Don Movie Reviews

Political fantasy in which Robert Redford discovers that mounting a successful campaign for an "important" office -- in this case, a U.S. Senate seat representing California -- requires the candidate to be shallow, media-friendly, etc. The gist of the thing is that he loses his naivety, the poor baby. Give me a break. I suppose the movie succeeds as fantasy, and there are some moments and characters that elicit chuckles during the campaign trail. There's the occasional telling detail that suggests the screenwriters -- who had actually worked for real-life politicians -- have been there and done that. But it must again be stressed that *The Candidate* is mostly fantasy. Indeed, Redford's character is fantasy: he never existed, doesn't exist now, and will not exist in the future. And the screenwriters -- the liars -- KNOW this. Politics is a dirty business that attracts dirty people, like a horse-apple attracts flies. The desire to be a big-time American politician comes with having a sheer, unrelenting hatred of all that is good and decent. The producers and writers of *The Candidate* understood this (even if their liberal, golden-boy Hollywood star did not), and yet they chose to waste our time with a beddy-bye story of a potential hero who ends up corrupted. The TRUTH is that anybody who wants to be a Senator is by definition corrupted already; anybody with any sense knows this.

"The Candidate" is liberal Hollywood's wet dream of the "realities" of a political campaign.

Robert Redford (looking purposely Kennedyesque) is Bill McKay, a young crusading liberal attorney who's persuaded by political operative Marvin Lucas (Peter Boyle in a terrific performance) to run for the U.S. Senate against conservative Republican icon, Crocker Jarmon (even the name shows what a stacked deck the picture is), played by 50's TV sitcom star, Don Porter.

Handsome and hip McKay is depicted as pro busing, pro welfare and pro choice...while stodgy old Jarmon is shown mouthing tired old conservative attitudes about Americans working hard and picking themselves up by their own bootstraps.

The cast is uniformly excellent, especailly the great Allen Garfield as Mc Kay's media consultant whose shtick is breaking bags of lollipops with a hammer and sucking on the smashed pieces. Redford gives a slyly appealing movie star performance and is especially superb in one scene in which, completely burned out from campaigning, begins to satirize the platitudes his speechwriters have given him ("when the greatest country in the world can't feed the foodless!").

One wonders what kind of movie "The Candidate" would have been if Mc Kay's opponent was as equally young and hip and spoke with the same fervor as McKay without the tired old right wing cliches.

Michael Ritchie directs in docudrama style from a script by Jeremly Larner who suposedly based the material on the Tunney-Murphy campaign in California.

"The Candidate" was released in the appropriate year of 1972, when Richard Nixon was reelected, using the media to present himself as a solid, trusted leader who was being challenged by liberal elitists operating in concert with the Eastern media establishment. When the full force of Watergate buried Nixon in scandal shortly thereafter, resulting in his resignation in 1974, the messages presented in "The Candidate" became all the clearer as Nixon's hollow facade lay fully exposed.

Jeremy Larner, a former speechwriter for presidential candidate Senator Eugene McCarthy in 1968, used his political savvy to craft a script based on the realism of campaigning in the television age, in which, to use Marshall McLuhan's apt phrase, "the medium is the message." Larner copped a Best Original Screenplay Oscar for his effort. Robert Redford plays Bill McKay, who runs a poverty law center and has no ambitions to seek political office. He is urged to do so as the Democrats in California seek an opponent for a solidly entrenched incumbent U.S. Senator played by Don Porter. Redford, whose father, played by Melvyn Douglas, is a former California governor, agrees to run after being told that he can address topics on his own terms. The idea is that he is expected to make a decent run but is not expected to win. Redford articulates ideas near and dear to him that are not embraced by the broad spectrum of California voters. When he runs poorly in the primary, however, he is informed that he needs to make changes or risk being humiliated in the general election by Porter, a prospect he does not relish.

Redford's ensuing frequent turnabouts on major issues make him anything but the refreshingly candid candidate he sought to become. As the polls close and there is possible light at the end of the long campaign tunnel, Redford becomes more of a blurry media creation and loses the old image of refreshingly solid commitment he had previously displayed.

Eventually Redford upsets Porter. By the time the long race ends he is immersed in a total blur. The film's closing line is a gem. After winning the race Redford, seated in his hotel room with his campaign staff, asks, "What do we do now?"

