Don Movie Reviews

This is really not a bad movie. It was actually funny in some parts. It makes fun the military and the politics of war.

I have been a Marine for eight years. Usually whenever I see Marines depicted they are overly stereotyped, or the depiction is so innaccurate I can't stand it. This movie, although having a definate anti-war theme is an honest portrayal of the chaos, hypocracy, and real hardships faced by fighting men. Two sequences really stick out in my mind. First, when the troops arrive in Vietnam, they escort a convoy of "vital supplies" through hostile territory to an Army command, loosing two men in the proccess. When they arrive at the Army camp the Marines of Company C, find thier "vital supplie" are birthday gifts for General Dearborn, the camp commander. I have seen similar situations in real life. The second noteworthy scene from the movie is when the company is ordered to take out an enemy tactical operations center. Once they arrive, they find their viatl target to be no more than a relay station for radio Hanoi. This is when you hear the best line out of the whole movie. The Lt. looks over at Washington and asks:
"Washington, you ever wonder what it would be like to spend a million dolars?"
Washington replies:
"Yes sir Lt. I think about that quite a bit."

This is one of the greatest Viet Nam Movies that I've ever seen and it's what also inspired me to join 'Mother Green nand Her Mean Machine'.
I wanted to be a part of a Proud and The Most Decorated US Military Service, as well as go through this country's toughest boot camp to prove to myself and to those that didn't think I could survive USMC Bootcamp, that only a select few can earn the Title United States Marine
This movie depicts what all of us ,that went through USMC Bootcamp expirenced, and to go thorugh life with our heads held high, because only we know what it means to be a MARINE.
I am very proud and honored to be a part of the RICH Tradition.
I salute all of you that served in the Viet Nam Conflict. Semper Fi!

This 1993 movie provides a blueprint for framing an individual by forging DNA evidence. A husband is charged with the murder of his wife, an almost foolproof crime. His defense lawyer learns that in fact he did it! So she manages to get a sample of his blood, then plants it so there is "proof" of his guilt. This lawyer sees to it that justice triumphs, if not the law. Any resemblance to a later real event is not a coincidence, in my opinion.

The drama also comes from the interplay between the characters, and the rest of the story.

I think Rebecca De Mornay is a fantastic actress.In this movie she was the best I've ever seen her acting.Her Level of emotion and her talent was so passionate. I just wish she was in parts of this caliber more often.I wonder if Rebecca is'nt being offered the big parts anymore.It is the public's loss and the movie industries loss if thats the case.I haven't seen her in a memorable major role for a long time.

I saw her in the film "The Cradle Will Rock" years ago.That was a fabulous performance-but this part in "Guilty As Sin" was better.Her heart of kindness comes through and her fear of being taken advantage of by Don Johnson's character.Her strength in this movie is magnificent-emotionally and physically.Each time I've seen this movie I see it for the first time..because I see new levels of her character that I had'nt noticed before.

This is an "A" list movie with great writing, suspense and casting. I consider this Johnson's best work. He is such a monster, you just hate him in the movie. And he plays his character flawlessly. De Mornay was a perfect pick too. I can't wait for the DVD release!

What more can I add to the reviews below? The Clu Gulager interview is absolutely fantastic. He reveals some very interesting facts regarding the filming and makes strong positive comments about his co-stars and the director. The Stacy Keach reading is also excellent.

I remember at 13 years being struck with wonder at the power of the dialogue in Hemingway's The Killers and if I recall correctly walked around the streets talking to myself, shoulders slouched, " You...bright boy. You pretty bright eh? " etc In this doubled whammy of Criterion edition it's Don Siegel's which has little to do with Hemingway which has the visceral power and Siodmark's which has much art and mood which has little of the power. Both however, are terrific movies. For film buffs it's a treat. With Siegel's the trashy sets, the truly brilliant acting of Mr Marvin, and Mr Gulager and Mr Cassavetes, go together to make a film which you can watch a dozen times and still marvel at it.

