Don Movie Reviews

If you're like me, when you saw that this movie was about the Lion of Oz, you immediately thought of Bert Lahr's performance in the 1939 film. And you thought you knew the character pretty well.

And you come to find out, there's more to him than you thought.

Cliff Ruby and Elana Lesser have written two of my favorite animated films (the underrated films "Balto" and "Cats Don't Dance"), and once again, they do a nice job with the script here. Like I mentioned above, there's more to this Lion than you thought. They do a nice job of tying into the original story at the beginning and the very end, but the majority is brand new material. The voice cast (Dom DeLuise, Bob Goldthwait, Jane Horrocks, Tim Curry, et al) does a serviceable job, though I believe they have given better performances. The animation is good, and of higher quality than some direct-to-video productions I've seen.

The only things I did not care for were the songs by Michael and Patty Silversher. They have done much better work before (their theme song for Disney's "Tale Spin" has got to be the single most irresistibly catchy theme song ever). Here, the songs just really didn't seem to do much, and I didn't really care for the vocalists' performances much. (Dom DeLuise has done MUCH better singing before.)

But this film is called "Lion of Oz," after all, and fortunately the best aspect of the production is the title character (appropriately called--Lion.) The animation of him is very good, and Jason Priestley's performance is wonderful. I love the way he delivers his lines, especially the "asides." His performance is the best one.

In closing, "Lion of Oz" has a few flaws, but it still makes for enjoyable viewing.

I taped it off of Toon Disney. I'd never heard of this movie before, but me being the Oz fan that I am, I thought I should check it out. Overall, it was a pretty good movie. I like how they developed the friedships between Wimsik and Lion and Caroline and Captain Fitzgerald. Silly is an interesting character but he lightens the movie up a bit. There are some beautiful songs even if Wimsik's voice was digitally worked to make her sound better. They depicted very well the hatred the Wicked Witch of the East had for her sister. It also has a bit of a mystery to it which was very creative. The animation was very nice. It's worth the watch! Check it out!

Lion Of OZ was excellent!i really liked the songs!Especcially the one in the munchkin village!theres two things that dont add up!1. the wicked witch of the east is not wearing the silver shoes!she has on black shoes!2.it shows that the lion is good friends with the wizard but in the book and movie he has never met him before!did those poppies give him brain damage?oh!and it said the wizard was a young man in the book and movie when he drifted to OZ1 in the movie hes really old!but over all i give this movie 5 stars!i really recomend it!

I need to buy this movie. one of my favorites of Ethan Hawke. its about Hawke who is in love with his next door neighbor played by the fantasically beautiful Teri Polo and his brother(Bill McNamara) sets him up on the date. suddenly people mistake him for his brother who turns out to be a hit man and things start to happen that are crazy. B.D. Wong is a scream.

"Mystery Date" stars Ethan Hawke (Training Day) and Teri Polo (Meet The Parents) in a great romantic-comedy that is sure to be loved by everyone. Geena (Polo) stars as the gorgeous neighbour of Tom (Hawke), whom he is completely infatuated with. Tom tries to get the nerve to ask her out, but fails at every turn. A surprise visit from his older brother (Brian McNamara) brings a bit of luck Tom's way. Through a bit of work, Tom's brother sets him up on a date with Geena. Things couldn't be better, except for the small of exception of a little bit of mistaken identity on the part of Tom. For some reason, people think he's his older brother. Over the course of the evening the duo have run-ins with a maniacal flower delivery boy (Fisher Stevens), paid-off cops, a crime lord and other trouble. Do the two escape alive, or does this spell the end of Tom and Geena? I highly recommend this movie as the laughs are plenty. Many people are sure to relate to this romantic-comedy about a first-date. Ethan and Teri do wonderful jobs in their respective rolls and the movie has got a pretty decent transfer too. The disc has both widescreen and fullscreen versions of the movie, in addition to the original trailer. Watch, enjoy, laugh, and you will not be disappointed.

