Don Movie Reviews

Of course I love Bob Dylan and I have most of his albums and I've even met him. His talent is limitless and far beyond everyone else's. He is as dynamic today as he ever was and his every song stands on its own merit. But, this video was shot such a long time ago -the 60s. It's arty and well-done and it's certainly an important historical piece. If you're a big fan you'll enjoy it but it's not the type of movie most people wold watch again. It's slow moving and can't compare to the type of documentary we are used to nowadays. Worst part is that there are no complete songs. The interviews and songs are cut up and mixed. I feel that one can't have Dylan explained to you - you have to open yourself to Bob Dylan and just feel the song as best as you can. Everyone will feel it differently. That is the mastery of his gift.

I watched this film after just starting to get turned on to the music of Bob Dylan and was shocked at how good this was. Most of what you see behind the curtain's of concerts and of the daily lives of singers now are closely scripted. You will never see anything like this film on MTV, it is real unscripted ?fly-on-the-wall glimpse of one of music?s most influential figures,? says the box of this film. Britney Spears or any of the so-called artist MTV shoves down America's mouth will never be shown yelling and swearing over glass in the street.

This film shows Bob's manager cursing and threatening a hotel worker, Bob Dylan yelling and going crazy over someone throwing glass(very funny), Great concert footage and footage of Bob singing in hotel rooms, Bob making the press look stupid, Bob's sly manager milking BBC people for every dollar in order to get Dylan to perform for them, Dylan completely ignoring Joan Baez as she sings, Dylan making jokes about Donovan, Dylan smoking every second, Dylan's card video for Subterranean Homesick Blues, Dylan being swarmed by fans and screaming for people to get a girl who jumped on his car off, Bob meeting a crazy old lady who acts like she is someone big in England and shows off her power by telling Bob and his friends to stay at her mansion (very strange), Bob obsessing over what number his songs are on the charts and what his picture looks like in the paper, so on and so on.

Just buy this movie if you like Dylan, if your just starting to like him, if you never heard of him. It is a welcome relief from today's bad music with overly scripted artist who can't play instruments and who don't write the words to the songs they sing. After watching this you?ll want to download all of Dylan?s songs.

This documentary was both enlightening and entertaining. This DVD is a must see for any Dylan fan. Never before had I truly seen Dylan's ferocity and playfulness. The live stuff is great as well. The guy who made this documentary (name is escaping me) also made a Jimi Hendrix one and a Monterey one I think...hope that they are as good as this one. This documentary is a little window into how Dylan was back in '67...around Bringing It All Back Home and Highway 61 Revisited and all...good stuff!

Kevin Reynolds directed this film with a script by William Mastrosimone. Although stylized and a little exaggerated, the film is a great at showing how techonology doesn't always get the upper hand in certain environments: nowhere is this truer than in Afghanistan. The rugged mountainous and desert terrain is mostly inhospitable and full of hiding places for guerrilla fighters such as the Mujahadeen.

I found Jason Patric to be the least believable character in this story. I'd find hard to believe that a Soviet tank driver, even if he were to disagree with his superiors or the war, would suddenly join the Afghans in fighting his compatriots; this would be just as unlikely as an American soldier disagreeing with his superiors and then joining the North Vietnamese. The best performance was that of George Dzundza who played the hard and tempered tank commander. The movie follows the tank as it wanders lost through the desert like a wounded animal being stalked by hunters. The film has a definite cat and mouse theme to it.

Altogether an enjoyable action movie that is well paced with good acting.

This movie is great! ... I have since watched it over and over. Some reviews I have read focus on the tactical mistakes and lack of a "real" Russian helicopter in the film. The interesting thing about this is, war is chaotic. Sometimes tactics go out the window when faced with flying bullets. Even if the Russians used Motorized Rifle units as escorts for their armor, there's no saying that armor NEVER ventured out on their own. Heck, maybe this armored unit was part of a larger force that was simply making a reconnaisance-in-force. Also, the helicopter used in the movie was NOT that much different than the Mi-8 which, as it turns out, looks exactly like the one in the movie. If you don't believe me, check it out. Anywho, being a veteran and knowing how the rules of war are almost always broken, the so-called tactical "mistakes" made in the movie are easily overlooked. The main point of this movie is to give the viewer a feeling of the brutality of war and how it changes ordinarily sane people, into first monsters, callous to their nature, then fearful refugees to the carnage they created. This movie is both entertaining and yet, emotionally invoking. You get the sense that the real "enemy" is not the Mujahadeen pursuers, but the maniacal tank commander, driving his men to the brink of destruction. The last thing I'd like to say about this movie is its WONDERFUL soundtrack. The music definitely sets the mood. Now, if only I could find the soundtack. Arista records doesn't seem to know where to find it. I wish I knew!

