Dallas Movie Reviews

This movie portrays two police detectives -- each with their own problems, through a series of adventures. What a cast-- Robert Foxworth plays a Russian Immigrant that has "seen too much" and has a drinking problem because of it. Paula Prentiss gives the performance of her life as his newly assigned partner -- entirely against her wishes. Great plot! Great supporting cast too.

This six-part documentary is created for serious students of film, as European silent pictures would be unfamiliar (and uninteresting) to most casual viewers. The six-hour running time can also be a deterrent. But, for those who are willing to partake of this journey, it is extremely well done. An off-screen Kenneth Branagh, bridging the material to me as an American viewer, narrates each segment. And the remastered quality of the selected scenes is startling considering most have been forgotten, lost or destroyed.

The first episode, entitled WHERE IT ALL BEGAN introduces the series and discusses the first movies and how they were affected by the onset of World War I. The second episode, PROMISED LAND focuses on hour on the Swedish impact on cinema. Then they discuss German expressionism in Part 3, THE UNCHAINED CAMERA. That is followed by the French contributions in THE MUSIC OF LIGHT, Part 4. Part 5 OPPORTUNITY LOST, reveals British filmmaking as sub par and only shows promise when they stylistic borrow from Germany. Alfred Hitchcock is also featured. END OF AN ERA chronicles the arrival of sound film and how it affected all the involved countries as well as the onslaught of World War II.

CINEMA EUROPE is a wonderful essay on silent European films but it can be a long journey with some repetition. But, many of the clips are marvelous and the musical reconstruction is great. The DVD has no special features beyond an episode scene selection.

Brownlow & Gill's documentary series was originally broadcast in 1996 by the BBC to celebrate 100 years of cinema. Not only is it incredibly interesting as a history lesson but top marks must go to the archive researchers who have dug up some incredibly rare footage (such as Dietrich's screen test for THE BLUE ANGEL). All 6 episodes are on this 1 disc and although there are no extras, you do get 6 hours of pure magic, masterly narrated by the excellent Kenneth Branagh. The quality of the archive footage is amazing and anyone contemplating studying film for education or academic reasons really should start with this disc, for it starts with footage circa 1895 (including the Lumiere bros) through to the advent of sound over 30 years later. It's all very well to read about this stuff in textbooks but seeing it on your TV really does make a difference. It is truly amazing just how much stuff has survived considering the time that has elapsed and the chemical volatility of early nitrate film stock. All in all this is well worth watching, masterfully put together and nicely presented. It is also worth noting that contrary to the technical information on the page, this disc is in fact not region coded so will play in any DVD player in any country so you really have no excuse not to get it (however the U.S. appears to be the only country where this series is available as a DVD).This disc is must for any film student or historian!.

If you are interested in film and want to learn more about the early days, you will be enthralled, from start to finish, by this remarkable six-hour documentary, the last joint project by film historians Kevin Brownlow and David Gill. Intelligently written and wonderfully narrated by Kenneth Branagh, each hour is filled with rare film clips and fantastic interviews.

The only weakness here is a lack of extras. A documentary or commentary track about how these clips were found, etc., would have been wonderful. Also, a documentary package like this would be made even more valuable with the addition of a comprehensive index of the actors and films.

Many films available to Western markets regarding the culture, customs, and struggles of the British peoples leave Scotland quite out of the picture. Sweet Sixteen is refreshing change, then, as a very in-depth look at the situation of one young Scotsman.

There is a romantic idea about Great Britan, at least in my circles, that posits some sort of dreamworld in which the peoples of the Isles are living happily ever after. Various films spotlighting the Ireland of today have, in recent years, discredited such ideas. Nonetheless, what is Scotland but sheep and kilts and idyllic castle scenes? It is a place much like the one in which Americans live as well. Young Liam, the protagonist of Sweet Sixteen, is trying to put his really messed up family back together. To do so, he chooses to accept a life of crime to secure the funds necessary to buy his small family's independence from his horrid grandfather and his mother's boyfriend.