I don't even remember how I stumbled across this movie, but it has remained one of my favorites through the years.

I recommend this movie to anyone who has ever gone on a first date and experienced the nightmares that can come when things don't go as planned. The 'hero' of our story has a crush on the girl next door secretly until his brother convinces and later sets up on a date with her. Unknown to our hero is that his 'mystery date' is the alibi for his brother.

On the run from the crooks and the cops he must keep his date entertained and alive until he can get to the bottom of the plot against him.

I wore out the VHS tape at the video store so I had to buy the DVD. See this movie! You will not regret it.

I remember watching the reruns of The Prisoner when I was a schoolboy, and I have had a fascination with the series (and the village of Portmeirion in Wales, where it was filmed) ever since. The excitement as the screening of the final episode, Fall Out, neared, was palpable. I remembered blitzing every store in my hometown with posters I had made myself, encouraging people to tune in to find out the identity of the mysterious Number One.

I was not disappointed with the conclusion, and don't think any true fan would be. It is in keeping with the spirit of the entire series. Technically, Fall Out is rather a shambles; apparently the episode was put together in a rush, and edited at the eleventh hour; it certainly shows. The continuity is embarrassingly bad. As usual, the dialogue veers between inspired and pretentious. But that is all part and parcel of the unique Prisoner experience.

This final episode is without doubt the most memorable. Kenneth Griffith (The Girl Who Was Death) and Alexis Kanner (Living in Harmony) both make return guest appearances, as does the greatest Number Two, Leo McKern. It is in this episode that Number Two emerges as an equal and fellow-prisoner with Number Six. The conclusion is deliberately ambiguous (perhaps why so many disliked it), and leaves the viewer exhilarated after a climax that is playful, euphoric and victorious at the same time as it is melancholy, foreboding and haunting. The London and Portmeirion locations are a further treat for those who got fed up with some of the studio-bound earlier episodes. The music, as ever, is an eclectic selection of tunes and effects, but is perhaps the most memorably and excitingly scored episode of the series.

Also on this edition are Once Upon a Time (which segues into Fall Out, and follows the final, dramatic confrontation between Number Two and Number Six) and The Girl Who Was Death, an unusual episode which was never intended to be part of the original series, but which is fun nevertheless.

Don't get me wrong, the series is fantastic. One of the best paranoid fantasies I've ever seen. But A&E messed up when putting the show on DVD. First they used a debatable order for the episodes and now with Set 5 they have taken the final 2 episodes (which really NEED to be viewed back to back in a 2 hour sitting) and placed them on 2 separate discs.

They should have either saved the alternate Chimes of Big Ben from the first disc and moved the order down by one, thus making set 5 the final 2 episodes plus a disc of bonus material OR taken the bonus material and added it to "The Girl Who Was Death", leaving the final 2 episodes alone on the final disc.

Patrick McGoohan, was a genius in putting this show together. I have viewed the entire series several times now, and I am still mystified by the writting and the acting. For me the last several shows are the most difficult to watch. Ideas are nebulous, and resolution isn't fully sought. Its amazing that over thirty years later this classic remains timeless, and a bar set for other adventure shows to attain.

The Empath-Here is another off-beat and dark 3rd season offering, in which the triumvirate spend their time in the dark with a mute 'named' Gem. We meet the Vians, some of the most frightening and sadistic aliens every encountered in the original series. Yet the refreshingly innocent Gem provides a wonderful counterpoint, giving a light to the episode despite the most minimalistic sets ever seen in TOS. Nothing is as it seems in this episode, and the most creepy and dreamlike scenes actually occur in the light (Kirk running in slow motion to Scottie). While the episode ultimately suffers from a thin plot and shaky motivations for the aliens, it is, like many episodes from the first half of the third season, refreshingly unique and stylistically more advanced than earlier episodes. (3 stars)

The Tholian Web-This episode, in which Kirk disappears and a web is built around the Enterprise, in many ways belongs in another season. It has a lot of action and a straightforward plot. However, it also has some signatures of the third season, such as the trippyness of a winking-out Kirk floating through space, as well as a subtle pitting of illusion vs. reality. Plus it's always nice to meet new aliens--the Tholians even have a visible ship!(4 stars)

Volume 32 of the Star Trek DVD series includes two of the finest episodes from the third season. Both these episodes are extremely well written and are different in there own ways.

