Don Movie Reviews

Those who first saw THE OMEN back in 1976 were swept away more by the theme of the anti-Christ reborn than by any high quality production values. Only a few years ealier, THE EXORCIST had made its huge splash with its own devilish content, and comparisons with THE OMEN were inevitable. A comparison between THE EXORCIST's Regan and THE OMEN's Damien are helpful in fixing why the former rings true even today while the latter is seen mostly as a period piece whose shock value has diminished over the last quarter century. Regan generated empathy and sympathy as a young girl whose demonic possession made the audience feel the angst that both she and her mother endured during the transformation scenes. With Damien, there were no such transformation scenes. He is born of the devil, lives as the devil, and rules as the devil. This is a straight line development that does not allow the viewer to build up any feeling for him. Either he will rule as the anti-Christ or he will be stopped. Since the audience does not care much one way or the other, the dramatic focus is on sound effects and creepy background shots. In nearly every other scene, director Richard Donner has one actor or another intone in the most solemn of notes a never ending series of biblical quotes, the purpose of which is to justify the ascension of the devil-child. Allied to this is Donner's use of what an earlier generation used to call the heavenly chorus. In family oriented films like MRS.MINIVER, a church chorus resounded a spiritually uplifting paen to hope and morality. In THE OMEN, this chorus has morphed into its demonic variant that resoundingly pervades nearly each scene that indicates some new piece of the infernal puzzle. Consider the major scenes of interest: the suicide of Damien's babysitter, the near entrance of Damien into a church, the decapitation of a photographer, and the ubiquitous presence of Damien's devil dog bodyguard. Each of these scenes is accompanied by an ear-numbing chorus that reminds the viewer that something infernal is afoot. What all these biblical allusions and sound effects add up to is a failure on the part of cast and crew to establish the legitimacy of the devil-child to stand up on his own, unpropped by such obvious and heavy-handed immoral shortcuts.

Gregory Peck is Ambassador Thorn, who here, thinks that the best way to show an increasing concern that his baby son is not what he seems to be is to show an ossified face that allows only for the uplifting of an eyebrow to register emotion. Lee Remick as Damien's surrogate mother is only marginally more convincing. Billie Whitelaw as Damien's nanny is as flat a character as I have ever seen. Her only purpose is to protect Damien, and in that she is indistinguishable from their protective Doberman.

The shock value of THE OMEN is, of course, the primary reason for its financial success. Coming so soon after the impact of THE EXORCIST, THE OMEN merely rechanneled another avenue of demonic celluloid possession for movie goers to travel. THE OMEN is covered with a suffocating blanket of predestined biblical apocalypse that renders it devoid of any leavening sense of joy or even escape from the certainty that when the devil really does take over, the world will be little more than a loud, morally crushing universe in which the anti-Christ continues to spout passages from the bible in waves that exceed our normal Sunday pulpits. When I see any film, I like to exit the theater feeling either uplifted or educated. With THE OMEN, I felt neither.

Ok so please ignore the fact that The American Ambassador's son's birthday party would NOT be headline news in the UK and the question of why Armed British Police officers were called as Gregory Peck was only speeding and enjoy this slice of horror that started the deluge of other movies of the same ilk.

Great acting from Peck, Remick, Patrick 'Dr Who' Troughton, David 'always in these sort of movies' Warner, Billie Whitelaw and others. The one great Omen movie.

When I first saw this movie I just could not believe how well it had been put together by director Richard Donnor. Harvey Stephens was the perfect choice to play Damien "cute but evil". The Scene where he looks at the dog and waves is just a classic!, and then there is the score...Jerry Goldsmith won a well deserved oscar for this movie in which he created two excellent themes "Ave Satani" and "Piper Dreams" which carry this movie along with brilliance.

I was only slighty disappointed by this DVD.

Even though the picture looked better then it had ever looked before it was still not up to scratch with traces of dust still visable on the print etc.

I thought the New Stereo mix was a vast improvement over the boring original mono track, adding more depth to Goldsmith's score but it was still not good enough (It deserved a full 5.1 Remix)

The features on this DVD are interesting and add story to how The Omen came about and you also get the theatrical trailer and a rather good commentary track by Richard Donnor.

