Costumes Movie Reviews

This is a truly great performance from very gifted cast of Placido Domingo, Kiri Te Kanawa, Thomas Allen, etc. I've seen number of opera productions on TV or video, this is certainly one of the best. They are in great voice and all of them are truly good actors, too. I really wish I could recommend this video. But the original VHS release is now out of print, and the releasing company made a terrible decision of recording it on EP mode, thus producing an inferior quality in video transfer. At the price tag of $30, this is totally unacceptable.

This is the best video of Manon Lescaut with the very best cast available. The production values are excellent and singing unequaled, not even by Domingo in the Met production with Scotto. This is one of Kiri's strongest roles and there is no tenor that can touch Domingo's "favorite" role. Sir Thomas Allen is certainly one of my favorite baritones and is perfect as her brother. The acting is all on a par with the singing. I love this one and purchased one of the first VHS with subtitles so I'm happy with the quality of the tape, if a little faded. When I convert to DVD I'll definitely buy this again. Buy it if you love these singers, Puccini and Covent Garden!

This opera made me a big fan of opera.If you watch this,you will sure be the one. Dame Kiri Te Kanawa is the best soprano I've ever known and she and Domingo are the best opera couple. I've watched this opera again and again,so the LD has already worn out. I've got to have it again.

Words cannot describe my love for this production of King Lear. This is definitely the greatest live taping of a Shakespeare play I've ever seen. Most of the actors were simply amazing. Had I been at that performance that night, I would have given a a standing ovation. James Earl Jones was phenomenal. He brought a new King Lear to the stage. I was thrilled as he cursed his daughters and sons in law as violent thunder symbolically rumbled over the actors' heads. Even the audience was thrilled. They applauded when he exited. The show had more jokes than I thought. I thought that the Fool brought the only jokes to the show. My favorite funny part was when Edmund said, "I am rough and lecherous", made an offensive sign, and a farting noise. It was so funny. Raul Julia was simply amazing as Edmund. He portrayed Edmund with such perfection. Tom Aldredge was great as the Fool. When I first heard him talk, I realized, "Oh, my God. Is that the Narrator from Into the Woods?" I was truly shocked. The woman who played Goneril was very sexy indeed. I had to take off a star for a few reasons.

1. The woman who played Regan overacted.

2. Cordelia was wearing boots similar to Go-go boots in one of her scenes (by the way, she was good too.)

3. The guy who played the doctor had an afro and his acting wasn't good.

These two touches of the 70s were somewhat out of place in a Shakespeare play. Those are minor reasons why I gave this DVD four stars. I think that if you want to see a great play on video or DVD, the Broadway Theatre Archive is the place to go. King Lear rules. Shakespeare rules. James Earl Jones rules.

This is not only the finest Lear I've seen - Jones delivers one of the best personal performances I've ever witnessed - on stage or screen. This is an unabridged 3-hour King Lear that adeptly handles the entire range of difficulties and dynamics that challenge any reader, director or actor fortunate enough to attempt it. The supporting cast is fine - the late Raul Julia as the conniving Edmund is especially good - but Jones overpowers all - as he should - and his booming, spitting, crying, sceptre-tossing ferocity, despair and madness cut to the quick of Shakespeare's play. This is a 1974 outdoor performance and despite digital remastering, the audio is 8-track quality at best - fortunately the acting and staging overcompensate for the sound and whatever else one might consider shortcomings, though there aren't many, and for my money I'll take Jones over Olivier any day.

While attending High School in Michigan, I took a 9 week course in Shakespeare. Monday through Friday, for an hour, I would sit and study the words of the man often referred to as the greatest single writer that ever used the English language. In this class, we were exposed to both audio and video productions of various plays.

After 4 weeks, I became fully convinced that anyone that said that they read or attended Shakespeare for entertainment purposes was either a liar or severely mentally unbalanced.

Then I was shown this production, and my mind expanded.

The production was taped from a Shakespeare in the Park festival, live. There are points during the production when it becomes apparent, yes it is live. It is also vital. It lives, it breathes, it is wildly passionate and elegent and bold and gentle, often within the space of one line to another.

The cast is nothing short of astonishing. Rosalind Cash, Raul Julia, Paul Sorvino and Rene Auberjonois are stunning. These four actors, in and of themselves, make this particular performance a (what is now the hyped phrase) Must See.

What makes it a Must Own is James Earl Jones.

Mr. Jones is, IMHO, possibly the single greatest actor living today. He is also IMHO the finest voice in the industry, and has been from the time I became aware that this production existed.