THE EMPATH is one of Star Trek's most sensitive episodes ever. The Vians are a superior race with a lack of morals who use inferior beings in their tests of the mute empath who can heal. They torture the beings (sometimes to death) and they put the empath's healing abilities to the test. Kirk, Spock and McCoy however end up being the next subjects for the test! This episode is probably the most intimate Star Trek story ever. A well written plot overshadowed the obvious tight budget. There is no doubt that most of this episode's budget went to the Vian's costumes and make-up which ends of leaving the set almost always a completely black background. However the acting in this episode is excellent especially the guest star Kathryn Hays who plays Gem the mute Empath (somewhat of a mime role).

THE THOLIAN WEB is another excellent episode. The Enterprise ventures into unknown space territory in search of a fellow starship The Defiant. They find the ship but Cpt.Kirk is lost in space when the crew attempts to return to their own ship. This episode is different cause we get to see the crew function without Cpt.Kirk. William Shatner only appears in the beginning and the end, so he takes a back seat and allows Leonard Nimoy and Deforest Kelley to have most the screen time. We also see character development in the rest of the crew members, particularily Scotty. A great episode, good story, nice effects, great acting and scientifically plausible. Definetly one of the third seasons best.

Overall Volume 32 is definetly one of the DVD's from this series to get. Containing two different but both excellent episodes fro Star Trek third season (which is hard to come by, since most of the third season epiosdes were fairly weak). Nonetheless this one is definetly worth a look. Highly recommended!

Volume 32 of the Star Trek DVD series presents two of the finest episodes from the series' third and final season. "The Empath" is one of the most intimate episodes of Star Trek on so many levels. The Enterprise arrives at a star system that is about to go nova to pick up a scientific team. Kirk, Spock and McCoy have just found the station abandoned when they are transported to a cavern. There they find the corpses of the scientists and a mute empath, who McCoy names Gem. The mystery is solved when two Vians appear and explain they are doing experiments. This consists of torturing Kirk and letting Gem heal him with her empathic abilities. When the Vians return for more tests, McCoy sedates the others and goes in their place. Kirk and Spock awake to find the doctor dying, with Gem his only hope. There have been a lot of Star Trek episodes where superior aliens test humans, but in "The Empath" the Vians provide a surprise and interesting twist. It seems they can transport the inhabitants of ONE planet from the Minaran system before its star explodes and while Gem's people are the most promising, the Vians must learn if she can sacrifice her self for another, which they call one of the highest qualities. So all the torturing has not been in the name of sadism, but rather to justify the horrendous choice of which planet of people to save. Of course, the two Earthlings and the Vulcan get high marks for their performance during the experiments. The strength of "The Empath" is the clear evidence of the strong relationship between Kirk, Spock and McCoy. Probably no other episode in the series focuses on the trio as much as this particular one.