"The Candidate" was one of director Michael Ritchie's finest efforts. The pacing becomes gradually stepped up as the campaign moves into its important stretch run. By the end the viewer is immersed in the same kind of non-stop, frenzied blur as are the candidates and their staffs, providing a graphic display of political realism via the camera's all-seeing eye.

FATHER OF THE BRIDE is a comedy mostly about the preparations for a young bride's wedding.Spencer Tracy plays the part of the father. Elizabeth Taylor is the bride and Joan bennett is the mother. The cast also includes Leo G. Carroll, Don Taylor and Billie Burke. Tracy is excellent as the flusterred dad and Elizabeth Taylor is a delightful picture of innocence as the bride. The relationship between father and daughter is the glue which keeps everybody together during the hectic period before the wedding.

The movie received Oscar nominations for Best Picture, Best Actor (Spencer Tracy) and Best Screenplay ( Francis Goodrich and Albert Hackett). The sequel was called FATHER'S LITTLE DIVIDEND and it was released in 1951.

Vincente Minnelli received an Academy Award for his direction of GIGI in 1958.

"Father of the Bride", is a total delight from beginning to end blessed as it is with one of the most splendid performances delivered by veteran actor Spencer Tracy in a career littered with fine work. It has quite rightfully earned the status of "classic" and despite it's firm place in 1950's America, it's quite simple premise of one families experience with the nightmare of a wedding "out of control", is one which still can be identified with even in the present day. It was the first of two wonderful teamings that Spencer Tracy had with his favourite "screen daughter" Elizabeth Taylor and their warm professional and personal regard for each other translates into some terrific screen chemistry in their roles of in-love daughter planning her dream wedding, and harassed father becoming totally traumatised by the expense and size of the affair as it grows bigger by the minute.

MGM studios pulled out all the stops to make this film one of their major productions for 1950 and being by tradition the "family Studio" they were ideally suited to bring this story of the ideal family wedding to the screen. Based on a very popular novel of the same title by Edward Streeter it does indeed tell a simple story but laces the proceedings with many highly amusing incidents that most people who have experienced planning a wedding can identify with. Spencer Tracy plays Stanley Banks a prosperous Lawyer who finally it seems has every thing he wants in life, a lovely wife, house fully paid for, a beautiful daughter in college and two young sons. Suddenly he finds his whole cosy existence turned upside down when one evening his cherished daughter Kay (Elizabeth Taylor, never more lovely), announces that she is to be married and immediately Stanley finds himself swept into a whirlpool of wedding preparations designed to drive even the most sane individual into madness. As the date of the wedding approaches the original plans for a "quiet family wedding with just a few friends", balloons out into a major production and Stanley finds his sanity put to the extreme test as he has to deal with huge bills, snobby wedding consultants, irrate removalists, bills for invitations, bridemaids gifts,and reluctantly a new tuxedo. He has to share his house with a mounting pile of wedding gifts, some in questionnable taste like Aunt Hattie's Venus de Milo Clock and faces the chore of deciding who can actually be cut out of the invitation list to save costs without some offense being taken. Naturally along the way there are fights, disputes over the mounting costs and the absolute fright when suddenly Kay calls off the whole show when her fiance Buckley Dunstan fails to say he loves her often enough! The dreaded occasion of actually having to meet the "in laws" also causes poor Stanley no end of grief and the meeting ends with him getting totally drunk relating stories of Kay as a young girl to her propective in- laws. When everything is finally in place after months of wedding plans, engagement parties and rehearsals for the big day, followed by the giant wedding that Ellie (Joan Bennett) had always wanted herself but never had, Stanley finally realises that he is being robbed of the one thing that he cherishes most in life, his beloved daughter Kay, the apple of his eye, and realises that things will never be the same for he and Ellie again.

