Don Movie Reviews

I was in the mood for unpretentious unpredictability when I picked this one up, and I wasn't disappointed. Lots of twists--but not twists for twists' sake. I love Michele Hicks and Dina Meyer (sp?) is starting to grow on me.

More than anything, I love indies when they bring in a high quality film without the bells and whistles and overkill of the big studios.

This one should go in your suspense library to be seen multiple times!

A suprisingly fantastic thriller from an independent film maker! For those who haven't seen it, WATCH IT!

This slick little thriller has plot twists galore. A thoroughly entertaining film. Rent it/buy it, you need it...

we all know that goku can reach super sayain 3 but gotenks?! amazing! this was my favorite movie until i got fusion-the last sayian. anyway, super buu creates a hole and then gotenks does and when gotenks and piccolo get out buu ate everybody! since buu ate bulma gotenks is angry and they fight! buy this movie and find out for yourself!

IT'S AWESOME I LOVE IT THE Japanese version was alright
i'm glad the Japanese one had the origenal music

Yes the funimation tapes [aren't good], don't ever buy them. However; the DVDs are much better then paying for cheap dubs. If you want to see that japanese version but don't want to pay [$] visit [another website]! They sell things called fansubs check it out.

I began watching this movie because there was simply nothing else on, and I like Lou Gossett Jr & Anthony Edwards. About 15 minutes into the film, I was hooked and really enjoying the ride. This is a very clever, witty, and funny screenplay, full of jokes both subtle and not, and it has a score that is nearly flawless, accentuating both action and comedy. There are a lot of laugh-out-loud moments, and some truly unique comedic situations. In many respects, the whole film reminded me of "The Frisco Kid" with Harrison Ford and Gene Wilder, another of my favorite Western comedies.

Anthony Edwards (Billy Ray Smith) plays a tenderfoot schoolteacher prone to falling off and accidentally shooting horses. One of his students is kidnapped by the stunningly attractive El Diablo ("Star Trek: Voyager's" Robert Beltran,) and Edwards sets out to find the girl and bring her home. His misadventures with a band of misfit outlaws brings a lot of laughs and even some tender moments.

With only minor bad language and some blood here and there, this is a movie the whole family can enjoy. I highly recommend it, and plan to watch it again and again.

The unlikely pairing of Louis Gosset Jr. and Anthony Edwards makes this movie intensly engaging. These actors and their supporting cast take the viewer on a wild ride through the old west as a mild mannered school teacher "beats the devil". The rescuing of a lovely young school girl from the hands of a very sexy Mexican bad guy, is done with humor through the awkwardness of the rescuer Billy Ray, and lots of help from savy gun slinger Louis Gosset Jr.and his wonder horse Rio. Though this movie was made for cable TV it sacrificed nothing in quality. El Diablo is well cast, funny, sweet, action packed, and very worthwhile.

I have seen this movie a million times. I definately recommend it to....well, anyone!! My brother and I rolled around on the floor the first, like, twenty times we saw it.(Sometimes we still do) The music was what really made the movie great, so pay attention to it!! :)

Having previously bought the Artisan release of "Mountains of the Moon", I was hoping that this labeling was faulty just as the labeling had been on that disc. Both DVD's were labeled as standard versions. Whereas "Mountains of the Moon" was, in reality, a widescreen presentation, "American Heart" is sadly fullscreen, just as the packaging indicates. Why do companies, such as Artisan, insist on releasing movies in fullscreen?! Like many other viewers, I abhor pan and scan.

The story is pretty simple, we've seen it all before, but a great human element and excellent acting make this film.

This movie was filmed in Seattle, in the apartment building I was living in at the time. My brother and I met Jeff Bridges and Edward Furlong, and got to see the filming (at least at that location). What an adventure that was for both of us! However, neither of us were extras in the film and we don't appear in the movie.

Someday I'll set up a website with little known facts about this one. A DVD release would be nice, since it appears the movie is out of print and destined for obscurity. What a loss that would be.

If you've seen the documentary Sreetwise and loved it.You've got to see this movie!It's fictional but anyone who has seen Streetwise will instantly recognize some of the lines.Jeff Bridges portrays "Jack" perfectly.Every "dirty white boy" knows someone like ol'Jack! Second favorite movie of all time behind Streetwise.

