Don Movie Reviews

One of the things I will probably mention in several of my reviews of this series is that it is really a 'series,' not just a string of episodes with a dramatic ending. Themes and characters are developed over time, story arcs weave together, and each episode builds on the previous. With the kind of production effort that has gone into Escaflowne, success is a forgone conclusion. Not just success, but the kind of richness that makes for greatness.

When Van turns Escaflowne into a dragon and leads off Allen and Hitomi's pursuers it puts him face to face with his brother Folken, who failed the Fanelian test for kingship and fled to the Zaibach Empire. We discover that, as unappetizing as Folken's agenda is, it springs from honorable motives. This dichotomy between to forms of duty will haunt this series, providing as it does the seeds of redemption.

Eventually the flurry of rescues and escapes leads everyone to Palas, the capital of Arturia. But, there is no peace there. The Asturian king is squirming in the grasp of Zaibach and quickly proves his own untrustworthiness. Hitomi discovers that Allen, whom she is falling in love with, has some kind of pre-existing relationship. While this is unclear, Hitomi's confusion over her feelings for a boy back on Earth, Allen and Van is completely apparent. Thus will fate, desire, and duty play repeatedly in these relationships.

Art, animation and music continue to be top grade. I was struck in this DVD with the fine work done to bring Escaflowne to life, reminiscent of Evangelion, but a notch better. The kind of choreography used isn't just a delight to watch, it is expensive to use, underlying Kazuke Akane's commitment again. There is an interview with many of the lead voice stars that, amidst a lot of kidding around, reveals that Akane is not the only one who is determined to make something special of this series.

With the first four episodes of "Escaflowne", "Dragons and Destiny" captured our imaginations and prepared us for what could possibly be a monumental anime series. The second DVD, "Betrayal and Trust", expands upon the first DVD in every way and yet still hints that there is much more to be explored along the way.

By now, Hitomi is pretty much a part of the turmoil going on in Gaea, whether she likes it or not. On the run with Allen and Van from the sinister Dilandau, her mysterious powers begin to grow and play a much larger role than with her simple Tarot card readings. And while Van has to contend with the fact that his long-lost brother Folken has betrayed his country, Hitomi tries to deal with her possible love of Allen, who already appears to have a lover in the form of Princess Millerna. And all the while, Dilandau schemes and acts rashly in his unstable and almost insane mood.

Like the previous four episodes, the next four episodes play out at a very reasonable pace. Things slow down enough for back story and characterization to take place, but the plot moves along somewhat faster than most other anime series. Thankfully, the overall effect is a finely balanced series that doesn't sacrifice one thing for the other. And considering there are still 18 episodes left in the series, one can only guess what extraordinary and imaginative ideas this series can come up with next.

Visually, "Escaflowne" is one of the better looking series on the market today. While colors may not be as sharp as many of the series that are coming out these days, the series still manages to hold up on its own with its unique art direction and wonderful character designs. And when the series wants to look good, it can look good. Definately something anime fans demanding quality eye-candy can enjoy.

Audio-wise, you know you can almost always expect greatness when Yoko Kanno does the soundtrack. With her eclectic and mastereful genius, she has crafted music that is a league of its own. From orchestral to choral and back again, she truly knows how to make a great anime series even greater.

As for the English dub (provided by the Oceans Group of "Gundam Wing" fame), this set of episodes reveals where the dub actually starts to get good. While the dubbing of the first set of episodes wasn't terrible, the voice actors failed to completely develop their characters and thus sounded stale at times. With "Betrayal and Trust", they finally manage to get into their roles, and by episode eight they sound emotional and vibrant. Sub fans may argue about certain choices of VAs for some characters, but dub fans and sub fans with an open mind should find the "Escaflowne" dub acceptable.

As for extras, the second DVD has a set of interviews of the four main Japanese voice actors. Any fan of "Escaflowne" would be insane to pass this up, but be forewarned. These interviews contain many spoilers (the DVD even gives a clear warning of this) so it would be best for newcomers especially to watch the entire series before even looking at this.

Overall, "Betrayal and Trust" in an excellent continuation of the first four series. The story is progressing nicely, characters are developing marvelously, and the dub is starting to sound more enthusiastic. Die-hard anime fans would be insane to pass up this epic, and even casual anime fans need to look into this show at least once. There is a reason, after all, why many people call this the "Saving Private Ryan" of anime.