This review is on the 1946 version of The Killers (1946). The copy I rented did not contain the other version. Two killers, Al (Charles McGraw) and Max (William Conrad) are in a diner giving orders to the diner manager (Harry Hayden) of Henry's Diner and telling the customer to move to the other side of the counter. The black cook is tied up in the back too. They are waiting for "Swede" (Burt Lancaster in his film debut). Finally, the manager convinces them that Swede would not be in at all if it's after 6:00pm. They were going to kill Swede during his dinner at the diner. Nick (Phil Brown) runs to Swede's apartment. Swede is laying there on his bed in the dark. Nick tells him someone is out to get him. As soon as Nick leaves, the killers walk upstairs, open the door, and kill Swede. Now it's a case for Edmond O'Brien (D.O.A [1950]) to solve and what wrong thing did Swede do only once. "Sam" is played by Sam Levene who you may have seen in After The Thin Man (1936), Act One (1963). Virginia Christine is "Lily". You remember her as "Mrs. Olson" in the Folgers Coffee commercials.

So far, the Zaibach Empire has remained shadowed, led mysteriously and manifesting in the field as a military presence. Suddenly and energist triggers Escaflowne, Van, Hitomi, and Allen directly into the Zaibach center, in a confrontation with Dornkirk, who is the emperor on Gaea, and was called Isaac Newton on Earth. Dornkirk is fixated on understanding and controlling the forces of destiny - master not only the present, but the future as well. However, Hitomi helps Van harness his power over Escaflowne, and the Emperor of Zaibach discovers that she is his true enemy.

Driven by their fear, Dornkirk and Folken put together their own plan to drive a wedge between Hitomi and Escaflowne. Aiding their efforts is the complicated web of romance that is growing between all the main characters. Not only Hitomi, but Millerna as well, are conflicted about their own desires. Millerna acts impulsively and choses Dryden, triggering the series of events that foreshadow disaster. All of this feeds into Folken's plans, and the destiny engine is brought to bear.

Up to now, the romantic element in Escaflowne has provided a light backdrop to the deeply serious politic situation, but now politics, science and romance mix - and not very well. Destiny now takes its place as the major theme of the series, not only as fate, but as a weapon as well. This is the true menace of the powers of Atlantis, unleashed on a world before their time. How far can Dornkirk's engine reach? Can events on Gaea influence Earth?

One think you can never accuse this series of is oversimplification. The plot is built in layers, mixing the magical with hard science. In doing so, Escaflowne creates its own genre, with a far broader appeal than was originally anticipated. It has not received the wide acceptance in the US it received in Japan, mostly due to poor marketing. I continue to encourage viewers to consider this set as an excellent example of what commercial anime can be when the highest production standards are applied.

Episode 18: This episode has it's ups and downs. The first part is rather boring cause they just talk. Dorenkirk eplains to Hitomi, Van, and Allen, how he came to be in Gaia. The second part is much more interesting. Dorenkirk's people begin to tear Escaflowne appart, but they don't know that Van is somehow conected to Escaflowne. As they try to pull off the 'heart' of Escaflowne, it's as if they were trying to do the same as Van. Only Hitomi can help save him. In that scene, you can reall see the conectio between the two, even Allen sees it.

19: This episode will leave you at the edge of your seat the whole time! Folken and Dorenkirk alternate the future with a machine (forget what it's called) that affects the life of Hitomi and Allen. This will lead them to kiss and affect a dection Hitomi will make in the future. Yoko Kano's music really creates the atmosphire for this episode.

20: Hitomi does a Tarot card read for Millerna about the wedding. They tell her Drayden isn't the one for her, Allen is. Hitomi loves Allen and tries to switch cards so Millerna will have a happy marriage. Zaibouk comes, and because of what she did, she causes more trouble.
There's are some scene in here that's well worth seeing. When Eria and Naria are sword fighting. The animation is very smooth. What's really interesting is how one of them wins. After that, they show a scene of them when they were young, remember their past. This is the most beautiful part of the whole DVD. The mood is set by the music and espcially they be tan lighting affect.

Escaflowne is a wonderful anime. There's not many anime's that make you feel like your really there (as someone said before). This is the kind of anime that you really get into.

Van, Hitomi and Allen gets transported to the very heart of the Zaibok empire, and meet Dornkirk. Allen realizes that Dornkirk is "Issac" that his father met. Dornkirk locks them up in separate cages. The three escape with the aid of Escaflowne. Dornkirk realizes that Hitomi is a problem to the ideal future.
Dryden and Millerna get married, but the man for Millerna is really Allen (who Hitomi loves). Zaibok attacks and asks for Hitomi Kazaki, the girl from the mystic moon, or they'll destroy the city. Hitomi gives herself up at the end of the final espiode.

...the SONGS left out. Oh MAN. Listen to the version of "Baby What You Want Me To Do" available on a 12-inch single (and most two-CD versions of the concert). It is one song among many (i.e., the rest of the great acoustic set, the unbelievable rendition of "You Send Me," the song which actually OPENED the concerts, "The Price of Love") that was foolishly left off of this DVD.

