Heat Exchangers Movie Reviews

You can look up the individual reviews. Of course some individual titles will go out of stock. Others may not be your favorite. However you will have friends and relatives that will want to compare Al's various characters. A single case makes the movies easier to keep track of and look better on your video storage wall. Being DVDs this is a one-time investment. With the advent of multiple DVD changers you will be able to keep Al ready at a moments notice. I tried buying individual as I had the money and found shipping was getting very expensive that way. So bite the bullet and buy the collection. There is also the Al Pacino Collection (1999)

This is a perfect collection of Al Picino movies. Every one would recieve a 5 star rating from me. He is one of the greastest actors there ever was and on DVD the movies are better than ever. A must have for any fan of Al Picino.

5 Stars

Al Pacino is great in these movies and the movies are so masterfully acted out. I believe that Al Pacino is one the best actors alive along with Robert DeNiro and in "Heat" they show that there chemistry on the screen together is untouchable by any other duo. The Devil's Advocate is a great movie because it shows another side to Al Pacino's acting ability.

I thought that Gloria Araya-Quinlan did a fantastic job instructing in both Urban Heat and Latin Grooves. My favorite is Latin Grooves because it's a really great time. Not only does she break down the steps in an easy to understand way, she totally motivates you by getting you in the mindset. The "cool down" segments are so enjoyable.

This is a pure classic of American History. Before Neil Armstrong and "Buzz" Aldrin" walked on the moon, Lewis and clark began a journey of equal importance over 150 years before. We are now approaching the bicentennial of that voyage. This journey is equal to the United States quest of the moon. In the video they commented that during the Apollo 13 emergency JIm Lovell and crew were in constant communication with mission control in Houston. Lewis and Clark were completeley isolated from Washington. Any communication would take weeks to travel.

In 1803 Thomas Jefferson Purchased the Louisiana Territory from Napoleon. Jefferson Comissioned his friend Merriwether Lewis to explore this new territory. Being a naturalist, Jefferson wanted Lewis to record all of the nature of this new area. His main purpose was to discover the northwest passage.

In 1804 Lewis and his partner William Clark set out along the missouri river. Ken Burns does a great job of capturing the beauty of this area. The Buffalo herds today were not any where near the size of the herds when lewis and clark first saw them. They also saw prarie chickens as well as prarie dogs. Lewis sent a couple of prarie dogs back to Jefferson.

Lewis and Clark never found the northwest passage, but they returned as heroes. Ken Burns includes what happened to Lewis and Clark after their journey, including the tragic suicide of Merriwether Lewis. The journey of Lewis and Clark was a major accomplisment for the young United States.

I first saw this film on PBS quite by accident. I was channel surfing, and in a very restless mood. When I came upon it, what initially transfixed me was the spectacular photography. The sweeping vistas of the American West captured in this film are almost breathtaking. Then the narrative itself reeled me slowly into shore and I could not stop watching it. I have seen hundreds of documentaries over the years but few have made me almost forget that what I was watching and hearing was fact, not fiction. Ken Burns, the director, producer, and jack-of-trades behind this production has put forth a yeoman's effort nearly rivaling in vision what the explorers themselves were guided by. The film editing is superb--giving the story a variety of narrative voices needed to sustain it over such a lengthy project. I was especially impressed by the way the commentary of historians who have written on this monumental undertaking were added to the voices of the journals themselves. Even if you are not a history buff, you will enjoy and appreciate this film. It is instructive on many levels, both practical and spiritual. As others have said, its retelling is poignant, sensitive, and engaging, particularly in relating the fates of these men and women. This is one of those films you buy as a family investment, to share with the younger generation when they are ready to receive it.

This is another well-made documentary by Ken Burns. What I love most about his films is that they incorporate beautiful and relevant images and scenery with important quotes, figures, and anecdotes from the event in question. It would have been a difficult task to produce a four-hour documentary on this expedition--there were no photographs taken, and little physical evidence still exists from the trip. But the scenery is still there, and Burns makes ample use of it.