Buy this movie, you won't be disappointed!

I just love this movie and its great to see it made it to the dvd format i had a tape of it it's so old half the audio and graphics are gone do to time and age of tape. now i can retire the tape. great movie if you dont have it get one while you can.

I think that Michael Jackson is the BEST! I haven't loved him that long.But I know all of songs from ABC to One More Chance.I been loveing him since 2001.Well, to get to the point Michael Jackson is the BEST of ALL TIME.It don't mata what people say Michael is the best.People can call him this or that but he is the KING......Thriller #1,Off The Wall #1,BAD#1,Dangerous#1,HIStory 2 #1's,BOTDF#1,Invincible #1,and I know Numbers Ones that is coming out is #1.So u can't say anything else cause I'm sticking 2 it.And nobody can say anything.........!!!!!!!!!!!!

This DVD shows anyone why MJ is the only King of Pop! Many of this more recent videos are showcased here, several that we were never even able to watch in the US.

The performance at MTV's Video Music Awards is worth the price of this item alone. Michael's breathtaking dancing, singing, and ad-libbing are simply ingenious!!

Additional must-haves include Scream (with sister Janet), They Don't Care About Us, and Stranger In Moscow.

I really wish they had included the original version of Blood On The Dancefloor instead of the remix, but it's still great to watch.

Highly recommended for any fan or music fan!

Micheal Jackson is definetly the king of pop - after u see this collection of his videos you wont dispute that.
THE DVD
1.PROGRAM START
2.teaser-elaborate teaser showing micheal jackson as a huge statue.
3.BILLIE JEAN motown 25- an amazing performance of micheal jackson singing billie jean and doing moonwalk for first time- here he shows his amazing talent - in this performance u think it cant get any better than this but yet he ceases to amaze me - performances keep getting better. 5 star performance
4.BEAT IT- classic mj video great dancing - good song 4.3 stars
5.LIBERIAN GIRL- ok/ catchy song with alot of appearances by celebritys - very rare video- 3 stars
6.SMOOTH CRIMINAL-this one i rank up there with billie jean- here he outdoes himself again showing his amazing talent and dancing abilitys- 5 star performance
7.1995 mtv video music awards-another amazing performance- my personal favorite along with smooth criminal- here he does many songs in a mix of some sort and shows many diffrent dances and it amazes me how he can switch so quick into the diff dances -one of a kind performance - 5 stars
8.THRILLER- classic masterpiece /great performances by all- 5 stars
SIDE TWO
1.SCREAM- innovative original video with sister janet- very cool video - 4 stars
2.CHILDHOOD-pretty good video -3.5 stars
3. YOU ARE NOT ALONE- not one of my favorites but still good video/ shows micheals sensitive side- 4 stars
4.EARTH SONG- beautiful video - have to see it to believe it -5 stars
5.THEY DONT CARE ABOUT US- so so video / fun to watch- 3.5 stars
6.STRANGER IN MOSCOW- diffrent type of video yet beautiful-3.8 stars
7.BLOOD ON THE DANCE FLOOR- the worst video on whole disk - i didnt like this song or video at all but the other videos make up for this one - 1 star( this just wasnt micheal jackson- it wasnt his style ) i expect more from this - hes more talented and hes shown that in his past but maybe he just wanted to try somthing diffrent
8.BRACE yourself-3.5-4 stars
SO I RECOMEND THIS DVD TO ANYONE - any pop music lover or micheal jackson fan - even if ur not a big micheal jackson fan u will be after veiwing this collection and this dvd is also good for chronicaling some very memorable video masterpieces.

This film recounts the "Rumble in the Jungle", a classic battle between Mohammed Ali and George Foreman, and all that preceeded it. The film looks at everything in several ways, and I'm not sure if any particular audience can be completely satisfied. However, it does come together to be a very nice film.