This is a fun series to watch.
You kind of feel sorry for Hitomi, your sucked into a mystical land where people fight in giant suits of armor called Guymelefs and there's constant fighting and people are dying and theres animal people to.

It took me awhile to get this whole set. I would of prefered to get it as a box set, but still I really enjoyed this series.

My favourie character is Dilandau he's one bad guy totaly vicious he mows through guys on the battle battlefield just to get to Van his main anemy the only one he cares about fighting.

I really recomend this series for all to watch.

IT SEEMS IN THIS DAY AND AGE OF NONSENSE MOVIES, THE ENLIGHTENED OFTEN HAVE TO SCOUR THE ARCHIVES TO FIND CREATIVE ENTERTAINMENT.
DESPITE PAUL NEWMAN'S CONTEMPORARY 'LIBERAL' MINDLESSNESS 'HUD' REMINDS US THAT HE WAS A GOOD ACTOR ONCE.
HE PLAYS HUD BANNON, REBELLIOUS SON OF A BIG TEXAS RANCHER.
HUD AND HIS FATHER (MELVYN DOUGLAS) LOCK HORNS FREQENTLY AS THEIR PERSONALITIES AND MORALITY ARE FAR FROM COMPLIMENTARY.
HUD IS BASICLY A SELF SERVING, EGOTISTICAL OVERAGE BRAT THAT SEES THE WORLD AS HIS PERSONAL PLAYGROUND DESIGNED TO BENEFIT HIM AND HIM ALONE.
THE PATRIARCH FATHER IS FROM THE OLD SCHOOL, AND IS THE CONSIENCE OF THE FILM. THE DAD IS A STAND UP, DO THE RIGHT THING TYPE THAT USE TO BE MORE THE RULE IN PEOPLE RATHER THAN THE EXECPTION AS IT IS TODAY.
A 'LOOKING FOR A ROLE MODEL' NEPHEW IS THROWN INTO THE MIX (BRANDON DEWILDE) OF 'SHANE' FAME, AND THIS KID BECOMES THE CATALYST FOR EMOTIONAL SHOWDOWNS BETWEEN THE ROGUE AND THE GRANDPA.

ALL PARTS ARE PLAYED WELL AND IT IS A SHAME DEWILDE WAS KILLED SHORTLY AFTER THIS MOVIE CAME OUT. HE PROVES TO BE A TALENTED ACTOR WHO OBVIOUSLY HAD PROMISE IN THIS ARENA.

'HUD' IS A MORALITY PLAY BETWEEN BLACK AND WHITE RIGHT AND VARIOUS SHADES OF GRAY REALITY.

IF YOU CAN GET PAST NEWMANS FLIMSY POLITICS AND JUST WATCH THIS ONE FOR WHAT IT IS, YOU WILL LEARN SOMETHING AND BE ENTERTAINED IN THE BARGAIN.

Classic story of a Texas heel. Without question Paul Newman's best work ably supported by a dissaproving Melvin Douglas and evasive Patricia Neal, both showing more wear than we were accustomed too but very effective. This film has something unique that we just don't see anymore, four sympathetic main characters. They are all tortured for their own reasons, and polarized from each other, yet drawn together at the same time. An amazing screenplay, artful direction by Martin Ritt, yet this classic was overlooked by the Academy for Best Picture. Makes you wonder doesn't it?

Newman was great in these roles, next to Ben Quick I'd say Hud Bannon is my favorite immoral character of all time. ...

This movie was made when Hollywood knew how to make great movies. It isn't full of special effects, violence or sex. It doesn't need these. The story and characters make this movie. I've always been a fan of Paul Newman, but his is by far my favorite of his movies. The first time I saw this movie I was a teenager, but it has remained one of my all time favorite movies. I can't believe it has not been released on DVD yet. Will be waiting to add this one to my DVD collection when it does come out. If you have never seen this movie, do yourself a favor and rush out and rent it. I guarantee you won't be disappointed.