The best part about this documentary, however, is the characterization--not only of Lewis and Clark, but also of their men. This film portrays them as a closely-knit family, a band of brothers. And, most importantly, it shows that they were ALL heroes, down to the last and weakest of the men. Lewis and Clark are portrayed as the extraordinary individuals and talented leaders that they were, but the ugly side of both men is also apparent. Lewis and Clark were human, and this is one of the things that makes them such spectacular models of American spirit and courage. This film helps us to see Lewis and Clark, as well as Thomas Jefferson, as the great heroes they were.

Like Burns's documentaries on Mark Twain and the Civil War, this film successfully conveys the emotion, the feeling of the Lewis and Clark expedition. This is much more than just a rambling of dry historians or a rattling of dates and facts, this is a story. Most importantly, it is a true story, told in a true manner, one which will give inspiration and courage for many generations to come.

This is a damn good movie. Al Pacino yells too much--as per his usual arrangement--but other than that, pretty good film. Ashley Judd delivers the first solid performance I personally saw her give--she was shaky in some other things I'd seen. Val Kilmer delivers here too. Good plot, nice twists, interesting characters. Nicely done.

Forget for a moment the acting, direction,plot and script,Heat is a film that has managed to pair two of the greatest actors of all time, Al Pacino and Robert De Niro. No matter where you go around the globe, ask any person from any culture who his/her favorite actors are and two names will invariably always come up, Pacino and De Niro. To cast these two 'giants of method acting' in one film is a great achievement in itself, and makes Heat a film to be reckoned with.Surely Pacino and De Niro have been in the same movie before, Godfather 2, but as they played the young dad Don Corleone and the old son Michael Corleone, they never actually shared a scene in real time before Heat.
Now forget about Pacino and De Niro for a moment, and let us look at the film itself.
Heat is the best gangster movie I have seen since the two Godfathers, and this is despite the somehow over the top and sentimental ending which was slightly uneven compared to everything that happened before in terms of style, plot and tone of the picture.
What works so well in favour of the film is a fine direction and script by Michael Mann, and great acting from all involved, Val Kilmer,Tom Sizemore, Ashely Judd, Jon Voight, Ted Levine and Amy Brenneman.
It has one of the best bank heist/street battle scene I have ever seen.
The plot offers much more than your average cat and mouse chase between cops and robbers: it is evenly focused on the thefts as much as on the drama,and the domestic life/problems of its characters. The characters in Heat have a three dimensional and deep personalities, so much so that you come to know the principle players so well, and whether they are good or bad, you can't not help but feel sympathy and concern for them.
The film is quite visual too and we get to see lingering and beautiful shots of LA, especially at night.
The bond that eventually ties cop and robber is very well written, two similar men but at the opposite sides of the law develop an understanding and respect for each other, and this adds so much to the film.
All these elemets make Heat a movie that should not be missed..one that will entertain you,involve you and delight you with its excellent direction, script and the meeting of two giants.

You can't walk away from this one in 30 seconds. This is an all star cast of a bank robbery crew pitted against the LAPD's robbery division. Who will win? I'm not telling. Just remember that in the end it's always a woman's fault.

This film should have an Oscar. Breathtaking and carefully crafted one of the best films I have seen. The film very cleverley shows the end of British as well as the end of Old mughal Nawabs in northern India. Though muslims by faith, the Nawabs or the Princes were far away from their faith and beliefs. It was an eye opener for me as well which explains the fact that such a great Mughal Empire just crumbled within a century.

This 1982 Merchant Ivory production is a lush, atmospheric period piece based upon the well written book of the same name by Ruth Prawer Jhabvala, who also wrote the screenplay for this film. Set in two distinct eras, colonial India of the nineteen twenties, during the time of the Raj, and the independent, freewheeling India of the early nineteen eighties, during the time when India was a mecca for disenfranchised youth, it explores Anglo-Indian relations through the power of romance. This is subtley done through the story of two women.