With a narration delivered by Spencer Tracy which makes wry observations about the proceedings at hand, "Father of the Bride", is a highly amusing showcase for his supreme talents as a comic actor which often are forgotten in the light of his countless power house dramatic performances. Nominated for an Academy Award for his wonderful performance as was the film for Best Picture Tracy has never been better than here as we witness with an almost horrified amusement how Stanley's existence spins out of control. Joan Bennett, a frequent co star of Tracy's back at Fox in the 1930's here makes a belated MGM debut as Stanley's wife who gets caught up in all the arrangements for the wedding. Her work with Tracy is magical and it's one of her best later day performances. Her scene dealing with cutting down the invitation list but still wanting to include her Garden Club members as she is due for re-election is priceless. Elizabeth Taylor absolutely shines in the role of Kay and was there ever a more lovely bride seen on screen? Made just prior to her first real life wedding Elizabeth is wonderfully alive as the excited young girl facing marriage and her terrific screen chemistry with Spencer Tracy is a joy and contributes greatly to the more emotional points in the story. A sterling supporting cast so typical of MGM is gathered here, from the "in-laws",Billie Burke and Moroni Olsen, through to the stuffy disapproving wedding planner Leo G. Carroll in a superb performance who succeeds in a number of highly amusing scenes to ruffle Stanley's already quite tattered feathers. Directed with gusto by famed director Vincente Minnelli during his golden period at MGM the film was a huge success at the Box Office aided as it was by Elizabeth Taylor's real life nuptials a few months later. Being a major production for that year there is great expertise in every department from Pandro S. Berman producing, art direction by veteran Cedric Gibbons and stunning costume design, in particular for Elizabeth Taylor's beautiful wedding gown created by designer Helen Rose.

Remade in the 1990's, the 1950 version of "Father of the Bride",is still unsurpassed and preserves forever Spencer Tracy's classic performance which could not be equalled. Passed off by many as now being dated I feel the humour and the situations still ring very true to anyone who has gone through planning a wedding. This terrific film was followed by an enjoyable sequel the following year "Father's Little Dividend" which continued on the trials and tribulations of Stanley Banks now facing the prospect of becoming a Grandfather with amusing results. Both make great classic viewing but this film is the gem of the two and should not be missed.

A sweet, sincere class with lots of interesting and insightful observations about weddings that are every bit as relevant today as when the film was made.

THE ROSE, for its bravura performance by Bette Midler in a Joplinesque tale of the excesses and pitfalls of fame, has difficulty finding its own legs some 25 years after its release. While the movie packs a wallop by the end in emotional intensity, the lead in is far too predictable to keep this from being entirely riveting. The other problem with this film, and perhaps its biggest flaw, is the overuse of concert scenes. While these are full of energy and excitement, they tend to drag the plot down considerably. Yes, we have some clue that Rose works her [tail] off, but the extent to which we see this tends to hurt the film's pacing. THE ROSE is not a classic movie but a classic PERFORMANCE by Midler. Her acting career has been a spotty one at best and THE ROSE is by far her greatest achievement. Midler's performance is full of paradox: touching yet abrasive, sensitive yet ribald, comic yet tragic. THE ROSE is BETTE MIDLER...the only reason this film hasn't passed into "forgotten Hollywood".

This biopic of Joplin can be enjoyed on its own merits as the age-old theme of the outsider rising to fame and then falling from grace. It doesn't really capture Janis Joplin's personality as revealed by the biographies and her own music. Also, for me it's impossible to picture Bette Midler as a rock singer. Still, not a bad movie taken on its own terms and for those who were never particularly interested in Joplin's life or music.

For any of the 'young'uns' out there in Lurker Land, this 'old' 'dude' wagers that not only will s/he *not* recall, s/he would not give a 'hoot' re: the close correlation between any of Miss Carly Simon's (btw, we're touching on the Simon and Schuster Publishing House, 'case you _care_) well-articulated, heart-on-her-sleeve heartwrenching songs, Miss Joplin, and every single Decent -and- tormented Lady -and- Gentlemen since Woman was fashioned to be Man's companion (boo! hiss! evolution SMELLS).

Translation: The Rose, like Ms. Simon's many pouring outs of her heart into her music, is no less than The Story of A Good Woman in Lonely Agony ... not that her scuz of a 'manager' ... or even her 'fans' ... could *really* give a 'holler' .....

How can I emote this strongly, you may be wondering / not welcoming ... well, chiefly 'coz, 23 YEARS after viewing Bette Midler in THE ROSE in our Student Auditorium at College, in my own world, I've yet to find confirmed in the fickle, hypocritical, abusive, neglectful, tormenting, uncaring, unfeeling JERKS that are my felllow "men" (-and- women !) more so gracious, loving, kind hearted, mature, and principled "ladies and gentlemen" than, ruefully, the aforementioned, assorted, fruits and nuts.

And no, I am not happy about it. And yes, I think I and those who suffer this CRUEL world in the way Bette so superbly depicted dear Janis as having had to, only can speak of the hurt, the pain, the loneliness and the terrible torment foisted on us. You Go, Rose !!