It's not really a boxing documentary, because it has very little of the actual fight. I was disappointed in that. What it does have is a lot of Ali running his mouth (which he did so well). Being somewhat younger, I wasn't around for Ali's heyday. We always hear how great Ali was, but the Ali we see today, is the man stricken with Parkinson's. To see Ali in his finest form, was pretty cool. These weren't formal interviews or press conferences, but everyday Ali showboating for a camera. In this respect, it was a very pro-Ali film (to the victor goes the spoils I guess).

My complaints (besides lack of boxing):
It spends excessive time showing some of the clips from concerts with James Brown, B.B. King, and etc. They're great musicians, but I watched the movie to see boxing and boxing-related things, not a music video.

It spends another length of time, talking about how the fight was tying roots of blacks back to African and such. I thought it was bit of hogwash, because the fight was in Zaire only because the dictator of Zaire paid the 10 million for the fight: no other reason.

In summary, a very good film if you want to see Ali in action. If you want to see a lot of the fight, don't get this.

Leon Gast's documentary about the legendary Ali-Foreman fight works on all advertised levels. It is a fascinating snapshot of central Africa in the mid-1970s and a glimpse of Muhammad Ali at the peak of his charisma. The blow-by-blow account of the match is riveting even for people who could care less about boxing. Beneath its colorful exterior, however, lurks a disturbing political subtext that reveals how deeply cynical American attitudes towards Africa can be, even when those attitudes are held by African Americans.

When the "Rumble in the Jungle" promoters traveled to Zaire in 1974, they were entering one of the worst disaster zones in post-colonial Africa. Fourteen years earlier, Joseph Mobutu had seized power after torturing and murdering Patrice Lumumba, the leader of the nationalist movement and Zaire's first Prime Minister. He did so with the help of the CIA, who had fingered Lumumba as a potential troublemaker. Mobutu's government (which lasted until his overthrow in 1997) was brutally repressive when it bothered to govern at all. Even by the standards of African strongmen, Mobutu was a monster, and this was as clear in 1974 as it is today. Yet almost no one in "When We Were Kings", either the subjects of the documentary or present-day commentators, has anything to say about it. The fact that Mobutu was a dictator is mentioned only is passing, and is quickly shrugged off. He was an African leader, seems to be the attitude. They're all dictators. What do you expect? Then it's on to Ali's inspired riffing for the press and the inner workings of the rope-a-dope.

If Gast's film were only about boxing, its cynicism might just be bearable. After all, no one pictures Don King losing sleep over geopolitical niceties. But "When We Were Kings" also has a political agenda. It wants to depict a heady moment in the Black Power movement when African American luminaries traveled to Africa to express solidarity for the people of that continent. For the Americans in the movie, the trip to Africa was a profound exploration of their heritage and identity. We see Ali moved by the experience and don't doubt that he's sincere. It's just not clear what the Africans got out of the deal. They seem mostly just props in the first worlders' journey of self-discovery. In one of the movie's few interviews with an African, a man recalls how Ali's visit was a bright spot in the lives of many of his countrymen, who were generally having a hard time of it. That's about the best "When We Were Kings" can do by way of justification. Given the circumstances, this silence is galling. Maybe Ali could have come up with a clever rhyme for "let them eat cake."

Of course, it's a fact that many post-colonial governments were and are dictatorships, and Africa got more than its fair share. A certain degree of cynicism about third-world politics is realistic. But when the subject is Africa, a whole other level of cynicism comes into play: not only do you accept injustice; you don't even have to rationalize your acceptance. There's no way back in 1974 a left-wing Chilean-American boxer would have taken part in a title bout staged by Augusto Pinochet. Nor would Muhammad Ali have fought in the U.S. in a match bankrolled by a black gangster with known ties to white supremacists. So why does Mobutu's dog-and-pony show get a pass? The culprit appears to be the need on the part of the African Americans in the movie to romanticize Africa. (Tellingly, almost no one says the word "Zaire.") In one scene, Muhammad Ali stands in the cockpit of an African airliner. He expresses amazement at the fact that blacks can fly a jet plane, then amazement at himself for having ever thought otherwise. It's a powerful moment. You can see how a black man like Ali would crave an idealized image of Africa to serve as armor against the insidiousness of racism back home. Unfortunately, idealization comes at the price of ignoring a continent's worth of reality. In order to raise your fist, you have to close your eyes.