His Lear is a vain man, a proud man, and a man that is falling apart before our very eyes. He is indeed King, and a king that has brought himself low. Kingship does not imply wisdom.

Any flaws in this production only remind us that Shakespeare was once performed live in the presence of those who would hoot and toss things at the actors if the audience was not happy with what they were seeing.

Superb!

Lanford Wilson is the modern day Chekhov, and while "Fifth of July" isn't the absolute best example of this, it comes pretty darned close. The only thing really out of place is William Hurt as Kenneth, here portrayed by Richard Thomas. Throw away all preconceptions of Thomas's from his most famous earlier work (involving a family drama), and you'll find yourself very satisfied with his performance, as he is able to play the typically reserved, held-back Wilson-esque character of Kenneth with greath verve and conviction. He seems to be having so much fun, always smiling and giggling, but you can see in Thomas's performance that there's deep emotional baggage stirring, and even though William Hurt would've been able to more thoroughly convey Kenneth's complex character, Thomas does a very good job and it doesn't affect the quality of the production at all. Just don't stare directly at that mole-thingie on his face!

Swoozie Kurtz won the Tony for best actress, and you can see why clear on screen. Gwyneth Landis is one of the great characters of stage. . . outrageous, yet not Roberto Begnini level crazy. It's very pathological (the good meaning) and motivated. You'll enjoy it very much.

The production also features great performances from Jeff Daniels as Judd, and looking back now, after all the comedies that he's become so well-known for, you'll realize that he's an even better dramatic actor (on Stage and Film). He and Thomas seem to have a good affinity. The rest of the cast, save Cynthia Nixon, is from the Broadway cast, and they're all excellent.

Speaking of Cynthia Nixon, even at such a young age, she gives a truly excellent performance as June Talley, the last of the Talleys. Her part really isn't a large one . . . she's a supporting character, but she fulfills much more than her supporting part offers, and her eyes are magnetic, if not hypnotic in their intensity. She's young and naive, yet still she possesses
a great sense of maturity, and her ending speech, about how she is the last of the Talley's, is great. If you're a fam of the Talley Trilogy, you'll very much like the little resonances here and there in "Fifth of July."
I don't think "Fifth of July" would be as enjoyable for younger people as opposed to older ones. The subject matter alone dictates that, so if you're reading this now, you're probably be just fine. If you lived during the turbulent Sixties, then this production will definately be of interest to you. If you're a fan of good drama, not matter the medium, you'll find a lot to enjoy in "Fifth of July."
If you're a fan of Lanford Wilson, and have seen or read "Talley and Son," and "Talley's Folly," the other two plays in the Talley Trilogy, then this is a no-brainer. We're very lucky that finally, Wilson's great works have begun to emerge into the video mass media. Now many more people can experience his magic.
Bravo!!!

This absorbing, amusing and moving play receives a splendid performance by an able cast. While Richard Thomas, Jeff Daniels and the rest acquit themselves splendidly, it is Swoozie Kurtz' brilliant performance that sticks in the mind. This really is a taught-me-what-it-means-to-be-a-human-being kind of play. Try it, you'll love it.

What a pleasure it is to see this production again. I've seen several live productions of "Fifth of July;" and it has become one of my favorite plays. I well remember this broadcast version from many years ago when it was first broadcast on PBS; I was blown away by the fine performances then, and I am still. It was unforgettable. For those of us who remember the 60s and early 70s, its like welcoming dear old friends into my home. It's a terrific, warmhearted and human play. And really funny too. The performances are first rate all, but Swoosie Kurtz is amazing and touching as an ex-hippy with a fried brain, heart of gold and the wisdom of an old soul. Thanks to Broadway Theater Archives for this special treat.

THIS IS SUCH a delightful gem of an Opera ~ superbly staged and acted and sung in CONTEMPORARY terms. But then again wasn't it quite contemporary when it first HIT?

LORD! What our Wolfie would have done for us today ..... such a funny, sad, uplifting and utterly POLITICALLY correct piece of art. [Remember the difficulties he had with the staging - the banning of the ballet, etc.]

The Cast spear-headed by the Dresden-like Christine Schafer and the never-disappointing Paul Groves [recently seen in LA - Berlioz 'Damnation of Faust'. The Salzburg version with Mr. Groves is available on DVD]. AND the rest of the highly professional cast - perfectly in harmony with this work.

NICE addition is the Turkish [NON 'WAM' music].