Turnabout Intruder-Star Trek closed with one of its oddest and campiest offerings, in which an old flame switches bodies with Captain Kirk. In no other episode is there such a palpable sense of the personnel's detachment from the material. This detachment is presumably attributable both to the episode's dubious content and the knowledge that the show would not be renewed. The basic premise is interesting enough and the effects during the transfer are cool, but the episode quickly runs into trouble. First off, the episode is very sexist even by the standards of the day. Lester's character is an amalgamation of stereotypes including:
1) the scorned lover, who made too much out of a fling, 2) the woman unable to 'face the reality' that she wasn't 'cut out' for command of a starship, and 3) the sadistic, murderous woman who will stop at nothing to preserve her deluded sense of reality. These stereotypes are obviously all very pernicious, and this is one case where Shatner's acting (which I generally find solid) didn't help matters any. Odds are he was told to play the part this way, but it's still enough to make you cringe. Not to mention his scenes with the hapless Harry Landers; did Landers think about what he was signing on for beforehand? Smith on the other hand is decent enough, but it isn't enough to lift the episode through the tedious court room proceedings.

Tidbit: NBC didn't finally get around to airing this episode until June of 1969, more than 2 months after the penultimate 'All Our Yesterdays' had aired. (2.5 stars)

The Cage-The pilot episode of the show, which featured a different captain (Jeffrey Hunter) as Pike would be worth watching for comparative purposes even if it was not an interesting episode. Much feels clumsy and disconcertingly different in this episode, but how could it be any other way, given that this was their first attempt, and so much was rejected by the suits? But a female second in command would have been really interesting (I'm not sure Barrett would have been up to the task though), as would a more emotional Spock and a more introverted Captain (I prefer Shatner's interpretation though).

The story is also good enough, with aliens reminiscent of the Vians from 'The Empath'. The episode explores the nature of reality and illusion, as well as the human need for companionship and love (themes also explored in 'The Empath', come to think of it). A strong if inevitably somewhat clunky episode, but one ultimately most valuable for the fact that it makes us ask ourselves, "What if.." (3.5 stars)

Roddenberry's original pilot plus the reworked version which showed up as the two part episode The Menagerie are included on this DVD. The former shows a television series with promise. It's a solid, very good pilot episode although it was missing important elements. It's clear why NBC rejected the original;most of the cast lacked the chemistry of Shatner-Nimoy-Kelly.

When it was reworked into The Menagerie, the wrap around story devised by story editor John D. F. Black provieded added punch to the original pilot; there was the seeming betrayal of Kirk by Spock and the tragedic accident that disabled Christopher Pike. This episode won a Hugo (much deserved I might add) for the efforts of Roddenberry and Black (although Black never received credit and, assuming Roddenberry would take care of him, never took it to arbitration. It never happened). The Menagerie focuses on Spock highjacking the Enterprise to take Pike back to a planet where an alien race once imprisoned him. The dying race hoped to pass along their values and use Pike as breeding stock in an effort to survive. They pitted him against real incidents from his past and imaginery situations using the power of illusion to try and break him down.

Kirk catches up with Spock and a Court Martial is initiated against Kirk's first officer. Spock, in his defense, wants to show Pike's story to give the other officers an understanding as to why he behaved the way he did. It turns out that Federation ships are forbidden to visit the planet which complicates matters for Spock.

Everyone gives terrific performances particularly Shatner, guest star Thorne and Nimoy. The material is reworked into a powerful episode.

Turnabout Intruder was the last episode of the original series broadcast. It's based on a story by Roddenberry. Unfortunately, it's not the best episode and the only highlight is the terrific acting from the regular and guest cast.

3 1/2 stars for the original pilot, 4 1/2 for the reworked version and 2 stars for Turnabout Intruder with an average of 3 1/2 stars for all three.

It is obvious that Turnabout Intruder was meant to be a slap in the face of the NBC suits who tried to kill Star Trek. The plot and story were cliche in the extreme; I can't imagine Gene Roddenberry signing off on something like this if he wasn't completely offended by the way NBC treated him and his creation. That being said, anyone who says William Shatner cannot act should screen this episode. One could tell that there was considerable effort expended in getting the acting job "just right." This wasn't just any "contractual obligation" job; this was art.