Crime doesn't pay after all, for Liam, however. Through his struggles to find an equilibrium at the expense of others, he tarnishes his noble Scots soul with petty theft, brawls, drug-dealing, and even an attempted murder. It becomes very difficult to sympathize with the likable young man who catches our attention at the beginning of the film. Sadly, our look at Liam does not leave him in a state any happier than he was when we found him. It is not a new idea or theme that is introduced in Sweet Sixteen, but the moral is one which America seems to often forget: the youth are noble and will do nobly if we give them the opporutunity. Liam was not given the opportunity, left to the care of two abusive men who provided a predilection to crime. The world shamefully failed Liam, though his responsibility was not ingnored in the film.

Sweet Sixteen offers the Western world a chance to reconsider the way we raise children, operate social services, and the frequency and ease of divorce.

Ken Loach films tend to be hit-and-miss for me. I loved "Bread and Roses," for example, but disliked "Carla's Song." I was uncertain exactly what was in store for me when I rented "Sweet Sixteen". The film is set in Scotland, and the accents are strong enough that the film is subtitled. The story concerns a 15-year-old boy named Liam whose mother is serving jail time for illegal substances. Liam lives with his violent stepfather (who sells those illegal substances) and his unpleasant grandfather. The home situation is tenuous at best, but when Liam disobeys his stepfather's attempt to smuggle drugs to his mother during a prison visit, he is beaten and tossed out on the streets.

Liam moves in with his sister, Chantelle--a single mother--who lays down some rules in an attempt to protect her child. Liam and best friend, Pinball, dream of buying a caravan for 6,000 pounds, and the plan becomes to get this caravan in time for Liam's mother's release from jail.

"Sweet Sixteen"--although a tale of hopelessness, was not overwhelmingly depressing, and this is thanks to the likeablity of Liam's character. Liam has no future, and no means of getting a quick 6,000 pounds, so he turns to Heroin sales as a way to meet his humble goal. There is something fundamentally good in Liam's soul, but unfortunately he is corrupted thanks to his environment. He doesn't stop and question the morality of selling Heroin--after all, it's a family tradition. During some scenes, I was touched by Liam's childlike qualities, and yet at other times, I was horrified by his behaviour (when he goes joyriding with his infant nephew for example). These sorts of scenes underscore the moral vacuity of Liam's upbringing. What chance does Liam have? What chance did he ever have?

Loach tends to concentrate on the working classes, and this film is not an exception to this. The picture Loach paints is bleak indeed, and I couldn't help but wonder how much Liam could have achieved in life if given better circumstances. Martin Comstock plays Liam, and this is his first acting role. He really does an incredible job and is a natural. The film is gritty, dark, and full of hopeless characters who cannot escape from their environment, and yet some optimism remains. "Sweet Sixteen" was not a pretty film, and it certainly is a sad commentary on our times that a kid as resourceful, clever, and funny as Liam remains trapped in a world without opportunities--other than criminal--displacedhuman.

This is a phenomenal movie about a 15-year-old boy named Liam who is trapped in a culture and lifestyle of crime (in an early scene, his grandfather and his mother's boyfriend demand that he smuggle drugs to his mother in prison), when all he dreams about is creating a home for his mother, his sister, and her child. Liam is destined to repeat the same mistakes that he is fighting so hard against, and all we can do is sit back and watch him struggle with the rock-and-a-hard-place decisions with which he is faced.

This may sound like your typical "good boy falls in with the wrong crowd" film, but it is far from predictable, and the story and acting are excellent. Director Ken Loach does a fantastic job with a cast that is new to the acting world (sadly, this film will be overlooked because it features no "big names"), and they portray the culture and lives of these characters quite convincingly.

Highly recommended, and it is worthwhile to listen to Loach's commentary track as well.

Many films available to Western markets regarding the culture, customs, and struggles of the British peoples leave Scotland quite out of the picture. Sweet Sixteen is refreshing change, then, as a very in-depth look at the situation of one young Scotsman.