I did not care for "The Fever", as I found it to have bad acting, and it was implausible - the husband was so anti-gambling, yet, agrees to go with his wife to Las Vegas for a short vacation. Why else go there?

The other eps were good, with well-done TZ material.

I'm being generous with 4 stars (assuming 3 eps were perfect, it would max out at 3/4 of five stars, or 3-1/2 stars overall).

When I looked at the lengthy list of "Twilight Zone" DVD volumes this one stuck out more than any of the others. In my opion, it has three of the most outrageously entertaining(yet still quite frightening)episodes "The Twilight Zone" has ever made. "The After Hours" is about Marsha White(Anne Francis), a simple woman who is merely looking for a gold thimble in a department store. However, when she steps into the elevator, she is guided to the 9th floor of the the 8 story building! On this supposed floor she meets odd people who turn out to be even odder when(on one of the regular floors)she sees on of them..........in manicane form! This is one of my favorite episodes of "The Twilight Zone"! Partly because of the completely unexpected ending. "Living Doll" is another shocker! Erich Sleater is a man who feels that his step-daughter is spoiled with too many dolls. So, you can imagine how he feels when his wife and daughter come home with an extremly expensive doll! You can also only imagine how he feels when(after everyone leaves the room)the doll starts saying things like "I hate you!" & "I'm going to kill you!". This is another classic that had me biting my nails to the very end of the show. I also enjoy Rod Sterling's ending words that seem to make the story feel a little too realistic. "The Dummy" is about a ventrilogoust that has an evil Dummy named Willie! Everyone thinks he's crazy but somehow he knows he's not. The only way to stop the crazieness is to get a new dummy, which the man does. However, Willie does not accept the replacement! This is a great one too but the ending doesn't really make sense. "The Fever" is by far the worst episode on the disk. It's about a man who doesn't enjoy gambling at all but while in Las Vegas a slot machine calls his name and then it seems he can never stop! The story was a little too limited for my liking and too unreal. After all, it's weird than the guy just started gambling after he hated it. Again, this is one of the best Volumes in the entire "Twilight Zone" set!

For those of you who are being selective in which Twilight Zone volumes you're buying; and, you plan on watching this DVD more than once, this is the best. This volume includes (1) Living Doll (Talking Tina) with Telly Savales, (2) The Fever (a taunting slot machine), (3) The After Hours, with Anne Francis, who is left in a department store after the store closes and all the people have left. (4) The Dummy (a ventriloquist). The first 3 are great, the Dummy is OK, but again the first 3 are worth the cost alone. Also, the fact that you don't have those annoying commercials anymore makes watching Twilight Zone that much better.

High octane action and the perseverance of some of the leads elevate "Bat-21" to that higher level of Vietnam movie. Basically the story of how a high-level intelligence officer eludes capture after being shot down behind enemy lines in Vietnam, "Bat-21" is relentless and never exploitative. Hackman is Iceal Hambleton, a USAF colonel who fights the war in Vietnam from the offices and golf courses of Saigon. Tasked to identify communist missile sites, he boldly (and unwisely) tags along on an EB-66, an unarmed electronic warfare bird loaded with intelligence equipment. The sole survivor after being shot down, Hambleton finds himself pursued by the enemy who apparently appreciate his value as a prisoner. While the enemy (was it the NVA or the Cong? I could never tell) is unable to find Hambleton, they prove more than capable of making life hell for the rescue choppers sent to rescue him - including the crew of a "Jolly Green" cut to pieces over an enemy-held village. While on the ground, Hambleton stays in contact with Bart Clark (Danny Glover), a USAF captain who flies spotter missions for more heavily armed bombers. (Clark flies FAC - from his slow-moving Cessna, he finds targets for the strike fighters, marking them with white-phosphorous rockets). Knowing that the enemy is monitoring them, Hambleton and Clark work out a code that posits the map of Vietnam as a big golf course. As rescue attempts become more dangerous, Clark finds himself drawn ever deeper into the rescue, climaxing in his going rogue when his superiors throw in the towel.