As for the pilot, I always thought the tone was a lot closer to Star Trek - The Next Generation. The bridge was a lot quieter than it usually was in the original series, and the acting was far less "over the top." With a little more work, and a lot more money, this could easily have been done to cinematic standards. One can easily imagine a remake directed by Stephen Spielberg.

every one that i know that has watched these films, saw them in the drive in during the 60s. this movie beach blanket bingo is the film being watched by drive in crowd at the start of the outsiders movie with matt dillion.

BEACH BLANKET BINGO is considered by many as their favorite "Beach Party" movie. In order, my three favorites are BEACH BLANKET BINGO, PAJAMA PARTY and BEACH PARTY.

In this sequel, Dee Dee (Annette Funicello) and Frankie (Frankie Avalon) decide to take skydiving lessons from the hard-nosed pilot John Ashley and the late Deborah Walley.

Things get complicated when up-and-coming pop singer Sugar Kane (Linda Evans) ends up in Frankie's arms - literally - and the ... Deborah decides to make Frankie an afterschool sweetheart!

Dumb-as-stumps Deadhead (Jody McCrea) falls in love with an elusive mermaid (Marta Kristen) and the always-annoying Eric Von Zipper (Harvey Lembeck) and his "Rats" show up to kidnap the lovely Sugar Kane...

Featuring a memorable title song as well as great musical turns by Frankie Avalon, Annette Funicello and Donna Loren.

There are also great cameo roles from Earl Wilson, Don Rickles, Paul Lynde, Buster Keaton and Bobbi Shaw (reprising her role as Keaton's dizzy sidekick).

The DVD includes the trailer. (Single-sided, single-layer disc).

Any movie that the Gorgeous Annette Funicello made is great, but I think Beach Blanket Bingo is the greatest becasue it has more fun, more songs, especially I'll Never Change Him(not on the video) and Annette as usual looks great... she is just Gorgeous and a wonderful actress and singer. Vince

I have never heard so may profanities thrown around in my life. Now about the plot, wait, there wasn't one. I expected more from such big name actors and the director. It was a total waste of my time and money. It truly looked as low budget as it could get. If you are looking for a great vampire movie, look elsewhere. This is not a comedy, it is a BORE and nothing short of FILTH.

I was pleasantly surprised by "Innocent Blood". Based on the concept that there are good vampires, and then there are others. Anne Parrilaud (from La Femme Nikita) is Marie, a vampire who only kills evil people. She didn't ASK to become a vampire, but since the process is not reversible, she is at least a 'considerate' vampire. She is always careful to 'finish her food', by performing a "central nervous system disconnect", in order to prevent them from rising as one of the 'undead', and becoming a vampire like herself. She is quite enchanting in her role. She crosses paths with some mafioso, broadly played by Robert Loggia, Don Rickles (his attorney), and friends. There is quite a lot of profanity tossed around by the bad guys, as in "Don't touch the f***ing car". The movie would have been as good without it, but I have known actual people who spoke in this manner constantly. There is also considerable blood and gore. I suppose it just isn't easy to rip out the side of someones' neck with your teeth without making a mess, and the film shows this in some detail. The story revolves around what happens when one of Maries 'meals' is interrupted, and she isn't able to perform the central nervous disconnect. The result is that this particular entree (Robert Loggia) does indeed rise again, while in the morgue no less, just before being cut into by a very puzzled Frank Oz. He proceeds to recruit others in his "family" while Marie and a police detective with very mixed feelings try to prevent the (ahem) "born-again" mobsters from taking over the city.
The detective is played by Anthony LaPaglia, and when he initially discovers Maries' true identity, he is very repulsed. However, she convinces him that she isn't such a monster, and eventually they become quite close. The scene when she finally wins him over is quite stimulating, some viewers may need to take a cold shower before finishing the movie : )
The film has numerous moments of subtle humor: A running gag in which a security guard is watching old movies on tv, while missing something important happening on the closed circuit monitors. Or the selection of CD's in one of the mobsters cars is shown to be all Frank Sinatra. There are frequent scenes where various television sets just happen to be showing various old Dracula movies, including the original with Bela Lugosi, as well as some newer ones which viewers may recognize. The humor is not of the 'knee slapping' type, but I was amused.
I really did enjoy Anne Parrilauds' portrayal of Marie. She is far and away the sexiest vampire I've ever seen, bar none. I would estimate that this movie would appeal to those who enjoyed "American Werewolf in London" (same director, John Landis), or who like "Buffy the Vampire Slayer". It's a dark movie, but with some funny moments, and some VERY sexy moments, thrown in for good measure. This film answers the question "What happens when vampires become aroused?" I now know the answer, and if you watch, you will too.