In his scathing criticism of "Heart of Darkness", the Nigerian novelist Chinua Achebe accuses Joseph Conrad of a particular sort of racism. What bothered him was the way that Conrad used an entire continent and its people as nothing more than a foil for European introspection: "Africa as setting and backdrop which eliminates the African as human factor." "When We Were Kings" is about as far from racist as a movie can get, but it still falls into Conrad's trap. Here the backdrop is a romantic notion of an African motherland, and the human factor is the reality of the brutally oppressive Mobutu regime. Gast may have gone all the way to Africa to get his footage, but the mindset of his film never left home.

Whether you're a Muhammad Ali fan or not doesn't matter; what matters here is how well the documentary has been assembled, and in actual fact, it deserved any and all recognition it received at the time of its eventual release and even today.

As documentaries go, it's never less than thoroughly entertaining, with great commentary from Norman Mailer and George Plimpton, and great performance footage of James Brown and BB King.

Far superior than Michael Mann's flawed "Ali" biopic. There's no re-enactment of fight footage that can replace the real thing.

This film recounts the "Rumble in the Jungle", a classic battle between Mohammed Ali and George Foreman, and all that preceeded it. The film looks at everything in several ways, and I'm not sure if any particular audience can be completely satisfied. However, it does come together to be a very nice film.

It's not really a boxing documentary, because it has very little of the actual fight. I was disappointed in that. What it does have is a lot of Ali running his mouth (which he did so well). Being somewhat younger, I wasn't around for Ali's heyday. We always hear how great Ali was, but the Ali we see today, is the man stricken with Parkinson's. To see Ali in his finest form, was pretty cool. These weren't formal interviews or press conferences, but everyday Ali showboating for a camera. In this respect, it was a very pro-Ali film (to the victor goes the spoils I guess).

My complaints (besides lack of boxing):
It spends excessive time showing some of the clips from concerts with James Brown, B.B. King, and etc. They're great musicians, but I watched the movie to see boxing and boxing-related things, not a music video.

It spends another length of time, talking about how the fight was tying roots of blacks back to African and such. I thought it was bit of hogwash, because the fight was in Zaire only because the dictator of Zaire paid the 10 million for the fight: no other reason.

In summary, a very good film if you want to see Ali in action. If you want to see a lot of the fight, don't get this.

Leon Gast's documentary about the legendary Ali-Foreman fight works on all advertised levels. It is a fascinating snapshot of central Africa in the mid-1970s and a glimpse of Muhammad Ali at the peak of his charisma. The blow-by-blow account of the match is riveting even for people who could care less about boxing. Beneath its colorful exterior, however, lurks a disturbing political subtext that reveals how deeply cynical American attitudes towards Africa can be, even when those attitudes are held by African Americans.

When the "Rumble in the Jungle" promoters traveled to Zaire in 1974, they were entering one of the worst disaster zones in post-colonial Africa. Fourteen years earlier, Joseph Mobutu had seized power after torturing and murdering Patrice Lumumba, the leader of the nationalist movement and Zaire's first Prime Minister. He did so with the help of the CIA, who had fingered Lumumba as a potential troublemaker. Mobutu's government (which lasted until his overthrow in 1997) was brutally repressive when it bothered to govern at all. Even by the standards of African strongmen, Mobutu was a monster, and this was as clear in 1974 as it is today. Yet almost no one in "When We Were Kings", either the subjects of the documentary or present-day commentators, has anything to say about it. The fact that Mobutu was a dictator is mentioned only is passing, and is quickly shrugged off. He was an African leader, seems to be the attitude. They're all dictators. What do you expect? Then it's on to Ali's inspired riffing for the press and the inner workings of the rope-a-dope.