"The Tholian Web" is a nice choice as the companion episode on this DVD because it basically removes Kirk from the equation and gives us the Star Trek episode that most focuses on interactions between Spock and McCoy. The Enterprise has found the USS Defiant with all of its crew dead, apparently having killed themselves. But this area of space is unstable and before Kirk can be beamed back, he becomes trapped in a parallel universe/dimension. While Spock waits for the next opportunity to rescue the captain, the Tholians show up and demand an explanation. Spock explains, but the presence of the Tholian ship throws off his equations. When Kirk does not reappear the Tholains cripple the Enterprise and begin to spin a web of tractor field filaments. To make things even more interesting, the unstable space is beginning to after the sanity of the Enterprise crew. The best scenes of "The Tholian Web" are clearly between Spock and McCoy, who get to hear the taped message Kirk has left for them in the event of his death. Their interaction is at the heart of this episode, because the idea of taking several hours to make a giant web around a damaged starship is pretty far out there. I mean, come on, with all the energy they are expending they could surely finish the Enterprise off, or at least they could make a SMALLER web. But if you always enjoyed the bickering between Spock and McCoy, then this is a truly enjoyable episode.

It was great seeing both these documentaries again. "An American Band" has some great concert footage, and includes Brian, eyes closed and totally into it, singing "Surf's Up" for the TV cameras just before the downfall in '67. Dennis' own downfall in the 80's is appropriatly handled; it's painful to see him at the end, barely able to talk. I saw the band in Dennis' last year, and the footage of him here brought back that painful memory. Concert versions of "Good Vibrations" (before it became a ridiculous sing-a-long) and "Heroes and Villains" are also a treat.
"IJWMFTT" shows a mostly lucid Brian, memory surprisingly intact, talking about his creations. But, the reason to watch this bio are the performances. Hearing Carl sing "God Only Knows" with his brohter and mother was a treat. And listening to Brian's ex-wife talk about "Caroline No" segue into Brian totally nailing the song was great stuff.

If you've already got Endless Harmony and you want more then this is the DVD for you. "An American Band" dates from the 80s but it's definitely worthwhile, including good interview/performance clips and archival footage. The Wilson documentary is not quite as entertaining, more academic (a PBS feel) with contemporary (90s) performances. If you're specifically looking for a good BW doc then start with A&E Brian Wilson Biography.

These two films provide a very good overview of the Beach Boys. "An American Band" is a fairly good comprehensive look at the band from their beginnings through 1985. There's a lot of historical performance footage of the group and interviews from throughout the years, with some on-camera narration from Carl Wilson, Mike Love, Al Jardine, and Bruce Johnston from 1985.

"I Just Wasn't Made for These Times" picks up the story about 10 years later, and focuses on the genius (and genial) composer Brian Wilson, showing his at least partial success in dealing with his personal, emotional, and psychological problems, which had plagued him during the previous two decades as recounted in the "American Band" film. Brian comes off in "IJWMFTT" as much more articulate in conversation than I had expected (he's really pretty articulate by any standard), and his new performances of some older songs are well done and compelling. Interestingly, the footage is almost entirely new, including interviews with family (Carl Wilson, mother Audree, daughters Carnie and Wendy), associates (Van Dyke Parks), and admirers (Tom Petty, John Cale, Thurston Moore, Linda Rondstadt), with almost no archival footage. So, between the two films, you have a history of the band and a portrait of its driving force during its glory years. A great combination.

One additional note: "IJWMFTT" is actually in letterbox in this version, not pan-and-scan. When I first bought this DVD, I was dismayed to see on the back of the box that it said the film had been modified to fit the TV screen, which usually means the letterboxing has been scrapped. I was pleasantly surprised to find when I actually watched the film that while the credits were in "full-screen" (i.e., not letterboxed), the rest of the film was definitely in letterbox. Very nice B&W photography.

We all have some imperfection or oddity. But it takes a while for some people to figure this out. At Camp Ovation, a group of teenagers (and adults) find out they're not as "freaky" as they thought.

The story is great, the music is terrific, and there's fun for all. You'll laugh a lot and fall in love with everyone of the characters...well, except for one!

Take your teenager to see this movie!