This is not your typical vampire movie. No old castles or haunted houses, just Pittsburgh! It doesn't qualify as scary (actually it's more of an action/adventure film than horror) and you won't need to leave the lights on while watching it. What it does offer is a change of pace from the more conventional movies about the undead (or should I say the unliving??) The vampire is the hero in this flick, not the mean, fearful creature depicted in most films of this genre. The plot and action are centered around the head mafia family in Pitt and the inevitable run-in with the vampire. This is good stuff...funny, too; not side-splitting funny but comical. The language gets a bit rough and would not be suitable for younger ears, but, hey, this IS about the mafia. There is a generous amount of gore ... mostly humorous rather than offensive. There is also a bit of nudity (I told you this was good stuff!) I won't spoil the movie by telling you everything about it; instead, you can see it for yourself. The only complaint I have, and it's a minor one, is that the tape and dvd are only available in fullscreen. It would be nice to have both fullscreen and widescreen versions on the dvd since there aren't any special features taking up space. Overall, I give it an "A".

A shy and not so tough penguin named Hubie (Martin Short) falls in love with the good looking Marina (Annie Golden). Once he finds out that he might actually have a chance to be Marina's mate for the upcoming mating season, he tries to find her the most spectacular pebble possible. For this group of penguins, a pebble is just like a wedding ring that we humans use. But there's some rough and icy waters in store for Hubie. Not only is there a macho penguin who also wants Marina, but humans and of course whales, may also pose a threat.

Back when I was a kid, I wanted to see "The Pebble and the Penguin" when it first came out in 1995, but I never got the chance to see it until today. I have to admit that it's not as good as I thought it would be, but it wasn't bad either. It has good animation, it's mildly entertaining, and it would probably be especially great for kids who like animated movies. However, on the bad side, it could've been a lot better in almost every aspect and I was disappointed with the music.

This, along with "Thumbelina," "All Dogs go to Heaven," and "Rock a Doodle," are among the best Don Bluth films ever made. Why are they so disliked?! In my family, we have watched these movies repeatedly for years and laughed, cried, etc. They are so much fun! The music in this movie is WONDERFUL and the voice acting, particularly Martin Short's Hubie, is great. A cute movie and a cute story.

Other notes: Penguins have eyelashes, deal with it. Drake is an abnormally muscular and busty Adele penguin. Marina's flower is magic. Or plastic.

I was feeling pretty low in High School. This film related to my earnest desires to find romance. well I didn't find my true love but I loved this film. I'm a big fan of cartoon romances and sweet love sonnets. Now and Forever is my favorite song. I recommend it over any disney sequel. It has warmed my heart and renewed my faith in true love. It says that anyone can find their true in the most unusual people. Hubie is not the most handsome penguin in the rookery. Marina sees his finer traits even though he's a wimp and a nerd and even a little wacky. But he has a good heart. It made me realize that I don't have to be the prettiest girl to find romance it will find me.note Hubie isn't ugly but his gentle and warm heart made him the better suitor than the manly and suave Drake. Don't give up on romance people. Everybody needs love including nerdy and shy wacks like Hubie!

Buford Pusser (Joe Don Baker), has just become an ex-wrestler and goes back home to Tennessee with his wife, daughter and son. His Mom and Dad are happy about his decision along with his own family. Now they can settle down and live like normal people out in the beautiful Tennessee countryside. But, of course, that's not how it turns out. He goes into town and runs into an old football buddy from high school who takes him just outside town and introduces him to one of the new businesses, "The Lucky Spot". Here there is plenty to drink, gambling in the back room, and ladies of the evening that will entertain you in trailors parked off to the side. His buddy blows a 10 spot at the craps table and Buford loans him more. But Buford decides to bring a halt to this and get his money back. Naturally, this is met with resistance. After taking on about 5 or 6 guys Buford is finally restrained and they "show this bastard who runs things around here". Buford is dumped on a lonely road and left to die but he survives, recovers and decides to settle the score. This sets the tone of the movie. Buford runs for sheriff and gets elected and decides he's going to clean up the place and naturally, this also meets with resistance. Brenda Benet (Lu Ann) is one of the girls who works at the Lucky Spot. Women don't get any sexier than Brenda. She helps Buford out because she has a soft spot for "big, strong, good lookin' ex-marines". Based on the real life of sheriff Buford Pusser and played well by Baker, the real Pusser was killed about a year after this show came out, under suspicious circumstances.