If Gast's film were only about boxing, its cynicism might just be bearable. After all, no one pictures Don King losing sleep over geopolitical niceties. But "When We Were Kings" also has a political agenda. It wants to depict a heady moment in the Black Power movement when African American luminaries traveled to Africa to express solidarity for the people of that continent. For the Americans in the movie, the trip to Africa was a profound exploration of their heritage and identity. We see Ali moved by the experience and don't doubt that he's sincere. It's just not clear what the Africans got out of the deal. They seem mostly just props in the first worlders' journey of self-discovery. In one of the movie's few interviews with an African, a man recalls how Ali's visit was a bright spot in the lives of many of his countrymen, who were generally having a hard time of it. That's about the best "When We Were Kings" can do by way of justification. Given the circumstances, this silence is galling. Maybe Ali could have come up with a clever rhyme for "let them eat cake."

Of course, it's a fact that many post-colonial governments were and are dictatorships, and Africa got more than its fair share. A certain degree of cynicism about third-world politics is realistic. But when the subject is Africa, a whole other level of cynicism comes into play: not only do you accept injustice; you don't even have to rationalize your acceptance. There's no way back in 1974 a left-wing Chilean-American boxer would have taken part in a title bout staged by Augusto Pinochet. Nor would Muhammad Ali have fought in the U.S. in a match bankrolled by a black gangster with known ties to white supremacists. So why does Mobutu's dog-and-pony show get a pass? The culprit appears to be the need on the part of the African Americans in the movie to romanticize Africa. (Tellingly, almost no one says the word "Zaire.") In one scene, Muhammad Ali stands in the cockpit of an African airliner. He expresses amazement at the fact that blacks can fly a jet plane, then amazement at himself for having ever thought otherwise. It's a powerful moment. You can see how a black man like Ali would crave an idealized image of Africa to serve as armor against the insidiousness of racism back home. Unfortunately, idealization comes at the price of ignoring a continent's worth of reality. In order to raise your fist, you have to close your eyes.

In his scathing criticism of "Heart of Darkness", the Nigerian novelist Chinua Achebe accuses Joseph Conrad of a particular sort of racism. What bothered him was the way that Conrad used an entire continent and its people as nothing more than a foil for European introspection: "Africa as setting and backdrop which eliminates the African as human factor." "When We Were Kings" is about as far from racist as a movie can get, but it still falls into Conrad's trap. Here the backdrop is a romantic notion of an African motherland, and the human factor is the reality of the brutally oppressive Mobutu regime. Gast may have gone all the way to Africa to get his footage, but the mindset of his film never left home.

Whether you're a Muhammad Ali fan or not doesn't matter; what matters here is how well the documentary has been assembled, and in actual fact, it deserved any and all recognition it received at the time of its eventual release and even today.

As documentaries go, it's never less than thoroughly entertaining, with great commentary from Norman Mailer and George Plimpton, and great performance footage of James Brown and BB King.

Far superior than Michael Mann's flawed "Ali" biopic. There's no re-enactment of fight footage that can replace the real thing.

Buy this flick. You probably saw it on cable 20 years ago, or maybe some goof at the office told you about it. Here's why it's worth owning.

Somewhere along the way Hollywood decided films like 'The Private Eyes' weren't suitable for production. Not being a student of film or pop culture, I'm not really sure why. It probably cost next-to-nothing to make, is thoroughly enjoyable, and is suited for virtually any audience -- one could watch this with grandma or their drinking buddies.

Regardless, the world has changed, so thankfully we have little gems like this to remind us of how things ought to be. So while my buddies can rave about crap like the 'Matrix Returns,' I'll settle down and watch Conway and Knotts bungle their way through 90 minutes of side-splitting joy. Call me corny, but gags like the time pistol, which goes off every hour, or the never-ending supply of homing pigeons (gone awry) are priceless.

Sure, guys like Chris Tucker are funny, but I just can't see them pulling off any bit that doesn't involve dope, profanity, and/or both. That's not a knock on today's comedy, but anyone who's a fan of the art will get a kick out of 'the Private Eyes.'

This movie is guarenteed to make you laugh your socks off! I was in Fifth grade when I first saw this movie, and I (aswell as the rest of the class) loved this movie! It's funny, and it has good,clean, funny, incidents. And every time you find out that someone is dead, you'll think it's this person or that person, but later, you find out that it couldn't be that person. Yes, it is real funny material but don't think it doesn't have good mystery. It's full of mystery. It takes the mystery and the laughter and ROLLS it up into One and sends it to your screen. This is a Great movie, and I'm only 12 years old! You'll love it!!! I came home from school and told my parets... IT'S A MUST BUY!!!!!!