Anyone anywhere who has ever loved a musical, been in a musical trained to be an actor, put on a show, wanted to put on a show, or just listened to and loved a song ever in their lives will find something to relate to in this delightful movie. Campy in all the right places -- with its requisite gay subtext -- CAMP also provides the viewer with some of the biggest laughs of the year. Todd Graff's knowing sensibility has culled together a mixture of poignant and funny moments from his real-life experiences at STAGEDOOR MANOR, and found just the right cast to bring his vision to life. The musical numbers include two lovely new songs by FAME composer Michael Gore, and TURKEY LURKEY TIME, the blow-out dance feature from PROMISES PROMISES. As welcome as a fresh summer breeze.

This is the best movie I have ever seen.

We all have some imperfection or oddity. But it takes a while for some people to figure this out. At Camp Ovation, a group of teenagers (and adults) find out they're not as "freaky" as they thought.

The story is great, the music is terrific, and there's fun for all. You'll laugh a lot and fall in love with everyone of the characters...well, except for one!

Take your teenager to see this movie!

Anyone anywhere who has ever loved a musical, been in a musical trained to be an actor, put on a show, wanted to put on a show, or just listened to and loved a song ever in their lives will find something to relate to in this delightful movie. Campy in all the right places -- with its requisite gay subtext -- CAMP also provides the viewer with some of the biggest laughs of the year. Todd Graff's knowing sensibility has culled together a mixture of poignant and funny moments from his real-life experiences at STAGEDOOR MANOR, and found just the right cast to bring his vision to life. The musical numbers include two lovely new songs by FAME composer Michael Gore, and TURKEY LURKEY TIME, the blow-out dance feature from PROMISES PROMISES. As welcome as a fresh summer breeze.

This is the best movie I have ever seen.

Following the huge success of the first filmed series of The Avengers, starring Patrick MacNee as debonair British agent John Steed and his cool, sophisticated partner Mrs. Emma Peel, the producers opted to make the next batch of 26 episodes in color, to be broadcast in 1967. In order to accomplish this, foreign backing was necessary, and the American networks were approached. The US had broadcast the black and white season four as a mid-season replacement, and were interested in moving forward with a color season in prime time, however they only provided enough backing for 16 episodes initially. Another challenge was that Diana Rigg was not particularly keen to film another season of the show, and demanded a huge salary increase in order to secure her participation. She got the money, but it was made clear it would be her second and last season with the show.

Apart from the use of color film, there were other subtle changes to the show for this fifth season. Both Steed and Emma were given new apartments and Mrs. Peel a much more stylized wardrobe. The device of ending each story with the two leads driving off in a variety of vehicles was abandoned and instead a tag scene was used to introduce each story, where Steed informed his partner that they were needed in a variety of humorous ways. Each story title was also given a two-line subtitle. After completion of the first batch of 16, the American backers did provide finance for a further 16 but asked for both the subtitles and tag scenes to be dropped, and also requested that Mrs. Peel's wardrobe became more recognizably en vogue.

After only 8 episodes were completed, producers Brian Clemens and Albert Fennell left the show after a disagreement and the new producers opted not to continue with Mrs. Peel and began their own interpretation of the show. It wasn't long before Clemens and Fennell were back in charge, but the 67 series ended with "Mission highly improbable," although Rigg was brought back in 1968 for the one-off "The forget me knot," to introduce her replacement Tara King. This episode is included in this release as a bonus episode.

In terms of storylines, acting and the wonderful interplay between the two leads, there is little difference between this color season and the preceding black and white stories and the show had really reached its zenith by this point. Certainly in terms of popularity and ratings, it was never as successful again. Interestingly, several of these stories are in fact remakes of earlier episodes from the Mrs. Gale era. "The joker," "The correct way to kill," and "The $50,000 breakfast," are all remakes, whereas "The return of the Cybernauts," is a sequel to an earlier Steed/Mrs. Peel adventure.

Fans of The Avengers will of course be delighted to have these discs, and I'd highly recommend them to any other fans of the sci-fi/fantasy genre, and indeed fans of the 60's spy format. If you've ever seen the dreadful movie featuring Ralph Fiennes and Uma Thurman, don't let that put you off. These stories are the real McCoy!

