowly traveling through the 20th century. He doesn't like what he sees. War and destruction seem to be the fate of civilaztion.He pushes foward, quickly, and the years fly by. Finally stopping in the year 802701,he comes across what seems to be a paradise on earth. Clean air,fruit growing in abundance, and a society of young beautiful people, the Eloi, who don't seem to have a care in the world. But even in this Utopian like civilazation there's trouble amiss.The Morlocks are running things from underground and they are just as scary today as they ever were.So it's up to our guy George to save this future civilazation from the evil Morlocks,and try to get back home to the year 1900 for an 8pm dinner appointment..whew,what a great story!

Directed brillantly by George Pal("7 Faces of Dr. Lao"/"Atlantis the Lost Continent"), the film also boasts the great talents of Alan Young, Sebastian Cabot, and the lovely Yvette Mimieux, as "Weena", who adds a little romantic interest to the story. The film was awarded a well deserved Oscar for it's special effects(also discussed in the featurette) for Gene Warren and Tim Barr.The movie is rated G, although the scenes with the Morlocks might be a little scary for very young children.

A great story, fabulous film and an outstanding DVD. So go back in time, with your old friend "The Time Machine"..enjoy...Laurie

I first saw this movie when I was a little kid, and have watched it at least thirty times since, it had a great impact on my life. The special effects leave a little to be desired, compared to a 'modern' flick, but it's a classic that belongs in everyone's movie library.

Bought this DVD on the strength of the tape I had of the same concert broadcast on Showtime in the 90's. Thought the concert should have won a Cable ACE award it was so good. Couldn't wait to see the DVD version and when I heard the first vocals come out I couldn't believe that they had overdubbed new vocals over the originals. What was one of the best concert videos that I had ever seen and heard was ruined by someone who thought he could improve on perfection. Don't waste your money if you've seen the original.

I have to agree with the earlier reviewer that mentioned the bad sound recording on this DVD. The visuals, of course, are as wonderfully Tina as expected. I don't understand how and why the sound is so "strange." ... even though their are two versions (of the sound) from which to choose. I'm not sorry that I purchased it, however. This is my favorite Tina Turner concert. The selection of material is perfection and the energy comes across like a volcano erupting. I love Tina more than ever, and look forward to her next DVD.

I will try to be as bried/concise as possible:

"Live in Amsterdam: Wildest Dreams Tour - DTS DVD" is one of the best DVDs ever released. The sound quality and 5.1 channel mix is truly amazing.

Listen to how the whole stadium sings along with Tina while performing "Simply the Best". It gives you a true feeling of a live concert. Just close your eyes and imagine yourself at the stadium...watchng this legendary performer act for you...just for you.

I can't stop watching this concert over and over. If you are a true Tina fan or just like good quality music, YOU HAVE TO BUY THIS DVD! Now we are waiting for the final Tina Turner Video Music Compilation 1991-2003 exceptionally in DTS sound !

I wish there was a regulation or something forcing the DVD manufacturers produce their music DVDs in DTS sound only.

I can think of ever so many aspects of this which could stand improvement, but when the dust has settled, this is still a show which is great fun to watch, and which is a document of Flatley as a performer. He may have his shortcomings as a choreographer, as a set designer, as a costumer, as an autocratic impresario; but the fellow could dance, even on the eve of what was a very sensibly-timed retirement.

Even if we see in him a charismatic PR man for his own product, as much as we see a fine dancer, we may bemoan that the aim was not higher and nobler; but we still can't take the dancing away from him.

So it is that, even with all the shortcomings, we give this one four stars.

On the whole, this was a great improvement on the original 'Lord of the Dance'; one significant way in which it is a disappointment, though, in comparison to the original 'LOTD' is, originally, Flatley defeated the 'Dark Lord' (almost painful to type things like 'Dark Lord' and try to keep a straight face, but it must be attempted) by outdancing him. In this show, he blows him away with pyrotechnics; the show has flash enough, thank you, and it was sad to see a great 'dancing moment' done away with, with so little to show for its absence.

Many of the costumes, especially, were an advance ' but there were still the goofy moments, like the 'defiant' stripping-down of the ladies of the company to undergarments. In general, of course, Flatley would be the first beneficiary, if there were such a thing as booster-shots of Good Taste. This, generally, is the most important respect in which Flatley's work was finer with Riverdance: there was someone else more or less in charge, and Flatley had to work on stage with other dancers of experience and talent. With 'LOTD' and 'Feet of Flames,' Flatley surrounded himself with young talent; partly, this does indeed make for part of the impressiveness of the accomplishment; but it also means that Flatley is The Guru ' and there are aspects of the show which would have benefited, if Flatley had had to listen to sense ....

The music ' well, the music for dancing works well enough as accompaniment, although it falls a little short as music on its own. The 'rock star violin' sequence, the goofy pseudo-monks, and Michael's flute solo, to my taste, could have been done without, quite nicely.