As I watched this film again recently, I reacted to it almost the same way I did when I first saw it 30 years ago: Joe Don Baker's performance as sheriff Buford Pusser dominates it from beginning to end. There really are no "gray" cats in the small town in Tennessee's "alley" as Pusser reacts creatively, at times violently to the widespread corruption around him. Because he is such a serious threat to those responsible for the corruption (within and beyond the town), he is constantly in harm's way, as are his loved ones and the honest men who "walk tall" with him. This time around, however, I appreciated even more Elizabeth Hartman's understated (hence more credible) performance as Pusser's wife Pauline. This is one of the most influential of modern (i.e. post 1960) Good Guys versus Bad Guys films. There is absolutely no confusion about who is which. Like Willie Stark in an earlier film, All the King's Men (1949), Pusser gains public office to oppose more effectively the evil he observes around him. Unlike Stark, he is uncorrupted by it. Director Phil Karlson manages to walk a fine line between drama and melodrama (at least most of the time), allowing Baker's commanding presence to guide the narrative to its powerful conclusion. This time around, however, I found the quiet moments in the film to have much greater impact. For example, the scenes in which the Pussers has a family picnic, later when Pusser meets briefly with Callie Hacker (Rosemary Murphy) before she leaves town, and then when his son walks through the hospital hallway to Pusser's room. It remains for others far better qualified than I to comment on this film's historical authenticity. (Although delighted by the attention which the film attracted to him, the real Buford Pusser was reportedly very upset by how Matt Briskin's screenplay portrays him.) Then (1973) and now, I think Walking Tall makes some important statements about what a determined and principled person can accomplish, whatever the cost may prove to be. If some consider this film "corny," so be it. I do not.

This is a great movie based on a real-life hero Buford Pusser. I would have given it 5 stars except for one BIG problem. The cameraman on this movie must have been drunk because the boom mike comes into the top of a few of the scenes. You would think with this being the digital age and all, that someone could digitally edit the mike out of the picture. Should a copy of the movie be released with the mike edited out, my rating will be 5 stars.

Buford Pusser (Joe Don Baker), has just become an ex-wrestler and goes back home to Tennessee with his wife, daughter and son. His Mom and Dad are happy about his decision along with his own family. Now they can settle down and live like normal people out in the beautiful Tennessee countryside. But, of course, that's not how it turns out. He goes into town and runs into an old football buddy from high school who takes him just outside town and introduces him to one of the new businesses, "The Lucky Spot". Here there is plenty to drink, gambling in the back room, and ladies of the evening that will entertain you in trailors parked off to the side. His buddy blows a 10 spot at the craps table and Buford loans him more. But Buford decides to bring a halt to this and get his money back. Naturally, this is met with resistance. After taking on about 5 or 6 guys Buford is finally restrained and they "show this bastard who runs things around here". Buford is dumped on a lonely road and left to die but he survives, recovers and decides to settle the score. This sets the tone of the movie. Buford runs for sheriff and gets elected and decides he's going to clean up the place and naturally, this also meets with resistance. Brenda Benet (Lu Ann) is one of the girls who works at the Lucky Spot. Women don't get any sexier than Brenda. She helps Buford out because she has a soft spot for "big, strong, good lookin' ex-marines". Based on the real life of sheriff Buford Pusser and played well by Baker, the real Pusser was killed about a year after this show came out, under suspicious circumstances.