People always try to compare this film to "The Exorcist" why???..The Exorcist is a classic all on it's own, So what it came out first (big deal!)

The Omen has one thing The Exorcist does not "a classic score" The Exorcist used Tubular Bells "That was not written for The Exorcist" (It became famous because of it).

This movie is a horror classic and will remain a classic for many years to come.

This is absolutely one of the worst examples of Disney's animation at work while forgetting they make CHILDREN'S films. The scene with the donkey who still remembers he is a boy... It's too much, people. Children SHOULD NOT be exposed to this kind of imagery. It's horrid.

Absolutley do not let your children watch this. You like cartoons and want to watch, fine. But, not the kids.

While Pinocchio may be considered one of Disney's classics, some of the scenes/content in this older animation would not be shown or considered appropriate in today's children's movies. Gepetto is shown smoking in bed. Many of the characters smoke. Young boys are brought -- as a treat -- to a place where they can smoke, "drink" (something frothy like beer or root beer), and act very destructively as much as they want. The boys are tricked into thinking this is a fun place to go but are turned into donkeys and sold to work in mines -- never again to see their families. In the end, old Gepetto does get his wish. Pinocchio is a real boy. And old Gepetto gets to share his bed with the young boy. While all such scenes could be used for discussing appropriate behavior, I wouldn't recommend showing this movie to children. I made the mistake of showing this to my 4 and 2 yr olds. This is one those films I won't show over and over.

Walt Disney in my belief never topped his stunning achievement in movie animation with "Pinocchio", the classic children's story based on the equally classic late 19th Century story by Carlo Collodi. Indeed this story is truly for children and adults alike with it's message of the universal value of honesty towards others and ones self, and the real worth to be obtained from personal integrity in all things. Released in 1940 after the stunning success of Disney's first excursion into animated feature films with "Snow White and the Seven Dwarfs", "Pinocchio", is the studio's supreme achievement that has enchanted and enthralled each new generation with it's simple message and delightful characters.

"Pinocchio", tells the story of a kind and loving woodcarver named Geppetto who produces beautiful clocks, toys and music boxes out of all kinds of wood. He is loved and admired for his great skill however his one wish in life is to have a son as he has no children. Looking at his completed wooden puppet of a young boy he names him Pinocchio and goes to sleep praying that he might have a son just like Pinocchio. During the night the Blue Fairy appears in Geppetto's house and grants his fervent wish bringing the little wooden puppet to life. Her words to Pinnochio are "prove yourself to be brave, truthful and unselfish and someday you will be a real boy". To help him in this task the Blue fairy provides him with a "conscience" in the form of Jiminy Cricket who is to look out for him. Upon waking Geppetto is delighted to discover that his wish has been granted and that Pinocchio has come to life. His joy however is short lived when after sending Pinocchio off to begin his schooling the naive puppet is abducted by a sinister Fox called Honest John who takes Pinocchio to the travelling carnival of Stromboli a cruel and nasty man who imprisons Pinnochio and forces him to perform in his show. Alerted by Jiminy Cricket, Pinocchio is rescued by the Blue Fairy after he learns a hard lesson about telling the truth when his nose grows larger with each successive lie. Heading home they run afoul of Honest John again who in another of his schemes is working with his client Coachman in getting boys to be sent to Pleasure Island in the belief that they are going on vacation but with the real intent of turning them into donkeys to work as slaves for Coachman in his mines. Once on the island everything seems wonderful as the amusement park offers everything they want for free and the boys are given a constant supply of drink and alcohol. Only later is the sinister purpose of the island discovered by Jiminy Cricket by which time it is too late as the boys have begun to turn into donkeys and are being loaded on a boat being sent to the mines. Before Pinocchio's transformation is complete Jiminy and Pinocchio escape and return home again only to find the heart broken Geppetto has gone looking for Pinocchio and has been swallowed by a famous whale called Monstro. Going under water to try and find him the pair encounter the deadly Monstro who also engulfs them and by a miracle they find Geppetto along with Figaro the cat and Cleo the goldfish safe and sound. Starting a fire inside the whale they manage to be blown outside and after a terrifying pursuit by a very angry Monstro manage to safely get to the shore. Once safely home the transformation promised by the Blue Fairy if Pinocchio displayed the qualities of bravery honesty and kindness to others, takes place and the wooden Pinocchio becomes a real boy of flesh and blood and the son Geppetto always wanted.