Tim Conway and Don Knots are quite a duo in this hilarious mystery. You never quite know "who done it" and you never can be sure about what the next rhyme won't be... However, everyone in the family can enjoy this movie. My husband and I first enjoyed this movie while dating back in the early 80's... we never forgot about it and this past year I purchased for a Christmas surprise!

We have all enjoyed this movie and continue to enjoy it, in fact it is a favorite with both of my teenage daughters and they love to bring it out whenever they have friends "hang out".

Order it today and ENJOY!

DON JUAN DEMARCO makes for a 90-plus minutes worth of taking your mind off your hard day at the office. Just don't mistake it for a masterwork.

It's fun to see Marlon Brando playing against type as a rumpled state psychiatrist intrigued by his new patient who claims to be the world's greatest lover and, judging by all of the women who long to be with him, seems to be able to back up that claim. Johnny Depp also is great fun to watch, as he suavely inhabits the role of the Don. And Faye Dunaway has a funny grace as Brando's wife, alternately bemused and charmed by her husband as he goes about bringing the romance back to their 32-year marriage. But the major problem with this film is that, good as they are individually, Brando and Depp don't really have the chemistry between them when they're onscreen together. You never get any sense of why the crusty Brando is so taken with Depp's Don, and that feels like a loose cog in what would otherwise have been a satisfying film. Brando and Dunaway, however, DO have that spark, and their onscreen pairing works quite well. And Depp DeMarco is so engaging on his own that he carries the viewer through any missteps.

So, a nice, charming little film that didn't set the world on fire when it was released initially but still makes for a nice low-key evening's entertainment, as long as you're in a forgiving mood.

I marveled at this movie. It should have been cheesy and maripulative, but instead it was funny, awesomely sincere, and transporting. When I wasn't smiling, I was laughing.

The actors were all fantastic. The relationships felt completely appropriate. When Brando and Depp were sparing, the chemistry crackled and the electricity flowed. Brando's scenes with Dunaway were also wonderful. I loved the fellow that played the chief of staff, "Madrid?"

The fables that Depp's character spun to support his claims were as fantastical and entertaining as those of 'Schaherazade', and just as exotic. The scene when he is presented to the sultana was a riot. "I still didn't understand why I was require to be in drag!"

Enjoy this one. Its unique.

This is a great movie and is quite romantic. While everyone in the cast does a good job it is Johnny Depp who once again steals the movie from everyone. He is an amazing actor although highly underrated I think. His characterization of Don Juan (the world's greatest lover) is great. He is very good at adapting accents into his characters and this one is no exception. You would think that two legendary stars like Marlon Brando and Faye Dunaway who have had very successful careers for more than three decades would steal scenes from Johnny Depp but it is him who ends stealing scenes from the two of them. This film is very good and I enjoyed it very much, it is one of my favorites. It's a simple movie with a simple plot. There are no twists and turns and no surprises. It is a real feel good movie and as I said everyone does a good job but is Johnny Depp who's excellent performance dominates this movie from beginning to end. It is a very nice little movie that everyone who's a bit of dreamer will enjoy and if even you're not a dreamer, lighten up you can always take things (especially life too seriously). You will really enjoy this movie and I think everyone who still believes in romance should see it. You will love it, great movie and great actors what more can you ask for in a movie.

After the mild success of GREMLINS, there was plenty of room for a sequel. Not that anyone expected it (especially the parents). But here we have it, GREMLINS 2: THE NEW BATCH, another horror/comedy which is this time entirely comedy. In fact, GREMLINS 2 is overall one gigantic spoof of itself. Zach Galligan and Phoebe Cates return as lovers Billy Peltzer and Kate Beringer - this time they're trying to thrive in The Big Apple. One day, Peltzer discovers Gizmo (the voice of Howie Manel) in a media mogul's science lab. Of course, Billy takes Gizmo to work with him - and guess what? - the gremlins are back, more hilarious than ever, and led by a super-smart gremlin with the voice of Tony Randall. The best part of the film is John Glover's hilarious performance as Billy's boss; there's also nice directing by Joe Dante and a fair score by Jerry Goldsmith. The film, overall, is pretty weak, however; the script is all-out madness, with plenty of star cameos. The effects are arguable; awesome gremlin effects, [bad] everything else effects. A hilarious, no-holds barred spoof of itself...lovely, but no where near as good as GREMLINS.