There is a romantic idea about Great Britan, at least in my circles, that posits some sort of dreamworld in which the peoples of the Isles are living happily ever after. Various films spotlighting the Ireland of today have, in recent years, discredited such ideas. Nonetheless, what is Scotland but sheep and kilts and idyllic castle scenes? It is a place much like the one in which Americans live as well. Young Liam, the protagonist of Sweet Sixteen, is trying to put his really messed up family back together. To do so, he chooses to accept a life of crime to secure the funds necessary to buy his small family's independence from his horrid grandfather and his mother's boyfriend.

Crime doesn't pay after all, for Liam, however. Through his struggles to find an equilibrium at the expense of others, he tarnishes his noble Scots soul with petty theft, brawls, drug-dealing, and even an attempted murder. It becomes very difficult to sympathize with the likable young man who catches our attention at the beginning of the film. Sadly, our look at Liam does not leave him in a state any happier than he was when we found him. It is not a new idea or theme that is introduced in Sweet Sixteen, but the moral is one which America seems to often forget: the youth are noble and will do nobly if we give them the opporutunity. Liam was not given the opportunity, left to the care of two abusive men who provided a predilection to crime. The world shamefully failed Liam, though his responsibility was not ingnored in the film.

Sweet Sixteen offers the Western world a chance to reconsider the way we raise children, operate social services, and the frequency and ease of divorce.

Ken Loach films tend to be hit-and-miss for me. I loved "Bread and Roses," for example, but disliked "Carla's Song." I was uncertain exactly what was in store for me when I rented "Sweet Sixteen". The film is set in Scotland, and the accents are strong enough that the film is subtitled. The story concerns a 15-year-old boy named Liam whose mother is serving jail time for illegal substances. Liam lives with his violent stepfather (who sells those illegal substances) and his unpleasant grandfather. The home situation is tenuous at best, but when Liam disobeys his stepfather's attempt to smuggle drugs to his mother during a prison visit, he is beaten and tossed out on the streets.

Liam moves in with his sister, Chantelle--a single mother--who lays down some rules in an attempt to protect her child. Liam and best friend, Pinball, dream of buying a caravan for 6,000 pounds, and the plan becomes to get this caravan in time for Liam's mother's release from jail.

"Sweet Sixteen"--although a tale of hopelessness, was not overwhelmingly depressing, and this is thanks to the likeablity of Liam's character. Liam has no future, and no means of getting a quick 6,000 pounds, so he turns to Heroin sales as a way to meet his humble goal. There is something fundamentally good in Liam's soul, but unfortunately he is corrupted thanks to his environment. He doesn't stop and question the morality of selling Heroin--after all, it's a family tradition. During some scenes, I was touched by Liam's childlike qualities, and yet at other times, I was horrified by his behaviour (when he goes joyriding with his infant nephew for example). These sorts of scenes underscore the moral vacuity of Liam's upbringing. What chance does Liam have? What chance did he ever have?

Loach tends to concentrate on the working classes, and this film is not an exception to this. The picture Loach paints is bleak indeed, and I couldn't help but wonder how much Liam could have achieved in life if given better circumstances. Martin Comstock plays Liam, and this is his first acting role. He really does an incredible job and is a natural. The film is gritty, dark, and full of hopeless characters who cannot escape from their environment, and yet some optimism remains. "Sweet Sixteen" was not a pretty film, and it certainly is a sad commentary on our times that a kid as resourceful, clever, and funny as Liam remains trapped in a world without opportunities--other than criminal--displacedhuman.

This is a phenomenal movie about a 15-year-old boy named Liam who is trapped in a culture and lifestyle of crime (in an early scene, his grandfather and his mother's boyfriend demand that he smuggle drugs to his mother in prison), when all he dreams about is creating a home for his mother, his sister, and her child. Liam is destined to repeat the same mistakes that he is fighting so hard against, and all we can do is sit back and watch him struggle with the rock-and-a-hard-place decisions with which he is faced.