I guess Image Entertainment was thinking of this simply as a PRODUCT. Maybe they think we should be grateful that they *remixed the audio.* Where is the great rehearsal footage, the interviews with each brother as they were being driven to the Albert Hall, the pre-show comments from Brian Setzer and Tom Petty? All of this was seen (in very edited form, VHS-era) on the "Rock & Roll Oddysey" documentary.

Image Entertainment BLEW it. However, we must remind ourselves: do all of the CDs bearing the title "The Everly Brothers - Reunion Concert" feature the tracklist and the brown cover of the original two-LP set from Passport Records? No. About 26,534 versions of the "Reunion Concert" exist (I saw a new, two-disc version at Wal-Mart for less than $10) and we can only hope that, similarly, the DVD will be rereleased and expanded as time goes by (Hi, Rhino, Sanctuary).

Another issue is the fact that, by the late '90s (in other words, by the time Buddy Emmons' touch was in full effect), the Everlys' show became a different monster - a beautiful, a little bit rock & roll, a little bit country (but, thankfully, not having anything to do with the Osmonds), tight-but-loose show played by musicians whom each posessed a perfect mixture of "professional musician" and "feel musician" qualities (not unlike Neil Young's "Friends And Relatives" band). As much as we wanted to see the Reunion Concert on DVD, we Everly fans would love to see a DVD of a concert from one of the LAST years of their touring (A&E filmed their May 20, 1999 show in Las Vegas; how about releasing that?).

It's great to see the Everly Brothers' "Reunion Concert" DVD staring me in the face at my local record and electronic stores, but let's hope that a DVD featuring a more complete version of the show is released by a company who approaches the project in an enthusiastic way.

I can remember seeing them at the Bitter End on Bleeker Street in Greenwich Village so close I could touch them, and at The Westbury Music fair in the round.........

Even though they've changed the phrasing on a couple of their songs, and it's not quite the way they did it on the record, the Everly Brothers are living Rock and Roll legends that cannot be replaced by anyone, and seeing them in person, or even here on DVD, is a wonderful experience.....

Two points: first, to sing the same songs for 40 years, night after night, and often not being allowed to grow past those sacred hits can take a lot out of any musician, and singing into that same mike every night, with the same guy and the same songs can really take a toll on any relationship......of course the people in the audience only care about hearing their favorite songs the way they remember them, and are unaware, (as they should be) that they sang the same set the same way last night and every night for the past 40 years.....it gets to you

Second, in any relationship, often one dominates and the other doesn't, and when that happens over and over and you don't just work together but you're family as well, well Don still sees Phil as his baby brother, and now that both men are in their 50's.....it's easy to see why the split up happened.....(The Beatles were destined for the same thing as soon as Brian Epstein was lost...no buffer)

All that in mind, I bought this the second I saw it......the sound is OK, but not as good as you would have liked, because the band and the background music was not what they deserved......and the boys are older, as are we all, and time has a way of......

And you could see that at this point, there was still some tension between these two wonderful musicians......

For the record, the last time I saw them, years after this show, the tension was gone, they were having fun again, and you could tell that both they, and the world around them, had accepted that these weren't just the Everly Brothers, but that these were the ONLY two EVERLY BROTHERS in the universe, and they finally had, and realized they had, all the respect they deserved.

I can't say enough about this Everly Brothers Reunion Concert, the brothers were in great form. The ballads were beautiful, and the upbeat songs, they really rocked to. I loved it so much I bought another for a relative.

Great moive. Bruce Campbell and Ossie Davis are top notch. The best line belongs to the Mummy though.

I am a _huge_ Bruce Campbell / Evil Dead fan. That being said, I think this movie would be fantastic even if you never knew who Bruce Campbell was.

Hollywood could never produce this movie. This movie is ingenius, fresh, and very creative. It doesn't flow like a Hollywood movie, which is such a welcomed change of pace. It has an odd combination of elements: Elvis, rest homes, egyptian mummies, kung fu action, mysticism, and conspiracy theories. The plot is fairly simple, but there is much depth to the characters. The writing and the dialog are unique. Bruce does an _excellent_ Elvis.

I don't want to give anything about the movie away, so I won't say any more. I advise seeing this movie, it is definitly one you won't ever forget. (In a good way.)