If you fondly remember that great British import that we watched on TV way back in the 60s then you no doubt know about the content of what you are getting. You are more likely concerned about the quality of the product. Like John might say to Emma, "You scratch my back and I'll scratch your back. Just watch the hat please." John and Emma are back and are here to stay via DVD technology. Being on DVD, the aesthetics about the actual episodes are not in question here. More appropriately one may ask how they look. They look good, very good, excellent in fact. Great 60s pop culture.

I remember watching the Avengers on TV 7-8 years ago when A&E was showing them. Now, I am glad to say that I can own this series. The Avengers have always been based on intelligent scripts, witty dialogue, and suspense. This set is no exception. This set contains very classic, very different episodes from the Avengers: suspense thrillers, psychological games, and good old espionage. I highly recommend it.

This is sometimes thrilling but mostly disappointing DVD collection highlighting the 2000 Festival. The sound is good, if uneven drummer to drummer (tom sounds vary greatly in quality/level).

The best performances (those you'd return to watch repeatedly) are put in by (1.) Hilary Jones- who displays phenomenal independence & the deepest of pockets flowing through (the best written) set of African (6/8!) grooves & a funk/fusion play-along piece; and (2.) Horacio Hernandez- playing inhumanly complex & independent Afro-Cuban grooves with a Latin-Jazz group (Marc Quinones/ percussion, Michael Brecker/tenor sax, Hilario Duran/piano, and John Patitucci/bass.)- check out his earlier (1996?) MD festival performance (wow!)!

Vinnie's performance with Karizma is OK- but disappointing. It has feel (of course) but little musical interest (suffers from "musical maturity"- more Keltner than early Vinnie/Weckl). Aside from the (neat to see live) "I'm Tweaked," Vinnie's set is relatively mundane blues & rock (c'mon Vinnie.... PLAY damn you, PLAAAAAAAYY!). Akira Jimbo is (as always) technically amazing (simultaneously playing drum grooves & triggering keyboard sounds)- but alas, is (as always) remarkably devoid of feeling. Lombardo's performance is sophomoric, Brewer's is sad (his self-description as a garage band drummer is fitting), Leim is simply adequate, Ward was a little disappointing for all the hype (more clinic instruction than performance).

The performances of Street Betas, & those of the 2 MD Best Undiscovered winners (Tony Medeiros & Mike D'Angelo) are interesting once (as a curiosity) but do not warrant another viewing. The behind the scenes footage gets repetitive/redundant, & navigation is a little annoying (can only track to the beginning of each performance (not to individual songs!).

Too bad you cannot purchase individual DVD's by performer to avoid the filler. SPECIAL FEATURES: Drum Cam- has potential- but is only on 2 performances (not ones I'd have chosen) and could be improved. Play along to 2 songs w/ transcriptions downloadable from the Hudson music website is cool.

May possibly be the most masterful "nAIL UrSelf" piece ever done. Don't pass up this inserpassable chance to plug yourself thoroughly and "nAIL UrSelf". Plug yourself constantly to these beats, and beat yourself constantly to these plugs. Its a mad-house in the world of DRUMS, so don't miss it.

The first thing I noticed was the big differences between the quality of drummers. I define quality by, creativity, technique and speed. Some drummers on this video doesn't have the creativity and speed and some are not as technical. Funny to see was that they edited the video in a way that you can see "Don Brewer" first, whom is constantly covering himself by saying that he isn't a technical drummer (Well he lacks everything) and after Don Brewer comes Horacio "El Negro" Hernandez. The contrast between these two is so very big, that you can really laugh about good old Don, with all respect (but man, what the hell are you doing in a famous festival, go back to you garage).