This is what I consider film making at it's very best. Probably the best way to approach this film is to see it not as an accurate account of the events leading up to the OK Corral Gunfight, but as a symbol of the life of Wyatt Earp, and of the American West. Ford's story of Wyatt, Doc, and the Gunfight at the OK corral doesn't even come close to being historical correct, but, no matter how unfaithful this movie is to real events, something about it still rings true, that to call the movie a complete fabrication would in turn, be untrue. Ford's biggest alteration of history is to change the relationship between Wyatt Earp and Doc Holliday from friendship to antagonism that is somewhat softened by mutual respect, and eventually evolves into alliance. The genuine tension between Wyatt and Doc strengthens the film. The Marshall and the OK Corral incident have become legends, and it could be said that, in certain aspects, the film aims to turn the legends into mythology. Art (film making) is not necessarily life, readers. It's producing a sound, vivid, entertaining film of high caliber, excellent drama, beautifully cinematography and becomes very entertaining. Let us face it, the Earp family were all criminals, same as the Clantons, but Ford brought the myth into play and brought a part of American West out superbly.. Yes, we do like to turn legends into mythology, even if it isn't historically correct, but when a film brings to the screen the myth, with such excellent scenes, such visual stunning, and good acting, it becomes reality for us for a couple of hours and that is what making films is all about, to be entertaining.

As for the acting, the cast is very strong. Henry Fonda's performance as Wyatt and his locked kneed saunter makes his portrayal all more natural. Walter Brennan excels as the heartless patriarch of the Clanton family, whose sons draw Earp into an unavoidable blood feud. Brennan's performance, like Bond's, is magnificently understated, as is pretty much everything else about this film -- director John Ford imbues every scene with an economy of presentation that takes the western genre into the level of high art. Everything about this film rings true... well, other than the romantic melodrama surrounding 'Doc' Holliday, and Victor Mature's mannered portrayal of the tubercular gunman... with fronteir life evoked with the same richness of detail that Ford later recreated in another black and film we won't mention here. Here, though, the choke of dry dust and sense of fast danger are much more present. The Clantons are a much more sinister set of badmen than Lee Marvin's exaggerated schoolyard bullies; Brennan and his boys simply sidle up and ooze menace and dark violence. A number of Ford regulars such as Russell Simpson, and Linda Darnell provide solid support and there is not one false moment to be found in Cathy Downs' Clementine Carter.

This western is moody and often looks like a western version of a "film noir". The film also delivers the most tension of any Earp film to date, yet remains very touching and sympathetic. For instance, there's a justly famous scene in which the camera watches Wyatt while he builds up the courage to ask Clementine Carter to dance. And he's a picture of languid, dangerous grace as he keeps order in Tombstone while leaning back in his chair and resting a booted foot on a post. Fonda is cool and collected as Wyatt. The patient and deliberate manner in which Ford and Fonda allow scenes to unfold with a minimum of dialog gives this film a quality unique among films of the era, which tended to be filled with vastly more talking than today's films.

Many of the elements that help create the film's effect are common to other Ford films: the extraordinary photography (veteran Joseph MacDonald, though Ford's eye was so good that he functioned as a second cinematographer), the sparse, spartan sets, the rituals that individuals wittingly or unwittingly follow in the concourse with one another, the use of music to create especially powerful moments (in this case, the title of the film as well), the themes of individual responsibility and compassion, and the stellar cast of Ford regulars. But in this film, many of the great moments derive from Ford supporting cast of excellent actors.

Admittedly, the gunfight could use more excitement, but Director John Ford's approach to the final action scenes avoids being overly made-up, a curious choice given the film's nature. But this course of action is correct in order to maintain the film's "down-to-earth" integrity. This film has some excellent entertainment value and probably one of the top five ever westerns made. Ford was the master of filming outdoor pictures in black and white. Several scenes, such as the dance at the church, are visually stunning. Needless to say, the B&W cinematography is typically gorgeous, and Ford never misses a beat in his calm, patient direction. Really, it's beautiful, low-key, has excellent vignettes, but I feel that much of the excellent cinematography will be lost in a small screen. This is a great film from beginning to end. Highly recommended.

Henry Ford starred as Wyatt Earp in MY DARLING CLEMENTINE, directed by John Ford. Set in or near scenic Monument Valley, this is one of the best-acted and best-directed westerns. Fonda's Wyatt Earp and Victor Mature's Doc Holliday stand out as exceptional performances.

Walter Brennan is excellent as the menacing Old Man Clanton.