"Bat-21" isn't really a classic. There's plenty of thrilling action, and the script even manages to find room for irony (as when Clark pauses during a radio conversation with Hambleton while he zaps a few communist troops). Still, nothing really convincingly explains how Hackman manages to elude capture...by anybody (the script makes clear that he is definitely no Rambo). The film also breezes over the biggest irony - that Hackman's code is based on his smarts on the golf course rather than the battlefield. If the film excels over cheap action flicks, it's in the determination and exhaustion of its leads and persistent refusal to avoid Hollywood glory. Also, unless anybody knows of another film, this is the only one I've seen that captures the critical role played by Forward Air Controllers in both prosecuting the air war in Vietnam, and rescuing those airmen nearly lost.

This film encompases the realism a Vietnam Veteran wants in a film centered on/in that war. the films actors dedication to self portrayals of those who were there while fighting against all odds for those in need and under fire is accurate. Danny Glover portrays the honest truth of character that most men had within themselves while there. I remembered my own dedication to my country and its best beliefs while watching the film. Thank you Danny for a wonderful portrayal.

For a movie based on a true story, I found it be very fast paced with an excellent story line.

Danny Glover and Gene Hackman really clicked in this one.

I grew up and love this movie. Black Moon Rising will always hold a special place in my heart. I wore out my tape version so I perchased the rather expensive DVD .... First of all this is not a duel layer disk, so a skip should not happen. Actually the skip (close to halfway through the movie) is much worse on duel layer discs. This made me mad. If I pay close to 30 bucks for a dvd, I expect it to be in tip top shape. I returned it for an exchange and guess what! Same skip but only much, much worse than on my first version. I even have a top-of-the-line DVD player; a sony. I give up. The movie is good, but be causious, most versions of this disc (my family and friends have the same bad skip on their dvd's) contain that terrible skip. I hope [the manufacturer/publisher] fixes it, because I have the same problem on the documentary on my Evil Dead II dvd.

A previous reviewer stated that this movie was loaded with guy stuff. While this might be true, 90 minutes or so of Tommy Lee Jones (and a couple great love scenes) works for me! Killer fight scenes too. This was a very enjoyable movie. Unfortunately, done before Jones was really appreciated. What took everyone so long?

Is he good, or is he good - best love scene with the best guy in it. Good work, Tommy!

This DVD is great. Louis Prima was a little before my time in real life. I became a fan long after his death. This has some amazing vintage footage as well as some current footage of this legend of swing.
Its a great lesson on importance of showmanship.
It is thoroughly enjoyable.

This is a nice bio of one of the legends of Las Vegas and beyond. Louis' life is explored from his family's immigration on through to his death in the late 70s. There are many insightful moments represented here thanks to interviews with music historian Will Friedwald, Prima's bandmates Sam Butera, Keely Smith, Gia Maione and others as well as members of Prima's family. Overall it's a nice production but I wish there could have been more concert footage where instead a song like "Just a Gigolo" is played over stock footage of the Vegas strip and people gambling in casinos. What concert footage there is though, is priceless with Louis, Keely and Sam hamming it up for "Just a Gigolo" and "That Old Black Magic" as well as a duet with Gia Maione on "I Want You" that is one of this video's highlights. The main problem with the video is that it leaves you wanting more. Much more.

Great review of this jazz master's career, from New Orleans, to New York (where he penned the immortal "Sing, Sing, Sing") and on to his later triumph as a Vegas showman. His gift, and his gab, are clearly on display here through archive footage and kinetoscopes of early TV appearances with Keely Smith. Loaded with interviews, photos, recordings and rare films. If you think you knew about Louis Prima, this documentary will open your eyes. Among some of the funniest moments are some footage of Louis recording the Disney tune "I wanna be just like you" for THE JUNGLE BOOK. A great film about one of the 20th Century's great jazz artists.

Great intro to 1965-era country.

Agree with the other reviews. At least half is poorly lip-synced -- including the many Marty Robbins pieces (he set up the movie.) Director and cameraman can be counted on to not show all members of the backup band -- especially not the steel guitar. Some upstaging by backup band members behind stars. If there is a nice instrumental break, the director splices video in of Doodles Weaver clowning.