Just a great movie. The plot sounds kind of hokey & unfortunately, there are those who take movies waaay to seriously.
Basically (w/o giving too much away), Bubba Ho-tep is about Elvis living in a retirement home in West texas- present day. It turns out he did not die back in 1977, it was an Elvis impersonator, named Sebastian Haff, who he switched places with. Sebastian is the one who dies & now everyone thinks Elvis is Sebastian.
Now Elvis wants to be known as himself & is worried that he has Cancer (...). Ossie Davis plays a man who believes he is JFK & that they dyed his skin black so no one would believe that he is Pres. Kennedy.

JFK believs that there is a mummy running amuck in their rest home, taking the souls of the old people. So The King & JFK set out to stop this Bubba Ho-Tep!!

Bruce Campbell is hysterical as Elvis (Hail to the King comments commence). Just seeing him use a walker to get around while in an Elvis jumpsuit is great!! Ossie Davis is always a great actor & makes you start to really feel for his character. Phantasm fans will like seeing Reggie Banister through out the flick.

Funny movie!! One of the best I have seen in '03!! If you are a Bruce Campbell fan, you have got to see this one. It inspired me enough to dress up as Campbell being Elvis for Halloween...Complete w/ walker. Just a great movie all around!!

As a big fan of film director Sam Peckinpah and actor Steve McQueen, I always thought I had seen their most substantial work. Much to my surprise, I viewed the 1972 film "Junior Bonner" for the first time recently and was stunned by its quality and depth. "Junior Bonner" is a terrific film, complete with Peckinpah's individualistic themes, McQueen's understated though electric presence, magnificient location detail, boozy saloons and elder statesmen (and women) coming to terms with a rapidly receding past.

A genre unto itself, the rodeo lifestyle was documented with surprising fervor in the early 1970s by a handful of interesting films including "Honkers," "J.W. Coop," and "When the Legends Die." Each film explored the themes of a changing civilization which embraced convention while muting individualism and personal freedom. Thus, Peckinpah and McQueen were truly in their element with "Junior Bonner."

The film covers a day in the life of Junior Bonner (McQueen), an aging rodeo star who returns to his Arizona hometown to participate in an annual rodeo competition. We are soon introduced to his family, including his estranged parents (Robert Preston and Ida Lupino) and his budding businessman brother (Joe Don Baker) looking to profit from the sale of his father's land while exploiting the frontier/cowboy persona.

"Junior Bonner" is so understated, that the viewer must read between the lines throughout its brief running time, including a fascinating dinner scene with McQueen, Lupino and Baker when they discuss the family's future. It is a moment of brilliant directing and acting.

Ironically, what is probably the least seen film of Peckinpah and McQueen's careers is also one of their best. Peckinpah has never before been so restrained, if not gentle. Known for his fierce action sequences in such films as "The Wild Bunch" and "The Getaway," Peckinpah utilizes his detailed, frenzied style during the exciting rodeo sequences. But his handling of the more intimate moments, especially those between Preston and Lupino, are some of his most gentle scenes he ever put on film. In many ways, Preston's character is just a scruffy version of Peckinpah himself - a deeply flawed but eventually loveable dreamer. It is Peckinpah opening up to the viewer for one of the few times in his career.

McQueen, likewise, plays a character very close to him as a man. The role of Junior Bonner is that of a gregarious loner, limping from the hard knocks of life, trying to quietly go about his business but discovering he can do anything but. His accent, his mannerisms and his reactions to everyday life always ring with a note of truth. It's absolutely one of his finest performances.

Perhaps the film's only fault is the rather abrupt ending which seems to come out of nowhere. It's unconventional, but then again, so were Peckinpah and McQueen. Unheralded, and relatively unknown, "Junior Bonner" is a great film ripe for discovery. Quiet, unassuming and good natured, "Junior Bonner" is a perfect display of two legendary motion picture talents (Peckinpah, McQueen) exploring themes perhaps closer to their hearts than any film they ever made.

Junior Bonner is one of Peckingpah's more personal films. Here, as in The Wild Bunch and Ride the High Country, he continues his exploration of men living in eras where their success is in the past. This isn't the typically violent fare of most Pechingpah films, instead he brings a gentleness (for him) to the story.

Steve McQueen is excellent as JR Bonner, an aging rodeo rider and semi-drifter. The rest of the cast include Robert Preston doing a dynamic job as his father Ace, Ida Lupino as his mother Elvira and Joe Don Baker as his brother, Curly.