This may sound like your typical "good boy falls in with the wrong crowd" film, but it is far from predictable, and the story and acting are excellent. Director Ken Loach does a fantastic job with a cast that is new to the acting world (sadly, this film will be overlooked because it features no "big names"), and they portray the culture and lives of these characters quite convincingly.

Highly recommended, and it is worthwhile to listen to Loach's commentary track as well.

Waiting a long long time for this wonderful comedic movie that these two brilliant tv and screen stars presented is torture! This Lucy-Desi movie is a classic and should be released on DVD for all to see and enjoy. From the time they marry to the rocks sliding out of the trailer, one laugh after the other, it just gets better and better! I grade this movie an A. And as usual
Lucy's clothes are grand!

Get this movie!! I enjoyed this movie so much and I think everyone needs to get this spectacular Lucille Ball-Desi Arnaz classic. This great couple made this movie in 1954 with director Vincente Minnelli; and then two years later in 1956, they made another Lucille Ball treasure *Forever Darling* (director Alaxander Hall).

Tracy (Lucille Ball) and Nicky (Desi Arnaz) are going to get married. Tracy thinks that they should get a trailer as a home instead of staying in 'stale hotels' and 'grubby-furnished rooms'. Nicky goes along with the idea....but he starts to doubt the idea after the trailer costs $5,343 and then they have to buy a new car to pull it. But they get married and then start out on their honeymoon. At first the trip is enjoyable and they have a wonderful time. But just one of Tracy's suggestions and they are in big trouble. Every turn they make seems to lead to trouble (similar circumstance to *Forever Darling*). And all of this trouble leads to a posible divorce!! (I assure you that everything turns out okay.)

The movie is so funny; you will be rolling on the floor as you watch Lucille try to make eggs on a crooked trailer and Desi pull this 50 foot thing around. You can't watch this movie once. Only Lucy could have made this movie a movie. So if you are a Lucy fan, you need to get this ultimate Lucy-movie. It will give you many hours of fun for the WHOLE family!! will

In the year 1954, Lucille Ball and Desi Arnaz, the world's numder one comedy-couple made this great movie: The Long, Long Trailer. It recieved great reviews then and if you keep reading you will see that it still does.

Tracy-Lucille Ball, and Nicky-Desi Arnaz are going to get married. Tracy comes up with the idea of getting a trailer because Nicky's work takes him many places. So they buy a 40 ft. long trailer to go around with Nicky as he worked. They go on many adventures and they learn the value of forgiveness.

This movie is a great over all; Lucy is in it-how could it not be!. I asure you that even if you aren't a Lucille Ball fan, you will like this movie. And if you are, you'll enjoy it that much better. It is hard to pull away from it.

Federico Fellini's "8 ½" is often cited as the late director's masterpiece but it is a maddening film to watch. It is filled to the brim with symbols, abstract ideas, ambiguity, and inner ruminations that taken together imposes on the audience the same disorienting feeling its main character is experiencing. This absence of a conventional narrative is an intriguing and bold step taken by a true artist of the medium, but experimentation alone does not make for a good film.

Guido (Marcello Mastroianni) is a film director who has just completed a hit film and is now taking refuge at a health spa. His downtime is interrupted by a parade of individuals who do not realize that a crisis is at hand - the director has no idea what to do for a follow-up feature. Money has already been spent for an elaborate film set but Guido does not know what to do with it. Hoping to find inspiration, Guido starts to look into his past and experiences a spiritual crisis as he finds it difficult to reconcile his carnal, commercial, and creative sides.

The famous sequence where Guido is reunited with all of the women he has crossed paths with in his life is a powerful sequence that is full of passion and energy. Yet, this same level of vigor is not maintained for the entire film and after a while the vivid yet disconnected imagery we are left with that is meant to symbolize Guido's aimlessness just becomes annoying. Fellini was a man ahead of his time in exploring the notion of creative bankruptcy in a commercial medium on such a sophisticated level. However, by using the narrative of "8 ½" to symbolize and deliver the message at the same time, he produced a film that comes across as too clever for its own good.