Of course, the movie ends with the shootout at the OK Corral.

The story of the Earps, the Clantons, and Doc Holliday led to many other movies, but this great Western from the 1940's set the standard.

This is one of several films whose title may have deterred at least some people from seeing it. (Zulu is another which immediately comes to mind.) Questions have been raised as to how historically authentic Ford's portrayal is of the Earps, Doc Holliday, the Clantons, and their eventual showdown at the O.K. Corral, one which allegedly lasted less than a minute. Others are far better qualified than am I to comment on historical matters. Perhaps Ford and his screenwriters as well as Stuart N. Lake (author of the book on which the screenplay is based) invoked creative license. As for the title, this film's stature as a classic western indicates that its title is not an issue. What we have here is a film whose acting is superb, whose plot developments are cohesive, and whose climax is satisfying. The same can be said of another version co-starring Burt Lancaster and Kirk Douglas but I think this one has richer narrative texture and more nuances of interpretation, notably the presentation of Wyatt Earp (Henry Fonda). The central conflict between the Earps and the Clantons is obvious. Less obvious is the transition in Tombstone from lawlessness to civilization. Wyatt Earp and his brothers protect the townspeople, of course, but in doing so, they allow the transition to proceed.

One of the most memorable scenes occurs when Sheriff Earp reluctantly agrees to dance with (if I recall correctly) Clementine Carter (Cathy Downs). This scene may have inspired a similar scene in a later film when Shane dances with Marion Starret while her husband and friends beam with approval. The community of Tombstone is evolving toward churches, schools, shops selling consumer goods, social events, etc. all of which require respect for law and order to flourish. Property rights will be respected only when they are properly protected.

What to make of the tubercular Doc Holliday (Victor Mature)? As presented in this film, he is a deeply troubled person although well-educated and cultured. His reputation, however, is that of a dangerous gunslinger. He and Wyatt Earp respect each other and even seem genuinely fond of each other. At one point, they need each other but for different reasons. The arrival of Clementine Carter evokes in Holliday all manner of memories, frustrations, disappointments, regrets, etc. She also complicates his relationships with the Earps as well as with Chihuahua (Linda Darnell). Even with these and other sub plots, Ford carefully guides the narrative to the inevitable showdown.

My own vivid memories of this film include the aforementioned scene in the street when Wyatt stoically but gracefully dances with Miss Carter, his brief discussion of women with Mac (James Farrell MacDonald), the performance by Granville Thorndyke (Alan Mowbray) which Holliday helps him to complete, and of course the brief but dramatic climax in the O.K. Corral.

One final opinion: The black-and-white cinematography (Joseph MacDonald) and set design (Thomas K. Little and Fred J. Rode) seamlessly support the narrative and the acting. They also establish a credible physical context within which to tell the story. I could be very wrong about this, I realize, but I think that if it were possible to travel back in time and visit Tombstone in the 1880s, it would resemble the town portrayed in this classic film. For John Ford, having an authentic location (one which almost becomes one of the characters) was always very important; for My Darling Clementine, it was imperative.

Firstly let me point out that there is a DVD version of EOD, several actually. The best version is the latest released this year which is a wonderful transfer and includes a documentary on the film, Magnox and has clips of interviews and award ceremonies and discussions on the series. It is on region 2 DVD and is available from amazon uk. I too remember watching this masterpiece unfold when it was originally screened here in the uk. I was only 14 at the time and British television was still producing some wonderful stuff. Even so I knew this was something extra special. It must have planted a seed in my subconscious. Incredibly in 2003 it has lost none of its power and seems just as prescient now as ever. The callous disregard for the individual by corporations, the 'great game' played out between competing security agencies, the conspiracy of silence in the media. The ecology movement. The collusion of government with the malign constituents in our society. Ostensibly though this is still the 'little man's story' and what a central performance from the late great Bob Peck. His personal disintegration is harrowing to behold as he tries to unravel the mystery. Joe don Baker, what can you say about his performance. He is utterly compelling as the old school agency man fighting to keep his head above water. His verbal sparing matches with 'arts council' funded MI5's Ian McNeice and Charles Kay (also superb) are very very funny. Oh the script, what a script. Troy Kennedy Martin the writer provided the most consistently brilliant screenplay for television ever written. Martin Campbell the director sculpts it all into an entity that supplants the TV media. The DVD I saw previously to EOD was Leone's masterwork Once upon a time in America and I can honestly say EOD which bares many similarities is right up there alongside it. I don't think I could give this production a better accolade.