BUT it is the utter freshness of the cast dominated by the gentle Pasha and his Solomon like advice that remains long after the seats cool down. Very much a reflection of our times today ....

GREAT DVD!

I had to buy this because schafer was in it. Her Constanze is uncomparable to any soprano who has done it. If you just listen "Ach, Ich libte" you'll understand what I mean. That common aria sounds so different when she sings it. Just gorgeous!!! But one drawback if I have to say, the other singers are a little bland... compared to the same title CD from Erato. The CDs from Erato would be a better choice if you just go for the music. Also Schafer is in it, too.

I agree with othere that this version is unconventional, but also hasten to point out that the performers are really great. I do believe that Mozart would have been pleased, even if a bit dismayed by the razor-wire and submachine guns. It is really nice to see talented young performers do Mozart well and having fun doing it. I have a conventional version and clearly and strongly prefer this one.

although this DVD has very good performances by Domingo and Scotto it is flawed by very poor filming. Yes the set and costumes are lush, but it is so dark you can't see them. I bought this in spite of it being a Pioneer production, but I
will not make this mistake again.

The Metropolitan Opera went all out to make its production of this rarely performed work a success. The sets are beautiful and match the music perfectly. The conducting and playing could hardly be bettered. Scotto is nearly perfect in the title role (just a few years earlier she would have been absolutely perfect). Domingo was at his best as Paolo. Nevertheless, veteran baritone Cornell MacNeil nearly steals the show as the nasty, brutish Gianciotto. At this stage of his career, his voice was no longer beautiful, but it still had the range, power, and expressiveness to personify this evil character. The opera falls somewhat short of being an unqualified musical masterpiece, but it is a fascinating and dramatically effective work and has some stunning scenes, including the longest battle scene I have ever seen on stage in an opera theater (Die Walkure, Act III Scene 1 is shorter and the actual battle seems always to take place off stage). I recommend that you get this one. You won't be bored.

Francesca da Rimini is a fascinating opera and in parts - the end of act 1, the second half of Act 3 - truly magical. It is not the sort of opera which would take kindly to a minimalist production or to updating, so - in this case - the lavish sets and costumes provided by the Met are entirely appropriate and highly effective (though I do wish the audience would refrain from applauding the scenery). The opera stands or falls by the casting of Francesca and Paolo and in this production it definitely stands. In 1984, Placido Domingo was a dashing and handsome Paolo acting with verve and on top vocal form. We perhaps too often take him for granted because he has been so good for so long. Francesca is supposed to be young and beautiful. Renata Scotto is neither, but for much of the time she makes you think that she is. Her acting is most certainly of the operatic variety, but it works. At this stage in her career, when she is called upon to deliver the highest notes her voice turns hard and wobbles - fortunately there are not that many of the highest notes in this part. The rest of the voice remains gorgeous and infinitely expressive. Levine and the Met orchestra play superbly.

It is almost IMPOSSIBLE to successfully put together a "Best of Carlin" on CD or DVD. Why? Because it'd take up too much time. Carlin has done NUMEROUS bits that are now deemed classic, and personally I think almost everything the man does, is great. And yet, here is this DVD, "George's Best Stuff." Well, it is a start, but only covers SOME of the great things this very funny and unique man has said and done.

It's not a complete disappointment though. The bits and segments included are indeed funny. And, I love how a lot of the stuff included are from older shows and acts. I really do think Carlin shines the best in his older material, but the Carlin today is still very funny and on top of his game. It was nice to see some of these older bits from older shows, and I hope they come out on DVD sometime soon.

The DVD includes famous bits such as "Seven Dirty Words," "Stuff," "Al Sleet," "Dog Incident," "Fussy Eater," "Losing Things," "Driving," and much more. The DVD has a total of 17 chapters and adds up to the DVD being 87 minutes.

AH HA! There lies the problem. 87 minutes. ONLY 87 minutes?? 87 minutes for something with the title of "George's Best Stuff?" These 87 minutes should represent the entire comedy life of George Carlin? I hope not! Like I said, it's a nice start, but I think something of this magnitude should really be longer. There's so much that is left out on this DVD. So many classic bits that fail to appear on this package with the name "George's Best Stuff." The stuff that is included does indeed qualify as some of George's best bits, but I think there was a missed opportunity here. I really think more could've been done.