The best thing about this most classic of classic films about filmmaking is that all of its greatest and most famous sequences are both brilliantly done and profoundly funny. There's the great opening fantasy sequence of the confused film director at the center of the work, Guido (Marcello Mastroianni), rising out a traffic jam and ascending into the clouds; his initial walk through the Italian spa where he is recuperating catching a glimpse of his dream girl (Claudia Cardinale); and the hilarious sequence of his mistress (Sandra Milo, in a very endearing turn) arriving at the same outdoor café where he is dining with his wife (Anouk Aimee), locking eyes with her, and futilely trying to look as inconspicuous as possible. Of course, there is also the great flashback of his childhood watching the monstrous prositute La Saraghina dance an erotic rumba for a group of schoolboys; the Dantesque descent into the spa's steambaths; and (funniest of all) the nightmarish press conference with the battery of reporters shouting out impossible questions the hero cannot answer. These are perhaps the best and most beautiful individual sequences Fellini ever did, and earn for this film its reputation as one of the greatest films of all time.

These scenes are so terrific that they even sustain you through what comes in between, and be warned: some of it is indeed pretty dull and excruciating, no matter how famous this film's reputation. The scenes with Guido arguing with his bitter and miserable wife Luisa are pretty hard to take, and your heart goes out to poor Anouk Aimee for having to wrestle with such a horribly unrewarding role. (Clearly, Fellini must have felt he gave the wife short shrift too by presenting her point of view with his next film, JULIET OF THE SPIRITS, which despite its grosser flaws is much more affecting than this more famous film, in part because so much more seems to be at stake for its more likeable central character). Also, you have to forgive this film for the self-justifying and self-glorifying works it inspired form many other artists from Woody Allen to Stephen Sondheim: Fellini is much more cognizant of his flaws in this autobiographical work--and of the horrors his artistic egotism can wreak upon his loved ones--that anything this film later inspired.

Everyone has already said everything that can be said other than hearing it from the horse's mouth. Fellini is the man and this is his finest work.

Federico Fellini's "8 ½" is often cited as the late director's masterpiece but it is a maddening film to watch. It is filled to the brim with symbols, abstract ideas, ambiguity, and inner ruminations that taken together imposes on the audience the same disorienting feeling its main character is experiencing. This absence of a conventional narrative is an intriguing and bold step taken by a true artist of the medium, but experimentation alone does not make for a good film.

Guido (Marcello Mastroianni) is a film director who has just completed a hit film and is now taking refuge at a health spa. His downtime is interrupted by a parade of individuals who do not realize that a crisis is at hand - the director has no idea what to do for a follow-up feature. Money has already been spent for an elaborate film set but Guido does not know what to do with it. Hoping to find inspiration, Guido starts to look into his past and experiences a spiritual crisis as he finds it difficult to reconcile his carnal, commercial, and creative sides.

The famous sequence where Guido is reunited with all of the women he has crossed paths with in his life is a powerful sequence that is full of passion and energy. Yet, this same level of vigor is not maintained for the entire film and after a while the vivid yet disconnected imagery we are left with that is meant to symbolize Guido's aimlessness just becomes annoying. Fellini was a man ahead of his time in exploring the notion of creative bankruptcy in a commercial medium on such a sophisticated level. However, by using the narrative of "8 ½" to symbolize and deliver the message at the same time, he produced a film that comes across as too clever for its own good.

The best thing about this most classic of classic films about filmmaking is that all of its greatest and most famous sequences are both brilliantly done and profoundly funny. There's the great opening fantasy sequence of the confused film director at the center of the work, Guido (Marcello Mastroianni), rising out a traffic jam and ascending into the clouds; his initial walk through the Italian spa where he is recuperating catching a glimpse of his dream girl (Claudia Cardinale); and the hilarious sequence of his mistress (Sandra Milo, in a very endearing turn) arriving at the same outdoor café where he is dining with his wife (Anouk Aimee), locking eyes with her, and futilely trying to look as inconspicuous as possible. Of course, there is also the great flashback of his childhood watching the monstrous prositute La Saraghina dance an erotic rumba for a group of schoolboys; the Dantesque descent into the spa's steambaths; and (funniest of all) the nightmarish press conference with the battery of reporters shouting out impossible questions the hero cannot answer. These are perhaps the best and most beautiful individual sequences Fellini ever did, and earn for this film its reputation as one of the greatest films of all time.