We slowly become familiar with the family and their divided past. Ace is getting on in years and wants one last chance at adventure in Australia. Elvira, his long suffering wife, just seems to be riding it out while Curly is "on his way to his first million..." There's tension between them but there is also affection, especially between JR and his father.

Junior Bonner is a wonderfully understated western, well recommended.

I saw this with my father when I was a teenager as we are both fans of the western.The modern setting still makes it a classic western in my eyes .The themes explored by Peckinpah are nicely handled and no need for the usual violence . The Chemistry between all the principal players works brilliantly , this is how acting should be. In particular McQueen , still the "King Of Cool" , and the great Robert Preston who was never better than he is here . I wasn't surprised to read that this was Peckinpah's personal favourite of all his movies , subtle by his standards . If you haven't seen it check it out .

When this movie came on, I started out hating it, mainly due to the annoying theme/background music, but as the movie progressed I tried to ignore the music and grew to enjoy the movie's largely realistic depiction of Hollywood. "The Big Picture" was very funny -- in spurts, but the ending did seem contrived. Many of the fantasy sequences (aside from the ones concerning how Nick saw his movie in his head) were silly and gave the movie a "cutesy" tone that set my teeth on edge.

We have always been a great fans of Teri Hatcher - the local gal that made it - so when this film first came out, a big group of us went to see the movie in San Francisco.

What we had heard though, is that this film was stalled - much like the context of the movie - the background story was that Dawn Steele didn't like the ribbing she got in the movie, so Steele gave the movie very little distribution and little chance of success.

But the good thing is that you can never underestimate the public. This movie has developed a wonderful following on videotape and premium channels like HBO.

I give it five stars!

~Valerie

I saw this film a few years after I worked for a very famous film company in Nothern California. This VERY humorous film is right on the mark about what it is like to work in the film industry! I laughed so hard my stomach hurt for hours after after the movie. If you are going to work in the "industry" as they say in the film world, see this humorous film to see what it is really like!

Suge killed Pac and BIG! Watch this movie, they explain how suge set them both up. They talk about him and the fake cops! All i can say is go see it!

This movie is the best movie/DVD of 2002 to Suge Knight to Lil Cease this is am must have movie

This DVD is amazing. "Biggie and Tupac" really convinces you that the murder was really powerfull and smart. "Biggie and Tupac" has a lot of interviews, one thing that all the interviews had in common is that the name Suge Knight was included. This whole thing started with one of Suge Knight's nephews went to the east coast before the whole east coast-west coast war happend, and suge knight's nephew got killed there. Then the whole east coast-west coast war happend. One year before Tupac got murdered he was shot but he didn't die that time. When Tupac was in jail, some prisoners told him that Biggie was the one that tried to kill you. Then Biggie and Tupac split. It was told that Tupac and Death Row records were Mob Pyrus-(Bloods). Russel Poole sais that the L.A.P.D had crooked cops, and that Suge Knight had dozens of cops on his payroll. This DVD makes it obvious that Suge Knight was the one behind the whole thing. Now come on, its so obvious, Tupac threatened Suge Knight that he would leave Death Row Records and take all his unreleased music with him. So obviously Suge Knight didn't want that to happen so he had him killed. And he killed Biggie after to cause a distraction for the case of Tupac. I cant believe Suge Knight actually fooled everyone. I hope Russel Poole wins his case when he sues the l.a.p.d so that fat [jerk]d Suge Knight can go to jail again. Even biggie's mom sais it so, when she said "Why was the LAPD taking off on the day that Biggie and tupac got shot?" DUH!! Suge Knight controlls like half of the lapd so he told them to take off so he could get away with the killings. Everyone knows it was Suge Knight, but no one wants to talk because they're scared that Suge is going to kill them. Anywayz I dont have to worry cuz its just like the Bible says "What ever goes around, comes around". So since Suge Knight is getting away with this plot now, I guess later in his life he's gonna go to jail 4 lyfe. Imagine if Tupac and Biggie neva got shot, they would still be the kings of hip-hop, not even 50 cent or eminem or dr.dre could beat them. SOLUTE TO TUPAC AND BIGGIE.