"Pinocchio", is a timeless story graced with beautiful characters that all too often show their human side. I believe this very human element to the characters is what has endeared this film to generations of movie goers. Winner of the 1940 Academy Award for Best song with the unforgettable "When You Wish Upon A Star" which has become the Disney trade mark tune ever since, the production has so much to offer in every department. The quality of the animation is peerless here and the modern Disney efforts could not compare with it in overall quality and execution. The characters created from the original work by Carlo Collodi are just as memorable with Pinocchio the unforgettable little puppet who learns to become a real boy, being one of the best characters to come out of the Disney films. Voiced by child actor Dickie Jones, he gives Pinocchio just the right elements of boyish innocence and show biz panache to make him a delightful character. Jiminy Cricket also is without doubt one of the strengths in this story with his "conscience" job often leading to amusing and hair raising situations that even he often doesn't want to be a part of.

Treasured as a great children's classic "Pinocchio", certainly has it's scary elements such as the boys turning into donkeys and the frightening battle with the whale at sea which might not be suitable for really young children. However apart from that adults can enjoy this story just as much as children with its age old moral lesson of doing good by others for your own good. I have loved "Pinocchio", since I was a child and along with "Snow White and the Seven Dwarfs", is the film that best represents the true brillance of Walt Disney's creativity. Promise yourself at least one viewing of this great classic as it will move you as no other animated feature can with its simple message and beautiful characters.

Kevin Costner, Sean Connery, Andy Garcia and Charles Martin Smith are the good guy cops and federal agents going after De Niro's Al Capone in this slick and very effective gangster movie. It's one of Brian de Palma's better efforts, excellently paced, engaging, utterly shameless in its manipulation of the audience. Capone is wanted for bootlegging, finally caught for tax dodging. But his baddie status is primarily as a menace to the cute, innocent and vulnerable: the little girl blown up in the near-opening scene, Costner's picture-perfect all-American wife and daughter family unit and of course the smiling baby whose pram plummets perilously down the railway station steps in the rather self-conscious quotation from "Battleship Potemkin" that is the focus of the climactic action scene. Costner, Connery and Garcia all have a high capacity for being monumentally annoying but they work well enough here and Smith is excellent as the diminutive tax accountant. "The Godfather" it ain't but with de Palma directing like an old pro, a script by David Mamet and a score by Ennio Morricone, it's one of Hollywood's most watchable and enjoyable gangster movies.

It remains for others far better qualified than I am to comment on this film's historical authenticity. The fact remains, as so capably directed by Brian De Palma, it offers compelling entertainment as Eliot Ness (Kevin Costner) and his associates eventually obtain the indictment and conviction of their nemesis, Al Capone (Robert De Niro). How ironic that one of the most ruthless and brutal of underworld figures should eventually be sent to federal prison for tax evasion. Although not an epic, this film does have scope and depth far beyond the television series of the same name. Credit David Mamet (in collaboration with De Palma) for a crisp screenplay, Ennio Morricone for an especially effective score, and Stephen H. Burum whose brilliant cinematography captures the recreation of Chicago during the 1930s. He also does very well with the presentation of the shootout at the Canadian border.

I remain convinced that with regard to Kostner's acting, less is more. (That is best illustrated near the end of Field of Dreams when he asks his father to play catch.) As Ness, he is credible. My own opinion is that Charles Martin Smith (as Oscar Wallace) delivers the strongest performance but Sean Connery (as Jim Malone) received an Academy Award for best supporting actor. To his credit, Connery continues to earn a handsome living impersonating himself, whatever the role may be. I was also favorably impressed by Billy Drago's performance as Frank Nitti. In that role, Drago exudes lethal menace. Del Close makes a brief but memorable appearance as a corrupt public official, appearing in Ness's office to offer a bribe. After adding about 60-75 pounds, De Niro plays Capone with exuberance and self-assurance, then with volcanic rage as he realizes that the "Untouchables" have finally prevailed. Although not a great film, it offers a well-crafted account of a specific time and place unique within U.S. history, indeed a benchmark period during the never-ending struggle between vicious criminals and those brave men and women who oppose them.