One story is that of Olivia (Greta Scacchi), the young and beautiful wife of Douglas Rivers (Christopher Casenove), a minor district official in colonial India. The film tells of her arrival in India, newly wed and in love with her husband, her subsequent boredom with the staid, British Colonial community, and her blossoming infatuation with the Nawab (Shashi Kapoor), a very handsome and charming, local Indian prince. It is her romance with the Nawab that is to result in a life changing action, one that would forever cause a permanent rift with Douglas, changing her life forever.

The second story is that of Anne (Julie Christie), a beautiful and independent woman, a descendant of Olivia's sister. Nearly sixty years after Olivia's transgression, fascinated by the story of the deceased Olivia, Anne goes to India, visiting those locations where Olivia had lived and those which would have been a part of her existence at the time. As did Olivia, she falls under India's spell. As did Olivia, she, too, has an Anglo-Indian love affair. Hers is with her landlord, Inder Lal (Zakir Hussain). Anne's life essentially picks up where the thread of Olivia's life left off, giving the viewer a powerful sense of de-ja vu and a suggestion of reincarnation.

This film is a beguiling story of two women from two different generations who come under the spell of India. It is is evocative of British colonial India, as well as of India of the early nineteen eighties. During both eras, Anglo-Indian relations are pivotal to the budding romances and the film is evocative of the rythyms of Indian life in all its richness and tumultuousness, as well as its lingering poverty and superstitions. Redolent of a time gone by, it is also an interesting dichotomy of the good and bad in both cultures, Anglo and Indian, and the influence that both cultures have on these two women, who are so different, yet so alike.

Julie Christie is perfect as the thoroughly modern, beautiful, free thinking, young woman who retraces her ancestor's footsteps. Greta Scacchi, in her introductory film role, is luminous as the lovely Olivia, a woman who did not let prejudice and narrow mindedness blind her to the charms of India, its people and its culture. Shashi Kapoor is perfectly cast as the handsome Indian Prince, whose veneer of culture and sophistication belies an injured pride, chafing under British colonialism. While the role of Inder Lal is well played by Zakir Hussain, there does not appear to be much chemistry between him and Julie Christie, in contrast to the smoldering chemistry there is between Scacchi and Kapoor. The seeming lack of chmistry btween Hussain and Christie is the one weakness in this film.

The film, one of the earlier Merchant Ivory productions, is beautifully shot. Gorgeous period costumes contribute to the sense of a time gone by. While the story bounces along between the past and the present, it is effectively done, as one sees the transformation of the past to its present. This is a film that will appeal to those who love period dramas, as well as those who simply love a good, entertaining story. Unfortunately, it is no longer available in video. It is, however, deserving of having its print transfered to DVD, as it is a film well worth having in one's collection.

I watched the movie almost twenty years back on Indian TV and was entranced by the romance of British India. I then ordered it on UK Amazon site, bought a code free DVD player, just to watch this movie. This is one of those rare instances when the movie is far better than the book. May be that has to do with the fact that the author was also the script writer. The cinematography is incomparable. The backbone of the story is the beautiful Greta Scachchi and her romance with an Indian prince.

If you are a fan of the female breast, you can't help but enjoy this film. There is plenty of gratuitous nudity, which is what you should expect from a movie like this. Don't try to find a plot, just sit back and enjoy the scenery.

Cute little mini-series, kind of a "serious-comedy"; Adventures revolve around Justine a student at a private girls school and her Professor Robson. This is the 1st of the series and it introduces the main characters. Most of the short stories involve archeological and antiquities adventures. Plenty of nice nude sceens of Daneen and a few of her friends...

Ned (William Hurt) is a second rate lawyer and a fisrt rate womanizer. One night he runs into Mattie Walker (Katheen Turner) and they begin a red hot affair. Eventually the kill Mattie's husban to collect the insurence, and then it seems she's set him up for the crime. This is a throw back to the old '40's film noir where the men are bad and the women are worse. Turner and Hurt have a chimistry most couples could only dream of, that part comes off right. It's some of the plot twists I thought was silly. The husband is suppose to be some kind of real shark, but he dosen't seem that bad. Also the ending twist seems a little out there (the cops should have thought of that too). Ted Danson and Mickey Rourke do pretty good, Danson being the better of the two because he had more screen time. They are both tring to keep Hurt out of trouble, but he dson't listen. This movie was pretty good, though it bares too much of a resembelence to "Double Indemdey", which was the same basic thing. Not to bad, but I wish it could have been better.