This film is fantastic. Out of 100 I would give it 10000 and the zeros go on. If you haven't seen the first one I suggest you do as it helps you understand the concept of the storyline. The gremlins getting loose in the lab is a fantastic part, and the end scene where the talking gremlin sings 'new-york new-york' is hilarious. A definate must see!

Very Very funny! Lots of new Gremlins including a talking gremlin, a spider gremlin, and a vegtible gremlin! New people too. Best movie ever!It's worth buying. [note: some scary footage. Not for children under 8.]

I felt sick after watching this movie. I thought it would be like Singing in the Rain, which is one of my favorite musicals. Instead, I get cheesy acting, overproduction, a sub-average dialogue, and the worst plot for any musical I've ever seen. The music was commendable, which is why I give it two stars. But the dance numbers and the movie in general are so overproduced, it's practically megalomaniacal. As stated above, the acting and dialogue are boring. And not only is the story beyond cliche, but in the end the guy gets the girl for no reason we can think of, in the most vile Hollywood ending ever. Stick with The Music Man instead. Or Singing in the Rain. Or Showboat. Just not this . . .

AN AMERICAN IN PARIS is a wonderful movie musical with great songs, a touching story, brilliant choreography, and lush sets and costumes. Gene Kelly, one of the greatest dancers of all time (he also choreographed many of his own films, including this one), is always a joy to watch. He is especially well-cast here as Jerry Mulligan, a somewhat gauche would-be artist living in Paris. The thing I find attractive about Kelly is that, even though the characters he generally plays are tough and even slightly boorish, Kelly himself projected a charm and a graciousness that are often disarming. Similarly, while his dancing style was athletic and masculine, his physical movements (even normal ones, like standing up and walking -- watch him in the first scene when he gets up out of bed) were graceful, like a ballet dancer's. The "American in Paris ballet" is an undoubted highlight of the film and of Kelly's great career. Leslie Caron's dancing ability and lovely appearance, Georges Guetary's "legit"
tenor voice, and Oscar Levant's acid wit and genuine musical talent all add to the film's value. And of course, there are those Gershwin songs! All Gene Kelly fans should watch AN AMERICAN IN PARIS -- it's one of his best movies, along with SINGIN' IN THE RAIN and ON THE TOWN.

This is one of my favorite film musicals, together with Singin' in the Rain and Chicago. It received and richly deserved six Academy Awards in 1951, including one for best film. When you think about it, there are so many musicals which also offer delightful entertainment such as Meet Me in St. Louis, Seven Brides for Seven Brothers, The Wizard of Oz, Show Boat, West Side Story, Cabaret, South Pacific, The Sound of Music, Carousel, All That Jazz, and The King and I. It has been 50 years since An American in Paris was released and longer than that since the Gershwin brothers collaborated on the songs and George Gershwin composed Concerto in F and An American in Paris. How remarkable that the film has held up so well over the years. When I first saw it (in 1951), I immediately envied Jerry Mulligan's lifestyle (Kelly), especially after he met and fell in love with Lise Bouvier (Leslie Caron). He seems so at home in Paris, hanging out with his fellow American, friend, and neighbor Adam Cook (Levant) as well as with close friends among the Parisians such as Henri Burel (Georges Guetary). He also seems so popular with others within the area where he lives. The "I Got Rhythm" street scene number with his neighbors (especially the children) is thoroughly enchanting.

As for the plot, it is relatively simple: Boy meets girl, doesn't know she's a friend's girl, falls in love with her and (we suspect) she with him. After a while, they agree not to hurt his friend and part but are eventually reunited. As I said, a relatively simple plot. What sets An American in Paris apart from most other musicals are its great music and dancing, of course, but also an especially thoughtful and witty script by Alan Jay Lerner. (His screenplay earned him an Academy Award.)I also enjoy the dream sequences, notably when Cook imagines himself performing the Concerto in F and then later when Mulligan brilliantly dances his way through the title symphony. The exteriors in Paris shot by cinematographers John Alton and Alfred Gilks are certainly charming. Their work earned them an Academy Award. Director Vincent Minnelli probably received substantial assistance from Kelly who was the film's choreographer. In all respects, this film had a superior cast and crew.