Costner and De Niro deliver top notch performances. Tension and pacing are perfect. Not too gory. Just a well done film all the way around.

Disney's animated Peter Pan movie is a good movie, I really enjoyed watching it, I liked the story, the animation, the voices and the catchy songs and I recommend this highly to fans of Disney movies.

Of all the Disney adaptated tales, Peter Pan was proably one of the best. While not as Dark as JM Barrie's original story, it keeps the spirit of the original work and makes it family friendly without betraying it (Hercules anyone? Talk about completly gutting the source material). This is an acceptable adaptation in comparrison to Hercules.

Peter's arrogance and pretty much being oblivious to the way the girls around him feel about him is right on point. Tink, Wendy, and even Tiger Lily all want Peter to be something he can never be, a man. While his willingness to sacrafice for the good of others and be a knight in shinning armor of sorts must be what draws the girls in, but on a personal level he can never connect in a mature way. Even when he starts out on a nobel effort (like saving Tiger Lily) he gets so caught up in the game he just about forgets that he's there to save the young lady. This is certainly an impression of Peter given in the book. You can't really hate him for his moments of being a silly boy, especially when it comes to girls, because that's all he is and all he can ever be, a boy. And as for the 'jealouse women' reactions that circle the film, it's important to note they're not women -- they're girls. Yes, Tink is a fairy but her sense of things seems to be at the same level as Wendy.

Some of the complaints I've heard about the film are the way the Indians are portrayed. And quite a few lines ('ugh', 'How', the 'red man' song) are proably an unfortunate product of the time. But the fact is, when I was a kid I did run around saying 'bwah, bwah, bwah' when I played 'Indian'. So it makes sense in a world locked into a child's sense of the world the indians (to proper english children) would be a bit exagurated.

So all in all, Disney did a pretty good job adapting this into a film. And it's still a favorite. All in all it's a good peice. I'm a grown woman still hoping Peter will visit my window one day. And my little sisters love the movie.

I love this movie, as I do all the earlier Disney animations. I read the review by Carolinapooh, and I, too, remember that the part about clapping to keep Tinkerbell alive was in the movie! If you watch it, you will see Tinkerbell fading, and then there is an abrupt cut and suddenly she's OK. Why would they have taken it out? Maybe they think kids today are just too sophisticated for that, and sadly, they may be right.

This is my favorite McQueen film because from beginning to end, he remains in character as Frank Bullitt, a taciturn but thorough police detective in San Francisco who relentlessly solves not one but several crimes. All of the supporting cast's performances are outstanding, notably those of Robert Vaughn (Walter Chalmers), Norman Fell (Baker), Don Ross (Delgetti) and Simon Oakland (Captain Bennett). Director Peter Yates introduced in this film a car chase which remains the industry standard, approximated by few others such as in The French Connection. The film is based on Robert L. Pike's novel Mute Witness. The key witness (allegedly Johnny Ross) is mute because he is dead. The central power play involves stoical Bullitt and careerist Chalmers. Bullitt is just doing his job whereas Chalmers has a political agenda which guides and informs his displeasure with Bullitt's unorthodox methods. As Bullitt's love interest Cathy, Jacqueline Bisset is only secondary to the plot which proceeds through moments of violence and strategic evasions before its ultimate resolution at the San Francisco International Airport. Also noteworthy is Robert Duvall's brief but indelible appearance as cab driver Weissberg. This film has Snap, Crackle, and Pop.

Bullit is an awsome movie that has become one of the top cult movies of all time right up there with Them,Gone in 60 Seconds and Attack of The Giant Leeches and besides it has the most famouse chase scene I think of all time sooooooooo get this movie

Bullitt is a great murder mystery\thriller that never really slows down from the beginning. The story begins with an important informant being placed in the care of Lt. Frank Bullitt and two other detectives. When the informant is murdered inside his hotel room, Bullitt must find out who the murderer is, and what else is going on behind all of this. The film is very realistic will all of it being filmed on location somewhere in San Francisco. While everyone knows this movie because of the famous car chase( it is the best chase ever filmed), there is much more to this movie that will keep the viewer interested.