Is "George's Best Stuff" a complete disappointment? Of course not. Is it enjoyable to watch? Most definitely. Should Carlin fans check it out? By all means, yes. However, I really do believe more could've been done and that more could've been included. While "George's Best Stuff" isn't a total disappointment, it does leave you feeling that more could've and should've been done to honor the very title on the DVD cover, "George's Best Stuff." It's a start, but I'm afraid it is only that.

Well now, it appears we've hit the mother lode with this gem of a comdy video! the reason for me stating so is that it, fortunatly and mercifully contains only classic pre '90's standup material for the absolute pleasure and enjoyment of Mr. Carlin's formerly devoted audience. I especially appreciate the presence of the '77 and '78 routines (blue and black shirts, respectively) that really stand out in the selection of "stuff" from times past that this video showcases. The material from '82,'84, and '86 is not legendary but still not too bad. However, the '88 and '90 parts are strictly mediocre and forgettable, I truly feel. Anyway, I am extremely glad that this, as well as the recent release of the "Little David Years" box set exists on the comedy album market today, in order to inspire up-and-comers and to remind us that the "Former Great" really did use to deliver memorable monologues that did more than make us laugh, they made us think as well. The most important thing for comedy fans to remember is: Classic Carlin is Cool!

This video shows a score of live performance bits, including the seven words in 3 or 4 of the performance bits. It shows him at various ages from young to balding and greying where you can see him performing live. It tops his CD's because you see him live and see and hear the auduence's break-up reactions. Carlin is unique and unsurpassed. I could not recommend this video more highly.

This is as fine an opera production as you will ever see--on film or in person. It is close to perfection. The music is glorious, the singers are brilliant, and the staging is outstanding. I've now seen this production at least ten times, first on VHS, and I never cease to marvel. The DVD is clearer than the VHS, and the sound is magnificent. Above all, buy this to see and hear Ann Murray. Bravo!

This is an unforgettable production of a beautiful operatic work that is worth watching over and over. As for many people, my desire to see the opera grew out of my love for the famous recitative and aria with which it begins, Ombra mai fù, which is a standard part of the repertory for those who study vocal music. It is only through Amazon.com, however, that I found out that Xerxes is considered one of Handel's best operas. The orchestration, under the masterful baton of Sir Charles Mackerras, is profoundly moving, and the singing by all the principals is out of this world -- even if the opening piece, in Ann Murray's hands and in English translation, lacks the emotive power it has been given by great baritones like Bryn Terfel and China's Liao Chang Yong.

I was a bit apprehensive when I saw this opera billed as a comedy, but it turned out to have all of the dramatic intensity and depth of character portrayal of a "serious" opera. It has its humor, indeed, but, as we would expect of Handel, it is humor of a subtle nature that never leans even slightly toward the vulgar or farcical. The work's classification as a comedy derives mainly from its non-serious subject matter -- a hopeless tangle of love triangles centering on a very unkingly king (played by Ann Murray) and his handsome brother -- and from the fact that the many conflicts and deceptions that move the plot to its near-tragic climax are all somehow resolved in the end in a happy ending.

Certainly, for a modern audience, to hear Handel writing the same sort of music that he later used to praise God in Messiah to tell a story about sexual lust and intersibling sexual rivalry also adds the sort of comic touch that arises from the unexpected juxtaposition of the realms of the sacred and the profane. This is truly a masterful opera, and I found myself thinking that Baroque opera, with all its elegance and its stylized acting and staging conventions, in a certain way occupies a higher artistic plane than the much more realistic and complex operas of romantic masters like Verdi and Puccini. And Handel was the unquestioned master of baroque opera.

This particular performance of the opera is remarkable not only for its musical perfection, but also for the unique and highly effective staging and sets, designed with a masterful sense of aesthetic contrast, balance, taste and symmetry that somehow combines a pre-modern (classical and aristocratic) spirit with a modern egalitarianism and a postmodern determination to break beyond the conventional. The sets throughout are gently dominated by the color green, echoing the theme of the first scene where King Xerxes' extols his passionate love for his plane tree in the garden. This passionate love seems to spread out to the whole world of vegetation that the tree represents, and then, with a seemless continuity, to the woman Xerxes falls in love with when he hears her singing outside the garden. Romilda also emerges from the surrounding vegetation into the garden and, like the plane tree, is also blossoming forth in the springtime of youth. "Ombra mai fù, di vegetabile, cara ed amabile, soave più" : Never was the shade of a growing thing more dear and charming, more sweet!).