Image and sound are certainly clearer in the DVD format. Regrettably, the "Features" which accompany this classic film are unworthy of it. Presumably their number and quality will soon be improved. With regard to this film's future, my guess (only a guess) is that this film will remain popular only so long as the Gershwins' music does. In other words, for a long time to come.

I felt sick after watching this movie. I thought it would be like Singing in the Rain, which is one of my favorite musicals. Instead, I get cheesy acting, overproduction, a sub-average dialogue, and the worst plot for any musical I've ever seen. The music was commendable, which is why I give it two stars. But the dance numbers and the movie in general are so overproduced, it's practically megalomaniacal. As stated above, the acting and dialogue are boring. And not only is the story beyond cliche, but in the end the guy gets the girl for no reason we can think of, in the most vile Hollywood ending ever. Stick with The Music Man instead. Or Singing in the Rain. Or Showboat. Just not this . . .

AN AMERICAN IN PARIS is a wonderful movie musical with great songs, a touching story, brilliant choreography, and lush sets and costumes. Gene Kelly, one of the greatest dancers of all time (he also choreographed many of his own films, including this one), is always a joy to watch. He is especially well-cast here as Jerry Mulligan, a somewhat gauche would-be artist living in Paris. The thing I find attractive about Kelly is that, even though the characters he generally plays are tough and even slightly boorish, Kelly himself projected a charm and a graciousness that are often disarming. Similarly, while his dancing style was athletic and masculine, his physical movements (even normal ones, like standing up and walking -- watch him in the first scene when he gets up out of bed) were graceful, like a ballet dancer's. The "American in Paris ballet" is an undoubted highlight of the film and of Kelly's great career. Leslie Caron's dancing ability and lovely appearance, Georges Guetary's "legit"
tenor voice, and Oscar Levant's acid wit and genuine musical talent all add to the film's value. And of course, there are those Gershwin songs! All Gene Kelly fans should watch AN AMERICAN IN PARIS -- it's one of his best movies, along with SINGIN' IN THE RAIN and ON THE TOWN.

This is one of my favorite film musicals, together with Singin' in the Rain and Chicago. It received and richly deserved six Academy Awards in 1951, including one for best film. When you think about it, there are so many musicals which also offer delightful entertainment such as Meet Me in St. Louis, Seven Brides for Seven Brothers, The Wizard of Oz, Show Boat, West Side Story, Cabaret, South Pacific, The Sound of Music, Carousel, All That Jazz, and The King and I. It has been 50 years since An American in Paris was released and longer than that since the Gershwin brothers collaborated on the songs and George Gershwin composed Concerto in F and An American in Paris. How remarkable that the film has held up so well over the years. When I first saw it (in 1951), I immediately envied Jerry Mulligan's lifestyle (Kelly), especially after he met and fell in love with Lise Bouvier (Leslie Caron). He seems so at home in Paris, hanging out with his fellow American, friend, and neighbor Adam Cook (Levant) as well as with close friends among the Parisians such as Henri Burel (Georges Guetary). He also seems so popular with others within the area where he lives. The "I Got Rhythm" street scene number with his neighbors (especially the children) is thoroughly enchanting.

As for the plot, it is relatively simple: Boy meets girl, doesn't know she's a friend's girl, falls in love with her and (we suspect) she with him. After a while, they agree not to hurt his friend and part but are eventually reunited. As I said, a relatively simple plot. What sets An American in Paris apart from most other musicals are its great music and dancing, of course, but also an especially thoughtful and witty script by Alan Jay Lerner. (His screenplay earned him an Academy Award.)I also enjoy the dream sequences, notably when Cook imagines himself performing the Concerto in F and then later when Mulligan brilliantly dances his way through the title symphony. The exteriors in Paris shot by cinematographers John Alton and Alfred Gilks are certainly charming. Their work earned them an Academy Award. Director Vincent Minnelli probably received substantial assistance from Kelly who was the film's choreographer. In all respects, this film had a superior cast and crew.

Image and sound are certainly clearer in the DVD format. Regrettably, the "Features" which accompany this classic film are unworthy of it. Presumably their number and quality will soon be improved. With regard to this film's future, my guess (only a guess) is that this film will remain popular only so long as the Gershwins' music does. In other words, for a long time to come.