Steve McQueen gives another great performance as Lieutenant Frank Bullitt, the officer placed in charge of mob informant Johnny Ross. His performance is very good as the tough cop who will not let anything get in his way. Robert Vaughan is also very good as Chalmers, the slick politician who constantly chases down Bullitt for information about his witness. The film also stars Jaqueline Bisset as Bullitt's girlfriend, Robert Duvall in an early role as a taxi driver, and Don Gordon as Delgetti, Bullitt's partner. While I do not like the snap case DVDs, this one is not too bad. The DVD offers widescreen and fullscreen presentations, theatrical trailer, and also a documentary about the making of the movie which includes shots of McQueen working on the famous car chase through San Francisco. The movie looks great in the widescreen and should not be missed. Check out Bullitt for an exciting murder mystery with another great performance by Steve McQueen!

Even if you thought the film Fantasia 2000, a "continuation" of the original Fantasia, was sub par, you may want to pick up the DVD if only for the two animated shorts that are included: "Toot, Whistle, Plunk & Boom" and "Adventures in Melody".

If you qualify as a Generation X'er (or older) you may recall "Toot..." being beamed from a clunky 16mm projector onto the blackboard of your grade school classroom. Its a stylish and funny peice explaining the evolution of musical instruments, and was one of Disney's first forays into the widescreen format.

"Adventures in Melody" was originally viewed in the Fantasyland Theater at Disneyland in full-color 3-D. Unfortunately the version on the DVD is in plain ol' 2-D, but the colors are amazing and practically leap off the screen in spite.

The DVD is worth purchasing if only for these two gems... I only wish more Disney releases would include such worthwhile extras from their vaults.

Okay, so there were some dissapointments, in particular I was disspointed at the opening piece, it didn't close things up right for me. However, one must also realize that this is not one continuous movie, it is a collection of shorts. Different animation teams worked on different pieces, take a look at the credits. There is one segment on this DVD that makes it worth buying, the Firebird. It is the only thing that keeps my Faith in that there are americans that can out-animate Hayao Miyazaki, and I am a huge Miyazaki fan. This is so much better than the other Disney works because it has imagination that you don't get with even Disney's latest and cutting edge works. Also, the animation seems like paintings at times. Okay, it doesn't have all of features of the original compilation, but what were you expecting? This is a great collection in it's own right. The only thing that I would have changed is bringing back the Sorcerer's Apprentice, I wanted to see Night on Bald Mountain. But, who am I to complain.

I don't understand all of these one star reviews! I saw Fantasia 2000 in an IMAX theater when it first came out and I was knocked out! I grew up on all the animated Disney classics and this one is by far the most advanced artistically and creatively. With Fantasia 2000, Disney finally gives us an 'adult' production that is an excellent depiction of how far 'traditional' animation can go into scope, symbolism, expression, and stylistic ranges. There's something for everyone here, from the charming Tin Soldier to the Rebirth of the Firebird Suite. Some reviewers call this pretentious, but who cares! I like something that will make me think, nothing wrong with that.
The new Fantasia is better than the original, having recently watched them back to back. The original is great but slightly dated compared to it's sequal (or it's continuation). Mickey's segment is preserved in the 2000 version however. Fantasia is a work of art worthy of standing next to films the likes of 2001 Space Odyssey, Amadeus, Clockwork Orange, Godfather 1-2,or Lord of The Rings. Highly recommmended! Broaden your outlook, and grow up along with Disney studio's triumphant Fantasia 2000.

Even if you thought the film Fantasia 2000, a "continuation" of the original Fantasia, was sub par, you may want to pick up the DVD if only for the two animated shorts that are included: "Toot, Whistle, Plunk & Boom" and "Adventures in Melody".

If you qualify as a Generation X'er (or older) you may recall "Toot..." being beamed from a clunky 16mm projector onto the blackboard of your grade school classroom. Its a stylish and funny peice explaining the evolution of musical instruments, and was one of Disney's first forays into the widescreen format.