I saw the original release in a theater in 1981, and I am dissapointed in the current "R" release. It has been censored to make it sellable in family video stores like Blockbuster. The original love scene was the hottest I have ever witnessed in any film, mainstream or X-rated. It had a long slow pan showing William Hurt's arm around her thigh and holding her breast, so you could guess exactly where his face was. Her breathing was so realistic, you could almost feel what she was feeling. As she comes, all you see is her hand gripping the carpet. The filming, and Kathleen Turner's acting is pure genius to capture that much passion, and all done with the power of suggestion, no explicit shots. It's really a shame that original scene has been replace with a fairly conventional, missionary position love scene. I was hoping there was a separate "director's cut" edition somewhere, but I have not been able to find it.
Other than the toned-down sex scenes, it's a pretty good mystery-thriller, so I'll give it a three.

The "total package" in "Body Heat" makes it the best film noir ever made. No other movie, even the great film noirs like "Double Indemnity" or "Out of the Past" (an overlooked gem starring Robert Mitchum and the wonderful Jane Greer), fall short of this movie's combination of great characters, a sly script with a terrific twist, real sexual heat that makes the murder plot not only plausible, but inevitable, and a haunting score by John Barry. Yes, the script owes something to "Double Indemnity," but the enforced chasity of Hollywood movies in the Forties diminished the power of Barbara Stanwyck as that femme fatale. Greed seemed an equal motive with lust because we never got to see the lust working on screen. In "Body Heat," you know that Matty Ross can and will manipulate Ned Racine in and out of the bedroom. She is smarter, tougher, and way ahead of him every step of the way. He is so distracted by sex that he cannot see beyond her thighs, and she is smart enough to always let him think that he is in control. What a great movie!

The Big Heat is an excellent film-noir directed by Fritz Lang with a very fitting title. Lee Marvin steals the show as Vince Stone. He is the scum of the earth in this film, and he does it so well. He's the bad guy you love to hate. Glenn Ford is also very good as detective Dave Bannion. Lang tells a great story of corruption, greed, and violence. You will be on the edge of your seat. Beautifully shot noir. ****1/2 (of *****), too bad Amazon doesn't use half-star intervals, huh

Glenn Ford is a family guy/good guy/honest cop until somebody blows up his wife - oh well, into everyone's life a little rain must fall. This reads more like a hurricane. "The Big Heat" is a classic film noir peppered with explosive performances, great visuals and a thrilling climax. Lee Marvin is numero uno tough guy, flanked by sultry Gloria Grahame, who's playing both sides of the fence - you go girl!
Columbia Tri/Star has given us a very nice looking print of this classic film. After some grainy, opening credits, the picture quality is nearly flawless, with minor edge enhancement, pixelization and shimmering only apparent at times and, even then, at levels that are nothing to complain about. Contrast and black levels are beautifully rendered. The audio is original mono and very well represented.
EXTRAS: True to form, Colombia doesn't care about extra features. A real shame for this disc since a documentary would have been nice. Still, considering that, in their recent releases (The Awful Truth, Talk of the Town) Colombia doesn't seem to care even about the picture quality of the actual movie, I'll take what I can get! "The Big Heat" looks great!
BOTTOM LINE: This is a must have for anyone who admires those hard-boiled crime thrillers of yore that no one seems to make any more.

Columbia Pictures under the Direction of Fritz Lang produced a great Good Cop with a Hero Image Against the Rotten Corrupt World of a 1953 City. Thats Hollywood stile film making.

Glenn Ford portrays the only honest hardnose City Police Detective who sacrifices everything to maintain his morale integrity.