The set designer, David Fielding, adds one of his subtle touches of humor in portraying the king's beloved plane tree as a rather scraggly little adolescent tree in a large pot, which, as yet at least, is not capable of giving any real shade even to the little patch of ground under its branches, let alone to the King of Persia. Perhaps this foreshadows the fact that Xerxes in the end never gets his longed-for Romilda, whose green nuptial shadow falls instead on the king's brother, the one she really loved.

The other use of color in the staging of the opera is one of the most striking effects I have even seen in a recorded stage production. The main characters are made to stand out from the supporting characters by appearing in full and natural color --both their faces and their elegant vestments. In contrast, there are two categories of supporting roles (obviously consisting of the members of the chorus), one dressed in black with their faces painted in pure white and their hair covered by white plastic so they appear bald. These figures stand or move elegantly but drolly around the stage performing the roles of servants, but with an air of dignity, individuality, and slight bemusement that immediately endears them to the audience.

Then there is another type of secondary actor who are literally "background characters," dressed and made-up totally in grey, so that at first, before they start moving, they appear almost like lifeless statues decorating the background of the king's garden. At times they play the role of dispassionate observers to the passionate events that are occurring among and between the protagonists, but they do engage themselves peripherally in the dramatic action at times by giving signals or words to the protagonists and by giving distinct facial expressions that capture various undercurrents of the emotional tone of the scenes being acted out. Truly a masterful piece of stage work, and it is no wonder that this production won the Laurence Olivier Opera Award.

If I were asked to choose the best production of a Handel opera that I have seen on DVD, I would still choose Julius Caesar, also performed by the English National Opera and Sir Charles Mackerras (I have yet to see the double DVD of Tamerlano, released by ArtHaus in August 2002). This production of Xerxes, however, graced with Handel's most famous aria, stands in a category of its own.

...This performance is by a top cast of English performers at the English National Opera in London. This purchase is worth it only for the fact that Ann Murray sings a superlative Serse (Xerxes). The title role of Serse which Handel composed for the great castrato Gaetano Majorano (who also trained with Farrinelli's teacher Nicola Porpora) is plainly put a terrifying part. Ann Murray (in probably Handel's most testing role for a castrato) offers a clarion and creamy voice which meets every obstacle with her excellent technique. The fact that every aria is stylishly and stylistically decorated according to the competencies of the specific singer are breathtaking: especially in Serse's big set pieces of every Act where MacKerras went to town making the decoration as difficult and intricate as possible. Needles to say these decorations do not seem to trouble Murray at all as she whizzes through them with unbelievable ease. Her colleagues Valerie Masterson (Romilda), Leslie Garrett (Atalanta) and Christopher Robson (Arsamene), to name but a few, excel in this clever production. Leslie Garrett especially seems to have been born to sing Atalanta. The conducting of MacKerras is not very interesting, but his tempi are very well-chosen - although one wishes that they had Minkowski or Jacobs in the pit! Forget other performances of this opera...The English translation (and please note I generally prefer operas to be sung in their original language) fits the music like a glove. The costumes are not modern - mostly 18th century flavoured (around the time of George III). The Genie... of Act two is one of the many demi-gods which were revered in Xerxes's Ancient Persia where this story is set by Handel. This is a clever, nostalgic, funny at times, and a true updating - unlike the Bondy "Don Carlos" - of an opera with a very complicated plot.

When you get a Jeff Foxworthy Comedy video he delivers the laughter. The entire family can enjoy this comedy as it is not R-rated like many other comedians. Nothing wrong with R-rated but Foxworthy provides laughs without the hardcore language or body motions many comedians must use to get you laughing. This "good ol' boy" humor is fun,clean & intelligent.You don't even have to be Southern to find this Redneck humor amusing. You may not laugh out loud at everything but it's worth the money & time to enjoy it. His best efforts by far are: "The Blue Collar Comedy Tour" which is on dvd & vhs and "You might be a Redneck if".

This is not Jeff Foxworthy's greatest concert recording. Indeed, in many ways it's distinctly lacking, and many audience members will notice what is lacking right away: any "You Might Be a Redneck If..." routines.

Still, this concert film is a good bridge between Foxworthy's earlier material and the Blue Collar Comedy Tour (which drew heavily on this content). Laughing about the difference between rednecks and sophisticated people replaces his other Redneck material, and we also get musings like what the artist wishes he knew, and the horror of a bikini wax. Parts of this concert feel a little forced - one gets the feeling Foxworthy tore this material off rather quickly to satisfy contractual obligations with HBO - but on the whole it's pretty good.