"Adventures in Melody" was originally viewed in the Fantasyland Theater at Disneyland in full-color 3-D. Unfortunately the version on the DVD is in plain ol' 2-D, but the colors are amazing and practically leap off the screen in spite.

The DVD is worth purchasing if only for these two gems... I only wish more Disney releases would include such worthwhile extras from their vaults.

Okay, so there were some dissapointments, in particular I was disspointed at the opening piece, it didn't close things up right for me. However, one must also realize that this is not one continuous movie, it is a collection of shorts. Different animation teams worked on different pieces, take a look at the credits. There is one segment on this DVD that makes it worth buying, the Firebird. It is the only thing that keeps my Faith in that there are americans that can out-animate Hayao Miyazaki, and I am a huge Miyazaki fan. This is so much better than the other Disney works because it has imagination that you don't get with even Disney's latest and cutting edge works. Also, the animation seems like paintings at times. Okay, it doesn't have all of features of the original compilation, but what were you expecting? This is a great collection in it's own right. The only thing that I would have changed is bringing back the Sorcerer's Apprentice, I wanted to see Night on Bald Mountain. But, who am I to complain.

I don't understand all of these one star reviews! I saw Fantasia 2000 in an IMAX theater when it first came out and I was knocked out! I grew up on all the animated Disney classics and this one is by far the most advanced artistically and creatively. With Fantasia 2000, Disney finally gives us an 'adult' production that is an excellent depiction of how far 'traditional' animation can go into scope, symbolism, expression, and stylistic ranges. There's something for everyone here, from the charming Tin Soldier to the Rebirth of the Firebird Suite. Some reviewers call this pretentious, but who cares! I like something that will make me think, nothing wrong with that.
The new Fantasia is better than the original, having recently watched them back to back. The original is great but slightly dated compared to it's sequal (or it's continuation). Mickey's segment is preserved in the 2000 version however. Fantasia is a work of art worthy of standing next to films the likes of 2001 Space Odyssey, Amadeus, Clockwork Orange, Godfather 1-2,or Lord of The Rings. Highly recommmended! Broaden your outlook, and grow up along with Disney studio's triumphant Fantasia 2000.

This movie is mostly for men due to the grapic nature. The whole movie is conplexing and by the end you just find yourself angry that you wasted two hours.

Both Adrian Lyne and Jeremy Irons have been involved with films that focus on chronic obsession(Dead Ringers,Fatal Attraction,9 1/2 Weeks,and Damage).I consider this film to be closer to Nabokov's intentions than the Kubrick's black comedy. This Humbert is totally immersed in fantasy.He has no moral sense, only guided by the ghost of a perfect love.Lolita is his Frankenstein,his collection of youthful memories. Humbert is not a monstrous child molester like Quimby but someone so caught up in fantasy they can't really operate in everyday life.Both the acting and direction are excellent.Adrian Lyne needs to continue making provocative films that are both thoughtful and intense.After watching Lolita,you feel great empathy for characters you might otherwise find disturbing all because they are portrayed as deeply human.

This film continues to polarize viewers with it's plot which is, even after Kubrick's original, still seen by many as controversial. Well, I watch films for enjoyment and, if I'm lucky enough, enlightenment. Needless to say that this film provides both of the former with a masterful touch by visionary director Adrian Lyne. Lolita, played by the frustratingly enigmatic Dominique Swain, is confused by adolescent lust and acts out of sheer frustration. Swain is all too real here in her seduction of the easilly inclined Jeremy Irons, whom comes across, strangely enough, not so much as taking advantage of 14 yr. old Lolita's inclinations, but as a man that desperately needs to be rejuvinated by love again, mistaking youth as the fullfillment. Why is he this way? See the film. Highly recommended, heart-wrenching, modern-day classic.

This movie is mostly for men due to the grapic nature. The whole movie is conplexing and by the end you just find yourself angry that you wasted two hours.