I have lost count of the number of times I have watched Edge of Darkness, and still seen something new and haunting in its ramifications for our current age. In this deeply disturbing film series the devil is most defintely in its Cold War detail, and Troy Kennedy Martin's script uncovers many of those very real demons that lurk in the international trade of nuclear technology and weapons grade plutonium, the most dangerous material in the world, and which is still clouded in mystery. It is also a mythic story of hope for the future, as Bob Peck's character finds his allies in the strangest of places, even as his enemies are everywhere.The fact that this series has still not come out on DVD is truly amazing, and if I believed in conspiracy theories i might even be suspicious! Who knows! Roll on E of D 2!! We need to be told, now more than ever...

I was living in England when Edge of Darkness first broadcast and can verify the effect it had. Until I saw the first season of the Sopranos, I thought it -- unquestionably -- the best television I had ever seen. I would now call it a tie.

There is very little that I can add to the other reviews. Only this: one of the beautiful things about seeing this in series form was that you had to wait week to week to see it so that you could ponder what happened and what might happen. Very exciting. And, once it was over, it was a marvel to re-watch it and see how well it "hung together." Especially the hushed conversations that were blown through the first time around when you were uncertain who various people were. And by focusing on them and their role the show was even more fascinating the second time around; you understand better and understand more. As one reviewer wrote, it has the texture of a book, and that is a remarkable thing.

Like the reviewer from Florida, I also have this in Beta, but I really want it in DVD. This is one of the best films I've ever owned, absolutely spectacular in its visualizations of the Pacific Northwest, and heartbreaking, funny, and thrilling -- all in the same film. Great soundtrack. This film should be packaged in the DVD mode because it can include the historical background of this based-on-fact episode from our North American past. I may give up and get it in VHS because my Beta is working so poorly, but this is one whale of a film and deserves DVD.

On VHS this is available on two different labels: #1 MEDIA and #2 Video Treasures. If picture, sound and general quality are at all important to you AVOID the VIDEO TREASURES label. I learned this the hard way! MEDIA is the only one worth buying. I rented the Media version(recorded in higher quality SP mode) and then bought the Video Treasures version(an EP mode cheapie) - night and day difference. I was so disappointed. Finally found one on MEDIA and its just like I remember. IF THE AMAZON.COM ITEM DESCRIPTION LISTING DOESN'T MENTION WHICH VERSION THEY'RE OFFERING, EMAIL THEM BEFORE YOU BUY IT(and always check the seller's feedback too). I've seen more films than I care to mention and this one outshines almost every one of them. Hope this helps.

I too saw this movie as often as I could when it was released into the movie theatre in the 80's. I had an old beta tape of it,but alas my beta-max player died in the early 90's.This movie like Jeremiah Johnson would transfer to dvd as a work of art in a western. Jeremiah Johnson was a man out of his element,struggling to survive and make his own way in the Rocky Mountains. Bill Miner, the character that Richard Farnsworth played in the Grey Fox was a man sruggling with the progress of the west, and the industial age closing in on him. He was an old cowboy train robber,that couldn't adapt to the new world he was thrust into after spending the prime of his youth in jail.He rallies to one last great train robbery of his life and finds love in a independent artistic woman with an equally wild spirit.This is a wonderfully moving movie with amazing photography of the Western Canadian landscape.
We are anxiously waiting the release of this movie on dvd!

This film was written by Horton Foote, that magnificent southern writer who also wrote the screenplay for, "To Kill a Mockingbird." Need I say more? Well, yes, I do.
I remember a time when you went to the movies to be emotionally moved by something--an idea, a time and place, a remembrance of your past, a great story, and you were enriched for having partaken in a vision of life you might never have known if you hadn't seen it on film. We can have atrocious, uncaring parents and teachers, but if we see movies rich with life affirming substance, somehow they influence us to believe that we can experience the greatness of mind we need to live our lives with emotional richness. That's why we still go to the movies.