Anyone who says Marilyn Monroe was not a talented dramatic actress has never seen Don't Bother to Knock, a darkly unique entry among Marilyn's filmography. This film marks Marilyn's first dramatic starring role, and it is Marilyn as you would never see her again. She plays Nell, a deeply troubled young lady whose shyness and aloofness at first prove to be only the tip of the iceberg in relation to her problems. She has recently moved to New York to start her life over again, and her helpful uncle, an elevator operator in a grand hotel, has arranged for her to baby-sit a wealthy couple's little girl for the night. This, as soon becomes apparent, was not a good idea. Her behavior becomes stranger and stranger as the night progresses, exacerbated by the attentions of a young man (Richard Widmark) who comes calling on the rebound after seeing her from the room across the way. His girl has just broken things off with him downstairs, but the simple diversion he seeks in the form of some drinks and kicks with a beautiful stranger becomes something else entirely. As the roots and degree of Nell's problems are slowly revealed, the film takes on a very dark tone charged with suspense.

Marilyn delivers a truly incredible performance in this early performance from 1952. Her aura of innocence and vulnerability plays perfectly in her role as Nell, and the range of emotions she conveys as the film progresses is amazingly convincing, making her character one who must be feared as much as sympathized with. I can't find a single weak spot in her performance, and I imagine the melancholy side of her true nature, the Norma Jean in her, served as a source of inspiration and strength for her in this demanding role.

This movie is quite overlooked today, with most people associating Niagara or even Gentlemen Prefer Blondes with Marilyn's first starring role, but those who see this movie will most likely never be able to forget it. Sadly, some of the plot summaries I have read elsewhere (including the back covers of the Marilyn Monroe Collection videos) over dramatize things, saying Nell and Jed (Widmark) end up in bed together at one point or labeling Nell as a murderess. Such sensational claims are not true, and there is nothing remotely sexy about this movie. It is a serious and powerful dramatization of a deeply troubled young lady fighting some very real personal demons in a place and time she is quite ill suited for. Marilyn's performance won critical praise and helped make 1952 the year that launched her into superstardom.

This is perhaps Marilyn's best on screen performance (it also happens to be my personal favorite). Staring as Nell Forbes, a lovesick, and slightly unstable young woman who lands a babysitting job at a live in hotel, this is her first staring vehicle. Richard Widmark also stars as the object of her imagination, who's been recently dumped by his girlfriend Lyn Leslie (a lounge singer played by an incredibly young looking Anne Bancroft). Things began to get interesting as the rejected Widmark happens to notice Marilyn dancing in the hotel room across the way, directly in front of his. After a brief phone flirtation, the two decide to meet. Initially keeping the fact that she was there babysitting to herself she begins making headway, but when her advances are inconveniently interrupted by the girl she's babysitting, she begins to think the whole world has it there mind to keep them apart. She begins to believe that Widmark's character is the man she lost in 1946 over the pacific (he also happened to be a pilot, which he mentioned to her). Seeming to be to be shaken by all of Marilyn's variations, he realizes he still has feelings for his girlfriend, and it becomes a race to catch her before she is relieved at ten o'clock by another performer. Marilyn however had other ideas, and begins doing everything she can to keep him with her. She grows increasingly frustrated when she is constantly interrupted by the young girl, and her cousin Eddie (Elisha Cook Jr....is it me or does he look like a shorter, stockier version of George W. Bush) Ultimately she loses control of herself, completely breaking with reality.

Many people believe that Marilyn used her past experiences to draw on, when bringing this character to the screen. Usually playing bubbly blondes in much lighter pictures, this is a rare look at the other more visceral and emotional side of Marilyn. When watching this film you'll realize that Marilyn was much more dynamic than most people realized then, or even now.

A taut suspenseful little thriller that has no doubt been an inspiration to the countless "psycho baby-sitter" films, "Don't Bother to Knock" features Marilyn Monroe in a truly terrific performance, playing a truly sad and disturbed character in a truly rare film role. The film benefits from its claustrophobic setting and manages to stay engrossing from start to finish.

Monroe plays Nell, an unstable woman whose uncle, an elevator operator at a posh hotel, manages to get her a one night baby-sitting job, taking care of an eight year old girl. It is evident from the start that Nell is not "all there," but slowly, we get to see just how "not there" she really is, and why. Nell WILL NOT let anything stand in the way of her love for a pilot, played by Richard Widmark, no matter what it takes and who she kills.

Deliberately paced, but fascinating and terrifying, "Don't Bother to Knock" seems way ahead of its time and brilliantly explores the mind of a true psychotic. This is a wonderful character study in one of the few films Monroe didn't play some dumb blonde trying to marry some attractive millionaire. She fully displays her acting potential and manages to be creepy, sexy,and evil, yet makes you feel for her and long for everything to work out.

This is the film for the true Marilyn fan.