My favorites: "Anita" by Waylon, yodelling by Don Winters, a couple of fine Connie Smith numbers, "Here Comes My Baby" by Dottie West, "Begging to You" by Robbins without upstaging backup singers, Hank Snow and he introduces his band -- including the ones the camera refuses to show, "The One on the Right" by a deathly drug-wasted Cash (not a foot of film of the Tennessee Three), two fine performances by the Osbourne Brothers, three over-the-top performances by the Stoneman Family.

Well worth the [money].

History is not supposed to be this much fun!! ROAD TO NASHVILLE (1967) was one of the last of about two dozen low-budget country music "musicals" made during the 1960's which played mainly in drive-ins and in the South. These movies seem to have existed for a chance for fans to see their favorites in color - few people had color TV during the early and mid 60's, certainly very few among the middle-class and poor that made up country music's prime audience during these years. When the prices for color sets went down and more country music programs began being broadcast in color during the late 60's, these movies all but disappeared, I believe only two were released after this movie. ROAD TO NASHVILLE is a very honorable swan song for the genre, unlike most of the other movies which had very lame and long storylines usually involving "D" level actors and plots that took up half the screen time that should have gone to the singers, the "story" here is very slight (mercifully) and thus this movie packs in 38 performances by a far larger cast of singers than any of the other country films.

Marty Robbins co-produced this film (he apparently very much wanted to be a movie star producing and starring in several low-budget films including a dragstrip melodrama and a western) and I guess he can be forgiven for giving himself sole above the title billing and a full five numbers, more than twice as many as most of the superstars on display here, after all it is his movie! The Stonemans (also known as the Stoneman Family, amusingly billed each way here on different chapters) come in second with three numbers. One of the true comets of the country music industry, The Stoneman Family seemed on the brink of bigtime superstardom when this movie came out with their unique mix of bluegrass, folk, and old-timey country with a pop sensibility (note Donna Stoneman gives a go-go girl swing to her rhythm movements and their avante-garde bluegrass/rock indstrumental). They were a huge concert act and had even crossed over to the then flourishing folk market and in 1967 won the CMA's first Top Country Vocal Group award but as early as 1970 their major career was over probably due to the quick death of the folk scene at the end of the sixties and the limited audience for bluegrass. (You'll probably recognize the other Stoneman girl, Roni, who a decade later became a regular on HEE HAW playing the harridan housewife in comic skits.)

Webb Pierce, Faron Young, Connie Smith, Bill Anderson, Dottie West, Hank Snow, the Osborne Brothers, and Porter Wagoner each have two songs, Kitty Wells has a solo and a number with husband Johnny Wright, Johnny Cash and the Carter Family each have single numbers and then do the gospel song "Were You There" together. Waylon Jennings, Lefty Frizzell, Bill Phillips, Norma Jean, and Margie Singleton each have solo numbers as do the very obscure acts Don Winters, Bobby Sykes, and the comic team Quinine Gumstump & Buck none of whom I had ever heard of before (I suspect they were all part of Marty Robbins' road show at the time.)

As others have mentioned, this DVD has a lackluster sound, you will undoubtably play your television at full blast to enjoy it as much as possible and still wish the volume could be higher. The packaging is less than desirable with Rhino failing to give any real indication on the front and back cover of all the music gems on this DVD (a full list of the 38 tracks is on the inside cover). At least one can be grateful for a very generous chapter index for each number making it very easy to play one's favorite performances again and again.

The singing is of course sensational and at least half of the performances were recorded for the movie are not just lip-synching to records. My favorite two tracks are two suprises to me, the Stoneman Family's sensational rocking remake of "Tupelo County Jail" (often called "Write Me A Letter" and strangely called "Send Me A Letter" on the DVD); with their yellow sweaters, black ties, and 60's haircuts, the Stoneman men totally bring back the era as do the girls with their Shindigish swinging to the beat. The other showstopper is Bill Phillips singing his hit "Put it Off Until Tomorrow". Phillips had a rather short career at the top although he had several top tens; this song was the very first Nashville success of 20-year-old Dolly Parton who wrote the song and sang distinctive chorus harmony on the record. I was hoping maybe this DVD would give a surprise and have the then unknown Dolly appearing along with Bill uncredited recreating the performance. Instead, the harmony is sung by Kitty Wells' daughter Ruby Wright, who never really went after a solo career herself. Ruby proves to be a sensational harmony singer, blending better with Bill's voice than even Dolly did on the record!! Mama Kitty performs one of her late career gems herself, a blunt stunner called "A Woman Half My Age" that was a top 15 hit in 1966. This kind of honest, outspoken country song you are not going to hear on the radio today that's for sure although it's as timely as ever. It's great to see Webb Pierce and Lefty Frizzell and the still quite young Faron Young still in there pitching and scoring on the country scene a good decade after the apexs of their careers (a Faron would remain a top level country star well into the 1970's) and it's easy to see why gorgeous, big-voiced Connie Smith was pretty much the top female singer in country music at this time. Also singing magificiently is Dottie West, who appears quite modest and conservative here, scarcely resembling the sexed-up glamour girl image she rode to the top of the charts in the early 1980's when she was deep into middle age. The Carter Family do a lovely feminine spin on "I Walk the Line".