I was right there with Geraldine Page every step of the way in her struggle, and finally her triumph, to return to her beloved Bountiful. The brilliance of her acting shows her absolute mastery of the craft even in one small scene at the bus station when she is reminiscing about how the town used to be when she was a young girl. Watch the way she moves and the way she holds her sandwich. In that one scene, I saw her character's love of the past, regret for the past that no longer exists, and uncertainty of her own future. She summed up what we will all come to know before we depart from this earth. When my time comes, I will want to go back to my "Bountiful" in Indiana. I hope someone will volunteer to take me there. If not, well, Geraldine showed me how to do it. I need this DVD. My children and grandchildren need this DVD. Everyone who is a member of a family needs this DVD. We do not need the blockbuster Hollywood thrusts at us for a weekend and quickly bores even those who like this kind of film. We need the Trip to Bountifuls that last forever and will sell forever if only someone would produce it on DVD.

It is disgusting that, considering the amount of trash that passes for quality film entertainment these days, 'The Trip to Bountiful' has not yet been released on DVD.
Come on wake up whichever company will be responsible for putting this superb movie on DVD - there are scores of film goers avidly waiting to buy.
Geraldine Page displays the kind of bravura and legendary acting that is all too rare nowadays, and she proves just how exquisite to watch is the art of true acting - sadly now diminishing from our TV and cinema screens.
If for no other reason than honouring the memory of a truly great actress, please show your respect and admiration for her work by re-mastering this movie on a DVD edition.

Even in the opening scenes of this movie, you feel you are watching quality acting on a New York stage. Having lived in NY for 25+ years, I can honestly say that this is one special movie and does reflect what we have here. It brings back scenes of home, family, conflict, forgiveness, perseverence, and the indomitable spirit. It is a quietly great movie.

"Of all sad words of tongue or pen. The saddest are these 'it might have been' " That proverb seems made specifically for this film. Orson Welles' big screen adaptation of the "Magnificent Ambersons" was cut from two hours down to an hour and a half. The excised footage was destroyed so there will be no 'directors cut' of this film.

Lavishly shot, wonderfully directed, and superbly acted this film takes it rightful place as a movie classic. It consistently makes the list of the all time greatest films.

HOWEVER, the loss of 1/3rd of the film shows throughout. It is a masterpiece of design and acting, but I found the plot to be jumpy often skipping over important elements from the novel. The characters (with the notably exception of Agnes Moorhead) never really get a chance to grow and develop or show their inner selves.

The basic plot centers on new money versus old money. The Ambersons are the acknowledged masters of the town and their crown princess Isabelle spurns the advances of Eugene Morgan a young inventor. Twenty years later Morgan, now a rich widower, and his comely daughter return to the town and meet up with the Ambersons. George Amberson Minever scion of the clan falls in love with young Lucy and the elder Morgan begins to renew his courtship of the widowed Isabelle. George objects to the match and places all possible obstacles in the way of the automobile magnet and his mother. As progress moves forward the automobile changes the way of life for everybody and the rich and powerful Ambersons find themselves behind the times and losing both thief fortune and prestige.

This is a classic movie and what is left is well worth seeing over and over again.

What a travesty it is that as of this writing, Orson Welles' "The Magnificent Ambersons" is not available on DVD, while the far inferior 2002 remake is. Welles' managed to follow up his landmark debut "Citizen Kane" with another masterpiece, despite studio meddling which reduced the film's length by 43 minutes.

Eschewing "Kane's" fragmented structure, "Ambersons" employs a linear narrative to chronicle the rise and fall of the Amberson family, who become an allegory for pre-industrialized America. Though the film undeniably laments the passing of the simpler, 19th century way of life (most effectively in a nostalgic prelude narrated by Welles himself), the conflict between past and progress is complicated by the impudence of George Minafer (Tim Holt), scion of the Ambersons, and the amiability of Joseph Cotten as the inventor whose automobiles contribute to the decline of the Ambersons' magnificence. "Ambersons" is characterized by masterfully choreographed long takes, which allow Welles to extract thematic content from the material through sheer compositional virtuosity. "The Magnificent Ambersons" remains a powerful experience despite the loss of several key scenes; RKO chopped Welles' diamond, but could not obscure its brilliance.

"The Magnificent Ambersons" is two stories rolled up into one. I will explain them one at a time.