These scenes are so terrific that they even sustain you through what comes in between, and be warned: some of it is indeed pretty dull and excruciating, no matter how famous this film's reputation. The scenes with Guido arguing with his bitter and miserable wife Luisa are pretty hard to take, and your heart goes out to poor Anouk Aimee for having to wrestle with such a horribly unrewarding role. (Clearly, Fellini must have felt he gave the wife short shrift too by presenting her point of view with his next film, JULIET OF THE SPIRITS, which despite its grosser flaws is much more affecting than this more famous film, in part because so much more seems to be at stake for its more likeable central character). Also, you have to forgive this film for the self-justifying and self-glorifying works it inspired form many other artists from Woody Allen to Stephen Sondheim: Fellini is much more cognizant of his flaws in this autobiographical work--and of the horrors his artistic egotism can wreak upon his loved ones--that anything this film later inspired.

Everyone has already said everything that can be said other than hearing it from the horse's mouth. Fellini is the man and this is his finest work.

I was expecting this to be your typical Christian movie - the main character learns about God, realizes that the Bible is true, and gets saved. Well, that's not how it goes. It's a "Christian" movie in that most of the characters are Christians, at least in name, but there is no gospel message or anything.

There are two "morals" of the movie that get a lot of play. The first is whether our hero (Elvis Jackson played by Nick Corrish) will get over his personal quest for a scholarship and work with the team. This one is very well done and does a nice job of teaching teamwork. It wouldn't be a bad movie to show to a junior high-aged sports team to help them learn the value of teamwork.

The second is whether Coach Schuler (Terry O'Quinn) will get over his attachment to the "antiquated" wishbone/running offense and use a "modern" fun and gun offense. Being a Virginia Tech fan, this amuses me a great deal since we usually pass about ten times a game whether we need to or not.

Overall, it's a pretty decent movie for any Southern football fan. It does a good job of showing football in a small town. It is a low-budget movie and there are a couple of bad cuts. For example, the crowd occasionally vanishes in wide shots of football scenes and occasionally, props aren't quite right. But unlike most budget Christian movies you watch, this one looks professionally done and does not look like it was filmed on a home movie camera.

I'm pretty critical of movies, but this movie definitely ranked as a 5-star movie for me! It's got great moral fiber throughout, has a compelling storyline, great character development, and has a great--but not unrealistic, sugar-coated--ending.

My favorite lines from the movie are when Elvis (the star football player) and the Christian girl who is paired up with him to pray for him are at her house together.

Elvis says, "I'm surprised your dad trusts me to be alone with you."

She responds, "He doesn't. He trusts *me*."

She's a character I hope will inspire my own daughter when she hits her teenage years. I'm definitely buying a copy of this movie.

If you like sports related films and Drama then your gonna find it in the New Film "Hometown Legend" this movie has heart and deals with losing faith...when a towm and its high school football team which has'nt had a winning season in 12 yrs lost it's faith not only in themselves but also lost faith as a team. in the long run they begin to to work together and come together as a team. IF you liked "Remeber The Titans" than you going to love "Hometown Legends" a must see and suitable for the Whole family.. Film Rating . PG.. Warner Home Video..

...I luv this DVD so much!, it's got the videos for "I Wanna Love You Forever," "I Think I'm In Love With You," "Where You Are," (featuring Nick Lachey) "Irresistible," "A Little Bit" and also "Irresistible" (Remix) (featuring JD and Lil' Bow Wow) - it's also got loads of TV footage from MTV and stuff, I think you'll like it, go buy it!!!