Despite it's lacklustre sound, this is one DVD you will play over and over and get your money's worth (even if it weren't so cheap in the first place!) Marty, Webb, Faron, Dottie, Lefty, Hank, and all of the Carter ladies are now all gone and only a few of the surviving cast are still in there pitching at the Grand Ole Opry now so this little cheapie film is one to be cherished.

A treasure trove of late 'Sixties classic country! Although the film itself is lamentably rickety and shoddily produced, the wealth of talent, drawn from several major labels, is truly astounding: Webb Pierce, Johnny Cash, Porter Wagoner, Dottie West, Norma Jean, The Osborne Brothers, Bill Anderson and Bill Phillips all appear, just to mention a few. Co-producer Marty Robbins bankrolled part of this film and sings a few tunes (as well as racing his stock car at the track!)... Several fading 'Fifties stars are also seen, including Hank Snow, Lefty Frizzell, Faron Young, Kitty Wells, and the reconstituted folk-era edition of the Carter Family. Whew! Lemme catch my breath a minute and I'll tell you more... A clean-shaven, wolfish young Waylon Jennings has a great cameo; country cutie Connie Smith not only sings two numbers, she also has an extensive speaking role. There are also several noteworthy also-rans involved: Margie Singleton, Bobby Sykes, the Stoneman Family in full New Main Street Singers bluegrass-pop mode, and Don Winters as well -- one of the most underrated singers of the rock-to-countrypolitan era. The flimsy plot involves the savagely unfunny Doodles Weaver as a bumbling idiot sent (inexplicably) by his grouchy Hollywood boss to organize a country music extravaganza; not only does Weaver appear in the between-song interludes, he also is frequently cut into the the performances themselves, doing unfunny things and staring in a vacant, unfunny way. The sound is poor; the video transfer cropped out a lot of the shots... but hey, this film ROCKS. Any devoted county fan will want to pick a copy as soon as they can. It's a doozy!

I was surprised into watching this film one night a few years ago, and am VERY glad I did! Bryan Brown is as robust and clever as always, and the doe-eyed, strong-minded Karen Allen is a perfect foil/love interest for Brown's "Harold Hill"-esque con-man. In fact, this film is quite like The Music Man in many ways, albeit without the music! Brown's scam-artist intends to milk a small coastal town out of it's hard-earned money, but has a change of plans when Allen and her son find their way into his heart. There's comedy and light drama here, and the entire cast seems well suited to the script and storyline. In all, this is a charming film, and if a little predictability can be endured, it will be sure to satisfy.

It was an enjoyable movie to watch, but a bit predictable. I think too, that the ending was a cop-out, (the son finding the "article" on the beach towards the end). More time and thought should have occurred in the writing. If more effort had been exerted in the writing of the story line -- this movie would have been as good as LOCAL HERO (with Peter Reigert and Burt Lancaster). But hey, I can't complain. It's a refreshing flick.

This is a very enjoyable movie, no sex, no violence. It's a pleasure to see a movie like this.

Bryan Brown is conman Harry Reynolds who travels to a small Australian beach town with plans to scam the residents. However, his plans change when another conman comes to town and Harry becomes involved with a small boy and his mother.

The relationship between the boy and Harry is what makes this movie special.

This movie may be predictable but it is, nontheless, very pleasant to watch. Beautiful scenery and good acting.