He investigates what seems to be a routine policemans suicide but uncovers a complex corruption ring which includes, gangsters, politicians and his own police precinct. Quickly finds himself on the outside with everyone trying to squash his investigation, life threatened he begins to battle the odds alone.

This 1953 Black & White Standard Format (Full Screen) is beautifully digitally transferred. The picture & sound quality is awesome. A great story, an outstanding cast with Glenn Ford as the hero Detective, Lee Marvin as a Gangster Stooge and a delightful Gloria Grahame as his girlfriend.

This is a must see movie for Sam Spade & Phillip Marlowe admirers.

Special features include only an original theatrical trailer.

Enjoy.

Unfortunately--I Am unable to view this product because of some mal-function of the TAPE.Each time I'VE INSERTED IT INTO my 2 different vcr's plus my neighbors and finally a relative's --IT SELF-EJECTS!please advise.In an attempt to locate the seller:scottsaucs@sbcglobal.net I'VE RECEIVED PERSON UNKNOWN RESPONSE.We really want this vhs tape but are reluctant to pay for it again via Amazon.com.please advise and how may I return this one?

Sincerest Thanks,don greathouse

p.s very satisfied w/all other transactions

One of my favorite movies ever. I have watched this movie dozens of times and never tire of it. It is truly great and deserving of all the awards it received.

"In the Heat of the Night" won the Oscar for Best Picture of 1967. I was a Freshman in college that year, and all the talk was about "Bonnie and Clyde", a great film. "The Graduate" was doing the art-house circuit, and wasn't widely seen at the time. "Guess Who's Coming to Dinner" was, at the time, considered ostentatious (a rich Black man marrying the daughter of a rich White couple...how shocking!); the fifth nominee that year was Rex Harrison's "Doctor Dolittle", but I don't want to talk about that. I find that, 25 years later, I pull out "In the Heat of the Night" to get my kicks from brilliant film-making, as well as good suspense and fine acting and direction. This was Norman Jewison's first nomination for Direction, and not his last. Some say he lost it to Mike Nichols for "The Graduate" because Nichols probably should've won for his debut film effort, "Virginia Woolf?".Maybe. Some say Rod Steiger won his acting Oscar because he lost in '65 for "The Pawnbroker". I doubt it. In my humble opinion, this was Steiger's penultimate role, a man who is so sure of himself, yet is taken down a peg by someone better. He will never show his insecurity, though you know it's there. I also believe, after watching this often, that Steiger's Gillespie is NOT racist, merely dealing with a racist environment. It's mentioned that he's the new sheriff, but it never says where he came from. This is good, because Steiger starts from scratch, builds a compelling character, shows a bit of lack-of-control, and it makes him nervous an wonderfully vulnerable. His mind is usually open. Virgil teaches him; hence, whatever happens later can only be for his benefit. Great characters. Poitier was in 3 good films in 1967: this one, "Guess Who's Coming to Dinner", "To Sir, With Love". I'm sure that, when nomination time came, his votes were divided. For this reason alone, I think he would've won. The performances of Lee Grant, Quentin Dean and Scott Wilson (he was in "In Cold Blood" that year) were stellar. The great old gospel singer, Jester Hairston, also had a small role; he dubbed the singing for Poitier's Oscar winning role in "Lilies of the Field" ("Amen!"). Interesting stuff! Sterling Silliphant's screenplay won the Oscar hands-down, a riveting narrative of a complicated book. The greatest thing about Steiger's performance is that you know nothing about him or his background when the film begins, or even when it's over. What you know is that he's stuck in a place he doesn't like and no one likes him; there are suggested gay overtones, especially when he's in his home and he and Virgil talk about loneliness. It's quite profound when he doesn't get the answer he wants. There's also the great Beah Richards, in a small cameo, as Mama Kaleba; a sweet but nonetheless reprehensible character; she was nominated that year for "Guess Who's Coming to Dinner", as Poitier's wonderfully heart-broken mother, a fine performance. Yes, 1967 was a great year. "The Graduate" broke a few barriers; "Guess Who's Coming to Dinner" broke some, and, certainly, "Bonnie & Clyde" made bad guys look good. Don't forget Richard Brooks' "In Cold Blood"...A great year, but I still think "In the Heat of the Night" is the film I prefer to watch.