I really like Akiro Jimbo on this DVD, he's a very technical drummer and I can listen to him for hours, because he's also a very creative drummer. He's combining electrical drums with acoustic, which gives a good show. Vinnie Colaiuta is a perfect drummer, though a bit "overmature" with all respect. The music they make on this DVD is very complicated, but very good!

The DVD is of good quality, both video and sound, though it's too bad it isn't 16:9 or widescreen. And I miss "Dave weckl" and "Dennis Chambers"! Though it was nice to see other drummers who I didn't know, who are quite good. Hilary Jones is also pretty good, I like female drummers.. somehow they are very attractive :)

This made for TV thriller is okay as a watch-it-and-forget-it viewing experience. It manages to serve up some suspense for first time viewers. As things howl in the night, the plot unfolds as a murder mystery with supernatural overtones. The question is not only "whom" but "what" is doing the vicious killing. The word "werewolf" is used carelessly. Dan Curtis guides the helm as director. Curtis, back in the leisure-suited '70s, churned out made for TV horror. The script borrows freely from classic tales such as "Hound of the Baskervilles" and "The Most Dangerous Game." Clint Walker plays a macho hunter that stays strangely aloof from the local bestial horror. B movie maven, Joanne Pflug, is the lady in distress. She looks disapprovingly at Walker as he vies with her for Peter Graves' attention. One can put one's own interpretation of why Clint is so interested in Peter. Maybe it's the thick gray hair. The production values, acting, sets, etc. are mired in the typical '70s TV bog. Put it all together, and it's a harmless waste of 75 minutes. Don't expect classic horror heights and you will do fine. ;-)

This is good television. The running time feels right at 78 minutes, and it wouldn't be able to handle a dragged out running time. It's great for any attention span, and the story unfolds at a good pace. The dialogue is very much of the 70's television variety, where some times I ask my self, "do people really talk like this?" And the disco score is cheesy, with very familiar, cheesy sounds. All of the killings are off camera, which I found to be a detractor, the photography is fairly boring, the colors are flat, and some things are un-focused. On the whodunnit side of things, I was hooked, and fooled when I thought I knew who did it. If you like watching movies as it's getting late and you're tired, this won't drag along too badly, you can probably sit through this one without feeling like you have to go to sleep.

This one is another Curtis/Matheson quasi gothic horror with well-maintained mood and atmosphere throughout and a typically Poe-like ironic/mood elliciting ending. Peter Graves has always been a good character actor in my opinion, and he did fine in this movie. Clint Walker was quite effective as an antagonist--that's writing jargon for the "bad guy." He really seemed to enjoy the part, and I particularly enjoyed the way his character played mind games with the girlfriend of the character played by Peter Graves. The girlfriend was just a bit too uptight and self righteous for my tastes, and I found myself rooting for Walker's character. Walker's villain was somehow still a likeable one, and I found myself liking him despite myself. The writing was good except that I thought the ending was a bit of an anticlimax hence only 4 stars. The use of dark and/or foggy scenery and eerie music, all hallmarks of Curtis/Matheson, were used quite well. The movie utilized the maxim that "what you don't see scares you more than what you don't" very well indeed. Walker was an especially effective villain. It's amazing how menacing his character was able to be with just a smile, a look or a seemingly "innocent" statement or observation. This movie isn't one of my top ten; but I watch now and then on an appropriately dark night. Walker and Graves clearly had a great synergy in this movie, and I cannot imagine anyone ever pulling off this story as well as they did. Walker especially is unforgettable. I recommend this movie to any gothic,Dan Curtis or Richard Matheson fan. If you don't mind a movie that is VERY low tech, heavy on dialog, more than a bit dated and you appreciate the more traditional horror writing style from 30 years ago then this one might be for you. This movie will not appeal to the more modern horror genre fans though, and I suspect that my attraction for this movie may overlook its shortcomings simply because I saw it at an appropriately impressionable age thus this movie for me became an irrational nostalgic horror treat that I cannot justify to anyone else beyond that.