This DVD not only provides great entertainment, but it gives you an honest look at Jess and who she is as a person. And not to mention the 5 fantastic music videos, great interviews and other looks at the "pop princess". I highly reccomend this DVD to anyone wanting a closer look at this fantastic performer and person.

i really like this dVd it show's alot about Jessica Simpson. i never really got to see for very first video and i finally did and it's awesome. same with her last video "A little Bit." i'm a big fan of her and i wish she going to come out more, but hey she is married now, so she gotta live her life, but i hope she goes and acts on movies or shows like she did for "That's 70s Show" which is my favorite show by the way... and maybe a spot with her sister in 7th heaven, well i hope you like this dVd as much as i did!!! Thanks Mommie.....

Let's see. It's not scary. It's not funny. And for a film that is so short . . . it's boring!!!!

In London, 1925, Detective Inspector Trout and his assistant, Tom Schenley, are beset by the horrible deaths of eminent doctors and physicians. Dr. Dunwoody is found with his face torn up by bats, and it turns out that a Dr. Thornton had been killed a week earlier by bees in his library.

After the killing of Dr. Longstreet, played with great aplomb by Terry-Thomas, the killer makes a mistake, which Trout capitalizes on. He discovers a pattern to the killings thanks to a rabbi (Hugh Griffith-who played Audrey Hepburn's father in How To Steal A Million). They are based on the gatakh, the curse visited on the Pharaohs, which in order are: boils, bats, frogs, blood, rats, beats, locusts, death of the first-born, and darkness.

Trout also gets help from Dr. Vesalius (Joseph Cotten), an eminent surgeon who knew the victims, and from him, discovers that they worked on a Regina Phibes, who died during surgery. The only person who would want revenge is her husband, Dr. Anton Phibes, but he had been killed in a car crash in Switzerland. But then how...

What makes this interesting to watch is the stylishly kitsch interludes that take place after each killing, usually a musical number involving Vulnavia. And the drawn images of Phibes's profile and rear of head on the windows of his car give this a kind of surreal look.

The most horrible killing is that of Dr. Longstreet, followed by that of Nurse Allen. The most sudden is that of Dr. Whitcomb. After the discovery of the gatakh connection, the audience is left wondering how and if the killings would be carried out.

Vincent Price plays Phibes as a man thirsting for revenge, a master strategist, yet in his soliloquys to his dead wife, one finds someone for whom life has become unbearable. He wants to avenge her death and afterwards... This would be a warmup for his other revenge movie, Theatre Of Blood. Check out the way he drinks his wine!

Peter Jeffrey (Trout) was a well-known British TV-actor, with appearances in Dr. Who and Yes Minister. He also played the headmaster in Lindsay Anderson's if...

Virginia North (Vulnavia) proves that one can have a vital screen presence without saying a word. As the goldsmith says, she is tall, attractive, young, and fashionable, wearing all kinds of cool outfits throughout, but mostly a black furry Russian hat, beige blouse, and black pantaloons and boots. And love that white violin she plays!

Norman Jones (Tom Schenley) appeared in two Doctor Who stories: The Silurians (Major Baker) and The Masque of Mandragora (Hieronymous).

Other notes: the sergeant who finds Dr. Hedgepath is played by James Grout, best known for playing Inspector Morse's superior, Superintendent Strange. The goldsmith is played by Aubrey Woods, best known as Bill in Willy Wonka. Finally, the frog mask worn by Dr. Hargreaves, or a cousin of it, would later make an appearance in Dr. Who-The Twin Dilemma, as one of Mestor's decorations.

An enjoyable, effective, and stylish revenge movie with a great cast.

Vincent Price was one of those rare actors who never took himself that seriously...unlike some of those around today. As a result, he was able to move from being a romantic lead in light comedies to horror films to the '60s program "Batman." Few can claim such a career. Dr. Phibes is a perfect example of Price not taking himself that seriously. I mean, here is a guy who drinks from the side of his neck. And who plays one of those organs you see in every cliched horror film. This is a movie that is half humor/half horror, and completely worth seeing.