First of all, it is the story of a late nineteenth century family, the Ambersons. The Ambersons are a large, wealthy, New England family who are held in high esteem in their community. They live in a large, beautiful mansion where they hold balls and invite all the town folk.

Unfortunately, the Ambersons are also very old fashioned and are unable to keep up with the changing times. When Wilbur Minafer dies, it is discovered that he has made some bad investments that has left the Amberson clan bankrupt. Meanwhile, his widow Isabel Amberson begins to see her old flame Eugene whom she had stood up years before. Eugene is in the process of developing a new contraption called an "automobile". Eugene is prospering while the Ambersons are going bankrupt. Also, as one of the Ambersons points out, if automobiles become common and roads are built around their property, then the houses will lose their value. This leads to a wise speech that Eugene gives in response to a rude comment that George makes about Eugene's profession.

Indeed, it's not only financially that the Ambersons have trouble adjusting to. George Amberson Minafer, the son of Isabel, has grown from a spoiled young child to a spoiled young adult. He is the scallion of the Amberson clan and the Isabel's pet son. He is the person that the neighbors keep predicting will one day get "his comeuppance". George does not approve of his mother's relationship with Eugene and is determined to pressure her into breaking things off with him.

"The Magnificent Ambersons" is an affectionate look at a bigone era and a dark look into the changes that the automobile brought to some families at the dawn of the twentieth century. It was adapted from a novel by Booth Tarkington and directed with care and affection by Orson Welles. Welles had previously done a radio play adaptation of the Ambersons with himself in the role of George. As in that play, Welles narrates throughout the film, even signing off at the end. The black and white cinematography is gorgeous, indeed some of the shots bring to mind some of the pictures I've seen of nineteenth century houses. The music score by an uncredited Bernard Herman adds just the right touch.

However it's impossible to watch this film without thinking about the effect it had on Orson Welles. Which brings me to the second part of the story. George Orson Welles was a child prodege who, as he put it, had "genius" whispered into his ear from the time he was born. Starting in the thirties, sixteen-year-old Welles bluffed his way on stage into a Shakespearian production carving out a career as an actor. He also formed the "Mercury Theatre" which produced some highly original stage and radio plays. His radio production of "War of the Worlds" scared people across the country into believing that Martians had invaded Earth. On top of all that, Welles successfully broke into films making "Citizen Kane" for RKO, arguably the greatest film of all time. And this was all before he was twenty-six!

By this point, many of Welles' detractors were just waiting for Welles to get his "comeuppance". They wouldn't have to wait long. While Welles was away shooting a documentary in South America, RKO cut 45 minutes from the Ambersons and added three minutes after the film tested badly at a preview screening composed of rambunctious teenagers. RKO then put a stop to Welles' documentary and released the Ambersons with few previews where it flopped badly. While it's a testament to Welles' talents that a film that was so obviously butchered can still get a five star rating, the lost footage is still one of the ultimate Hollywood tragedies.

As for Welles, he suddenly found himself with an undeserved reputation as an unreliable director and a spendthrift. Welles' career never fully recovered, and although he would manage to cough up enough money to continue his film career, he would never again have the artistic and financial freedom that he had once enjoyed.

Like George Amberson Minafer, George Orson Welles finally got his comeuppance. He got it three times over and brimming.

This movie is a little known treasure. I can remember watching it several times growing up, but nobody else I know has ever seen it. Real Men has been very difficult to find, and it has never been released on a DVD format until know. I strongly suggest you buy this movie (especially at this price!). It has a high replay value (almost like BLues Brothers) and it will keep you entertained for years to come.

Real Men ranks as one of the most underappreciated comedies of all time. It's easy to turn up your nose at the, campy, over-the-top action and dialogue. But, unlike most films that start with a preposterous premise and follow it to a logical conclusion, Real Men sustains its humor and pace from start to finish.

Jim Belushi (the tough, callous super agent) and John Ritter (a regular family man who's "average, maybe a little less") are perfect foils even as they slowly exchange personas: Belushi finding his more sensitive side while Ritter becomes a more assertive, resourceful, take charge 'kinda guy.

Real Men shares much in common with another of the funniest films ever made: The In-Laws. It's virtually the same premise: a buddy film about a regular guy dragged kicking and screaming into the covert, wacky world of espionage.