This was a show which could have been raised to the level of ballet, and which instead paid a little too much homage to the ghost of Busby Berkeley, and made too much of a pilgrimage to Vegas. But it is nonetheless quite an impressive achievement; and on the whole, great fun to watch.

On July 25, 1998, in Hyde Park, history was made. Performing on the largest stage ever built, Michael Flatley with over 100 dancers performed Feet of Flames in front of an audience of 50,000 people.

With the plan of it being his last performance, Michael Flatley decided to do one last, huge, triumphant and expanded version of Lord of the Dance. He called it after his solo: Feet of Flames. The entire show is Michael performing at his best. Compared with the original Lord of the Dance, Michael and all the dancers have become much more free, and they relate to the audience at an incredible level. With all new costumes, added dances and songs, Feet of Flames is truly a masterpiece.

Michael's flute solo Whispering Wind, is a touching traditional air. He is a world champion flautist and his playing is beautiful. Celtic Fire (a new number with the band) showcases the often neglected talents of the musicians. It is traditional Irish music played in very untraditional way, and it is absolutely fantastic. The new Siamasa number is simply a joy to watch. The dancers look happy, and are so energetic one just wants to get up and dance with them. But the most incredible part of the entire show is Michael's new solo. With no music and no other dancers, it shows just what he does. From slower, variated rhythm patterns, to blazingly fast footwork, and everything in between, this is Michael Flatley's masterpiece.

I have watched Feet of Flames 30+ times since I got it this past October, and I absolutely love it. The 'Making of FOF: Into the Fire' is almost a full length film in and of itself, and gives a fantastic day by day report of the two weeks leading up to the show. Feet of Flames is Michael Flatley at his best.

I'll try my best to do this production as much justice as I can. This performance, titled "Feet Of Flames" is billed as Michael Flatley's last performance in the role of the "Lord Of The Dance" and I think he does an excellent job here! It is a fitting send-off, very grand and epic in scope and scale. I did get to see the original Lord Of The Dance show live on stage in Philadelphia in 1997 and was totally blown away by the experience. The dancing, the beautiful music and the celestial and haunting singing of Anne Buckley remain in my heart to this very day. There is just something about hearing that music live and feeling the vibrations course through your body with every step the dancers make. It gives new meaning to the saying that you just HAVE to be there. There is NOTHING like the energy of a live stage dancing performance. Particularly not one like this one, with sure fire and energy and passion.
Do not be fooled into thinking that is is just an out-of doors version of the original Lord Of The Dance show. It IS in a sense, and yet in many ways it is not. This show takes the original Lord Of The Dance production and kicks it into high gear. All of the original music and dances are back, but the dance routines look different a bit and more elaborate. They are longer and feature quite a bitof more complicated step work and more character interaction. There are also many new dances and more original musical pieces that make this a totally new experience.
I loved the fact that Bernadette Flynn (the "good" girl in the show) got to do her own solo dance in the middle of this. It really gave her a chance to shine. The new numbers played by the dueling violinists were lively and lovely at the same time. The costumes and sets for this show were much bigger and elaborate than those for the original show. I would EASILY say that for me, the combination of old music and new numbers with more elaborate and totally new dance sequences was wonderful to watch. It made certain that I did not feel I was watching "the same old show" done over again. There were just so many new things to see and to hear and to take in. I loved Michael Flatley's solo flute performance near the beginning of act two. Very lovely stuff. I must say though that for me the highlight was another chance to hear Anne Buckley sing. What a GOLDEN voice. So beautiful and tender, yet rich and deep and passionate. The three songs she did here were even better to me than the ones she sang in the original Lord Of The Dance show. Her version of "Marble Halls" to me was even better than Enya's rendition, which I had previously loved. Ms. Buckley introduced me to the haunting love ballad "Carrickfergus" that had me reaching for my Kleenex even as I was wide-eyed and smiling from ear to ear. And the Gaelic piece she did (An Maigdean Mhara, if my memory serves correctly) was so beautiful that mere seconds after Ms. Buckley began to sing this number, my floodgates FLEW open and did not close for the full 3+ minutes of this song. Also I loved the fact that in this show instead of having just the green hooded cape for all three of her numbers, this time Anne got to wear three diffferent and very beautiful dresses, one for each song that she did (green, white, and gold). Exquisite costumes to fit with a stunning voice and an incredible beauty with great stage prescence. I for one cannot wait for her solo debut album.
In short, this was an unforgettable experience. I have loved Celtic music and dance for years now and this performance only made my fires burn all the hotter with enthusiasm. The music, the dancing, the lighting, the story of a noble warrior saving his land from a dark knight's conquest...they combined to take my breath away and give me one of the greatest entertainment experiences of my life. If you get to see this I hope you get to enjoy it and even love it as much as I did. I still love this show today, more than two years after I got to see it, and I know I always will. Peace.