This is probably the most accessible of the Worhol flicks, and comes across as a seedy voyeuristic experience. Sylvia Miles is fantastic as a whacked-out, washed-up actress of yesteryear, and her sexually-confused daughter is just as off-kilter. It's filled with hilariously weird characters and scenes, most noteably the scene where Joe (Dallesandro) and his landlord (Pat Ast) end up caressing each other in bed, in order for him to get "that discount" on his rent. Another stand-out is the discussion between Sylvia and her daughter over the possibility that her grandson will become a lesbian if he is raised by two gay women! The dialogue seems very natural, and perhaps was largely improvised. The label "art-house film" is appropriate here. More refined than Worhol's/Morrissey's "Trash" and "Flesh", this stream-of-consciousness film should satisfy if you enjoy well-done low-budget independent films.

Change the planet, leave New York City and move to Los Angeles. Bring a youngish beautiful man in a nest of women in heat and you could end up with a gigolo who plays the role well but cannot stand the constant rivalry between the mother, the daughter, the motel manager, and a few others, and he has to leave but to go where ? To go back to the motel swimming pool and a mother who arrives with an unloaded gun and commit the crime of shooting someone without any bullet. But it also reveals that women are looking possession and not just pleasure, and they are ready to do anything to have that possession, which a man cannot accept, no matter how greedy he may be. The end shows how castrating these possessive women can be, but without any smoke from the gun, any blood from the blade. Castrating but impotent, and they end up being hysterical and nothing else. California is nothing but heat and does not in anyway bring liberation or pleasure, just lust, greed and possessiveness, which is another word for greed. In other words this film is the total anti-picture of Hollywood : no gloss, no shine, no stars, no limelights, just hysterics, tears and sunshine. What a life for a man, even one who would like to live off the crop, on the back of the gullible women who need a man as a toy. There is no pleasure in being the toy of a possessive person who does not want to share the toy and prefers ripping it to pieces to sharing it with someone else.

Dr Jacques COULARDEAU

THIS IS THE BEST OF ALL....AND PAT AST LIVES OVER ONE BLOCK, AND IS THE MANAGER OF HER APARTMENT COMPLEX. I AM CONSTANTLY ASKING PEOPLE IF THEY USE THEIR MOTHERS FOR THEIR MONEY, AND I ALWAYS ASK MY ROOMMATE FOR THE RENT...TWO WEEKS OVERDUE. WHEN WE DONT LIKE SOMEONE, WE DONT WANT ANYTHING TO DO WITH HER...AND WHEN YOU LEAVE MY APARTMENT, STOP SLAMMIN THE GOD DAMN DOOR, THE NEIGHBORS ARE COMPLAININ'. MY ROOMMATE PUT HOLES IN THE WALL, AND I ASKED HIM, IF AND WHEN HE IS GOING TO FIX THEM, AND IF HE INTENDS TOOOOOOO....WE TAKE HEALTH FOODS, AND LUV IT. AND I HAD TO ALSO CHANGED MY PHONE 7 TIMES AND SOMEONE TOLD MY GIRLFRIEND PEGGY, THAT I WAS A LESBIAN. BUT LISTEN, SALLY IS A WOMAN, AND HAS NEEDS. SO, I HAVE TO ADMIT, I DON'T PULL ANY FITS AND I FIND MYSELF STOPPING WITH ALL THE FANTASIES. THIS IS HOLLYWOOD, DARLIN, AND WE DONT WANT TO BE WRITTEN UP IN A COLUMN. OH, DONT BE SPLASHIN, IN THE POOL, AND.....I LIKE HAMBURGERS, TOO. ...ME TOO......AND PAT AST, IS LOOKIN' LIKE A BIT OF SEMI HEAVEN, EVERY DAY. SEE YOU ON CHANNEL 11, ON THE BIG RANCH.