This concert will appeal primarily to those who are already established fans of Foxworthy and his distinctive sense of humor. Newcomers would be better advised to pick up the "You Might Be a Redneck If..." or "Games Rednecks Play" albums. Still, if you already know you like Jeff Foxworthy, this is a pretty sharp album, and no waste of your funds.

Foxworthy is very entertaining in this video that covers many hilarious subjects including the 'you might be a redneck..' bit that is always funny! Foxworthy covers things such as marriage, Nascar racing, girl friends, medical operations, driving, family and much more! I thoroughly enjoyed this video and look forward to more of his comedy as it always makes me laugh!!!

I love Jim Breuer, so it pains me to write this...
but DVD was a complete letdown. No cursing, no 'Faggot!' bit, and Jim seemed very restrained beause it was done for Comedy Central TV. The background band gets a little annoying at times.
I made the mistake of buying this after I had seen him live at the Improv, and as you know, 99.9% of comedians are better live.
"My Dog Duffy", in the extras section, was the best bit. There were some funny parts throughout, but overall disappointing. O&A fans will be disappointed as well. BTW, Norton rocks!

Go see Jim Breuer live!

Anytime you see stand-up comedian Jim Breuer take the stage, you know it's going to be a good time. It's not just a regular night of stand-up, it's a all-out crazy party! Jim Breuer takes no prisoners in this Comedy Central Special, "Jim Breuer: Hardcore."

You almost get exhausted by just watching him run around the stage like a madman. There is hardly a second that goes by where you're not laughing hysterically. In this special, Breuer talks about music, drugs, growing up, being a father, being married, and more. There's also a band that Jim travels around with when he performs, which really separates this comedy special from the rest.

The DVD has a few special features, such as never-aired performance segments and two segments from Jim's first Comedy Central performance. It's not a lot, but for a comedy special DVD, those are some really cool extras.

The only major drawback is the breaks in where the commercials would usually separate the show if you were watching it on cable. It kind of ruins the flow at times. You would really be getting into it all and then all of the sudden there's a little segment break that was intended for commercials. And there's A LOT of those breaks, so be warned. Still, it doesn't ruin the overall experience.

If you love comedy that's insane, different, unpredictable, and "drop-to-the-ground" funny, then Jim Breuer is your guy. "Jim Breuer: Hardcore" is a must-have for all comedy fans. A very high replay value on this one. Check it out as soon as you can.

Jim Bruer is one of a kind when he is live. If you don't get to see him stand up, then BUY this DVD, even if you do see him stand up, buy this DVD. Jim keeps you laughing with his body language and physical appearance he displays when doing his stand up.

This DVD is a must have for any Jim Breur fan, no secong thought needed.

I bought this DVD and the "Sam Kinison - Why Did We Laugh" DVD and the "Why" DVD is much better (and cheaper). It includes interviews from other actors/comedians and all the best footage from the "Breaking Rules" DVD. Plus cuts out all the homophobe/AIDS material which crossed the line. You only need the "Why Did We Laugh" DVD -- it's an excellent tribute and very funny.

This is a MUST buy for all Sam Kinison fans. We miss you Sam, but thankfully your spirit will live on in the dvds provided for our entertainment. Every time I listen to Sam Kinison I can gurantee you I will be having respitory problems after the show is over, due to all the laughing you get out of this guy! This particular dvd is one of my favorites. So if you're a newbie to Sam's work or a fellow fan and you don't have this, BUY IT! IT'S 110% WORTH IT!GOD BLESS YOU SAM, WE WILL NEVER FORGET YOU!

Love him or hate him, Sam Kinison was a comic genius, and was extremley talented at what he did. Sure, he might've offended many and raised some eyebrows, but that's what he wanted to accomplish. Sam was one of a kind all right, and this DVD does him justice.

I have the tape, but I was glad that it came out on DVD. First off, the picture looks really good. It was a pretty old performance, too. And there's some cool extras. Like never before seen material, which is really hillarious. This is a must-have if you love Kinison.

This is a great performance. Through yelling and engergetic story-telling he talks about marriage, drugs, being arrested (thanks to his ex-wife), pleasing women (in a way I cannot describe on this site,) and much, much more. He's always able to make me laugh, even if I feel guity afterwards.

Sam was a true genius. It's too bad he's not around. So many talented people have died to quick and left us all too soon. Kinison was a one-of-a-kind, and no one will ever be able to duplicate him. That IS a fact.

We miss you, Sam! R.I.P.