As I watched this film again recently, I reacted to it almost the same way I did when I first saw it 30 years ago: Joe Don Baker's performance as sheriff Buford Pusser dominates it from beginning to end. There really are no "gray" cats in the small town in Tennessee's "alley" as Pusser reacts creatively, at times violently to the widespread corruption around him. Because he is such a serious threat to those responsible for the corruption (within and beyond the town), he is constantly in harm's way, as are his loved ones and the honest men who "walk tall" with him. This time around, however, I appreciated even more Elizabeth Hartman's understated (hence more credible) performance as Pusser's wife Pauline. This is one of the most influential of modern (i.e. post 1960) Good Guys versus Bad Guys films. There is absolutely no confusion about who is which. Like Willie Stark in an earlier film, All the King's Men (1949), Pusser gains public office to oppose more effectively the evil he observes around him. Unlike Stark, he is uncorrupted by it. Director Phil Karlson manages to walk a fine line between drama and melodrama (at least most of the time), allowing Baker's commanding presence to guide the narrative to its powerful conclusion. This time around, however, I found the quiet moments in the film to have much greater impact. For example, the scenes in which the Pussers has a family picnic, later when Pusser meets briefly with Callie Hacker (Rosemary Murphy) before she leaves town, and then when his son walks through the hospital hallway to Pusser's room. It remains for others far better qualified than I to comment on this film's historical authenticity. (Although delighted by the attention which the film attracted to him, the real Buford Pusser was reportedly very upset by how Matt Briskin's screenplay portrays him.) Then (1973) and now, I think Walking Tall makes some important statements about what a determined and principled person can accomplish, whatever the cost may prove to be. If some consider this film "corny," so be it. I do not.

This is a great movie based on a real-life hero Buford Pusser. I would have given it 5 stars except for one BIG problem. The cameraman on this movie must have been drunk because the boom mike comes into the top of a few of the scenes. You would think with this being the digital age and all, that someone could digitally edit the mike out of the picture. Should a copy of the movie be released with the mike edited out, my rating will be 5 stars.

I've always been a Peter Cushing fan and a huge fan of this film. I first saw this movie on a late night horror show presenter by the name of Sammy Terry (Indiana based I think...very young at the time). I loved it from the start.....biased because of Cushing/Zombi/Nazi I'm sure. I've read some of the reviews about the screen format. From what I've read it seems as if the movie is actually Open Matte widescreen as opposed to Anamporphic like the DVD suggest. You'll see examples of this with H.P. Lovecrafts Bride Of Re-animator.....the bonus of that film was that you could still watch it full screen as an option. I've just ordered this movie and if I find my assumption incorrect I will edit my review. Later my horror fan brothers!

Edit begins:
Yep as I suspected it is Open Matte.....much like the Evil Dead widescreen. Several B-movies are shot full screen and when they are shown in the theater the projectors actually have black bars at the top and bottom of the screen to make it fit the widescreen. So in most cases it is actually being show like it was originally was at the time of theatrical release.

P.S. Please don't give this movie one star just because you are unhappy with the DVD release. Rate the film itself...and then as a footnote to your review put any good/bad info about the quality of the release. Take a look, this classic film is getting an average of 3 1/2 stars. I even read one review where the reviewer said he would watch the DVD over the VHS, however according to his rating you wouldn't think he'd ever watch it again.

This isn't exactly your average buckets-o-gore, slow-moving (the zombies, not the movie) zombie film, but it's close enough and almost just as good. I say almost, because quite frankly, there could have been a little more gore...it wouldn't have hurt. The plot is the kicker. During World War II, the [Germans] experimented with making the perfect soldiers. They began their research from ancient stories of unstoppable warriors whose power comes from the ground...these soldiers are neither alive or dead, but they are rotting and can live under water all the live-long day, so I'm leaning more towards dead.
A group of tourists cruising the islands run aground a deserted island after going into what might be the Bermuda Triangle or a similar anomally and hitting the [German's] old sunken ship. They find an old hotel, inhabitted only by Peter Cushing, playing a not-quite-ex-[German]commander. The hijinks ensue as the zombies begin attacking the tourists. This is campy 70's horror at its best. Check it out.

John Carradine is a sour, crusty old sea captain on a pleasure boat for hire. He takes a group of tourists (among them, the lovely Brooke Adams) out for a cruise. They encounter a strange solar phenomenon and get lost. That night, the boat almost runs into a ghost ship. They have no idea that the derelict ship's crew of nazi zombies has risen from their watery grave! Severe engine trouble forces our merry band to flee to a nearby island. No Gilligan here! Peter Cushing is excellent as an old nazi-in-hiding who is the only one who knows what's actually going on. This is a genuinely creepy movie. There's no nudity, no gore, and very little profanity; and I still highly recommend it! ADDED BONUS: There's an extremely annoying guy in this movie! I found myself hoping for his quick demise. See if you can pick him out. Hint: He wears glasses and whines whenever he opens his mouth! Great flick! Prepare for a scare...