Both Adrian Lyne and Jeremy Irons have been involved with films that focus on chronic obsession(Dead Ringers,Fatal Attraction,9 1/2 Weeks,and Damage).I consider this film to be closer to Nabokov's intentions than the Kubrick's black comedy. This Humbert is totally immersed in fantasy.He has no moral sense, only guided by the ghost of a perfect love.Lolita is his Frankenstein,his collection of youthful memories. Humbert is not a monstrous child molester like Quimby but someone so caught up in fantasy they can't really operate in everyday life.Both the acting and direction are excellent.Adrian Lyne needs to continue making provocative films that are both thoughtful and intense.After watching Lolita,you feel great empathy for characters you might otherwise find disturbing all because they are portrayed as deeply human.

This film continues to polarize viewers with it's plot which is, even after Kubrick's original, still seen by many as controversial. Well, I watch films for enjoyment and, if I'm lucky enough, enlightenment. Needless to say that this film provides both of the former with a masterful touch by visionary director Adrian Lyne. Lolita, played by the frustratingly enigmatic Dominique Swain, is confused by adolescent lust and acts out of sheer frustration. Swain is all too real here in her seduction of the easilly inclined Jeremy Irons, whom comes across, strangely enough, not so much as taking advantage of 14 yr. old Lolita's inclinations, but as a man that desperately needs to be rejuvinated by love again, mistaking youth as the fullfillment. Why is he this way? See the film. Highly recommended, heart-wrenching, modern-day classic.

...otherwise, you run the risk of disappointment. The first 10 minutes or so are riveting. A california state senate candidate has a death wish, being disillusioned with the filthy shenanigans of politics. Instead of committing suicide he plots his own assassination. Given his imminent death he gives himself a free reign during his final speech in the african-american rally in LA where he answers a question about "Where are your promises of insurance benefits for us black people?" with an unadorned tirade -- "Why should you guys matter? 50% of your kids are unemployed, and the other 50% are in jail". This is followed by an utterly irreverent anti-Semitic take during a meeting with media barons (all Jewish, of course).

Such whimsical behavior in fact leaves the senator feeling so liberated that his death wish vanishes, and the movie turns into a frantic chase to track down his anointed assassin and cancel the plans. This lends the movie some of its hilarious moments and what could even have been an adorable pace.

But the movie and its pace are thrown to the wind as we quickly get swamped with empathetic odes to negro stereotypes -- young black kids under 10 years of age selling dope on the streets using F-words as punctuation, abject poverty (15 people in a small shoddy home for e.g.), rusty cars from 1625 A.D. for the black folk but Rolls limos for everyone else, white cops badgering the afrincan-american drug salesmen and the kids of course replying in an F-laden rants with allusion to parental family members etc etc.

As though this was not enough, a dreadful overdose of rap music compounds our woes (no no, I love rap music with a capital C) with the possible exception of Ghetto Superstar (yeah). Even the senator develops a rap-tongue and cannot seem to speak in anything but rhyme, whether on TV or in private tete-a-tetes with Halle Berry.

Beatty's wrinkles show up in this movie but do little to add to his expressionless expressions, although he is convincing in his role. Halle Berry is confident as usual, but in her african-women-can-be-intelligent-too anti-stereotype role, seems to have a medical inability to smile because, clearly, intelligent people are always serious. The senator's chief of staff campaigner has a perpetual frown with all this bizzare callousness, which is somewhat grating. Everyone else does his/her job well - no more no less.

Overall, a unique theme with a lot of promise that could easily have been a 5/5 material had Beatty not been so smitten with his inane takes on the minority agenda. Still worth a watch if you are interested in (what is almost) a "political satire".

This movie is about a Senator who gets fed up with lying to the people. However it is a movie that is a matter of taste. If you are sensitive regarding racial issues this is certainly not the picture for you. If you like racially laced humor and politics you will probably like this movie, if not fall in love with it. Warren Beatty is excellent in his role as senator Bulworth and Oliver Platt is a riot as Bulworth's campaign manager. Halle Berry is still the most beautiful women in the world...showing that she can make even a totally straight laced senator turn ghetto. It's got it's ups and downs and craziness...some humor and even some surprises. I thought the ending was somewhat surprising.

While very funny, and Halle is very sexy, and the song Ghetto Supastar still a classic (so the movie is very entertaining), still the movie's theme is powerful. It motivates one to get up and change the world, rather than letting it decay into crime and corruption. I liked the way that criminals are related to politicians, equally to blame for the mess.