Both films hilariously turn the ridiculous into the sublime as the viewer first sees the story from the viewpoint of the "regular joe" whose life is turned upside down while he tries to remain calm. Gradually though, you come to accept the sincereity of Belushi's character (Nick Pirandello) and suspend disbelief at the preposterous situations because they're set up so well (like Soviet agents quitting in the middle of a gunfight because they're going to lunch - no incentives like we have in the free world.)

Well written with a great, bouncy score that compliments the film perfectly.

Finally starting to be taken seriously after some second looks and a new and growing appreciative audience.

The story opens with Stone Wall holding a glass of water and walking in the woods. He is shot and the whole world is in danger because of it. Bob Wilson (John Ritter) is a dead ringer for the only person that can save the world by negotiating with aliens. Who will recruit and train him? Yep Nick ParanDello (James Belushi.) Will they be able to take on the CIA, KGB, and a bunch of other clowns? And if so will the mission be accomplished? And if he lives, what effect will this experience have on Bob Wilson's personality?
I am not about to tell all the details, as that is the movie, however Dyanne Thorne plays "Dad.' Now where have we seen her before?

In the finest tradition of A & E, this film is a riveting, detailed documentary of R.M.S. Titanic. It reviews the complacency and overconfidence of the Gilded Age, describes the events which led to the building of the Titanic, and through the words of survivors and other eye witnesses, takes us through the sailing, the collision with the iceberg, the sinking, and the aftermath, both in the United States and in the United Kingdom.

The only weakness is that Stanley Lord of the Californian gets off too lightly. He and his officers at the very least were negligent for not awakening the wireless operator and trying to find out what was going with the "mystery ship" they all admit to knowing about.

This documentary made me cry. It's an incredible addition to the Titanic history but also a supreme achievement in the world of documentary filmmaking. I just ordered the VHS set and am on the edge of my seat waiting for my copy.

I watch this DVD at least 3 times a week. It's really three two-hour documentaries, but the first two comprise one series and the third is it's own short film.

The first disc shows you everything about the voyage of the fateful liner, from it's infancy to it's fateful sinking and the legacy left afterward.

The second disc shows a great documentary about Titanic's affect on pop culture. I bet you never knew that the Titanic was featured in a Nazi propoganda film! I consider myself to be quite the Titanic fanatic, and the second disc taught me things I honestly never knew!

I HIGHLY recommend this DVD set to anyone interested in learning about the world's most famous ocean liner, and the legacy it's left. After watching this, you won't even be able to remember who James Cameron is!

FATHER GOOSE is a charming comedy about a decadent American expatriot (Cary Grant) who gets pressed into service as a coastwatcher by the Australian Navy during World War II. Grant is stationed on a lonely South Pacific island until he unwittingly is forced to rescue Leslie Caron and her band of young French refugees who join him at his outpost.Trevor Howard is an Australian Navy Commander who maintains radio contact with Grant.

Much credit goes to Director Ralph Nelson and Peter Stone with his fellow screenwriters. Cary Grant is superb as usual and Leslie Caron is gorgeous.

FATHER GOOSE won an Oscar for Best Original Story and Screenplay. It was also nominated for Best Editing and Sound.

Cary Grant stars as an ex-professor who has sought refuge (and isolation) in the South Pacific while World War Two rages around him. He is forced to volunteer as a lookout on a remote island, which instead of being invaded by the Japanese, becomes overrun by seven schoolgirls and their teacher Leslie Caron, survivors of a plane crash. Although charming is usually the word used to describe the typical Cary Grant character, it doesn't work in this film. The gruff and frustrating Grant wants nothing to do with the girls or their stubborn teacher, but it's a small island and they're hard to avoid. Grant and Caron work very well together in this blend of comedy and some action. It's a change of pace for both, and they acquit themselves nicely with a good chemistry and sense of character. Grant also has a number of terrific moments with Trevor Howard, his military contact via the radio. Directed with a light touch by Ralph Nelson, he wisely lets Grant do his thing and let's the script speak for itself. It's good to see Cary Grant out of a tuxedo for a change, and it's great to see a comedy that comes from character and situation, rather than put-down one-liners.

I'm not sure of anyone I've ever known, or of any personality type who was not or would not be entertained by this movie.