Home Movie Reviews

Jim Douglas (played by Dean Jones) is a broken-down, has been racecar driver. But, when he finds himself saddled with an innocuous little Volkswagen Beetle, he suddenly finds that he can get a lot more out of it than anyone thought possible. Jim's kooky friend Tennessee Steinmetz (Buddy Hackett) keeps trying to tell him that this car is special, it has a heart and feelings, but Jim knows that a car is a car, is a car, right? And now that he is winning races, his chief competitor, Richard Thorndyke (David Tomlinson), is out to get that inexplicable little car! [Color, released in 1968, with a running time of 1:47.]

This is a fantastic movie, and a real family classic! I loved this movie as a kid, and couldn't wait to introduce my children to it. As expected, they loved it, especially the scenes where Herbie seemed to swallow Thorndyke and when he "oiled" on his leg! The DVD set is excellent, containing a nice Disney cartoon short, and lots of other neat extras. My family and I all love this DVD set, and highly recommend it to you!

This is one of the best Disney movies of all time. Who doesn't love the idea of a Beetle that comes to life? This movie has quite a few real-life applications, which you'll just have to watch to find out. But, it still is a great story to see in action.

This is one of the best of the Disney live action movies from the 60s. I love the part where they drag race against the hippies in the hot rod! Ok, it may be a bit dated, but it's good clean fun for the entire family. The DVD has a nice clean print that looks terrific. Plus, it has tons of extras. If you are a fan of this movie, the DVD is a must buy.

Many reviewers have amply praised this landmark series and noted quite rightly that it is far superior to the new version recently shown on PBS. What I found most memorable about The Forsyte Saga was Soames Forysyte, The Man of Property. We begin with Soames, wonderfully played by Eric Porter, as a young man in search of a wife and the series ends with him being cared for by his daughter Fleur, the excellent Susan Hampshire.

Soames is villified and reproached by everyone because he is a tight fisted, hard, unyielding man who judges everything by its monetary value. He wants a wife in order to get for himself an heir to his considerable property. Love is not part of the equation for Soames. An obedient, thrifty, proper woman will serve him well. Unfortunatley for him, he falls in love with the beautiful Irene Herron, well played, for the most part, by Nyree Dawn Porter. Irene is a young pianist who needs to find a home for herself. She does not love Soames and tells him so, but this does not matter to Soames. He will acquire her as he does a beautiful painting and hope that in time she will at least develop some affection for him.

At first Irene tolerates Soames, but soon she comes to despise him because his soul is a mercantile product housed in a cash box for a body. Soames finds it unbelievable that his new wife does not value security and wealth. This is bad, but worse comes when she falls in love with the architect Soames commissions to build a house for her. The architect dies in a tragic accident and Irene leaves Soames to live on her own, if not in poverty, in seriously straightened circumstances.

This conflict of Soames and Irene is at the heart of the entire series. All of the Forsyte clan, and there are many members of this Victorian family, are touched in some way or another by the marriage and later divorce of Soames and Irene. The greatness of this series is that we are able to follow the ongoing dispute as both Soames and Irene grow old. Irene remains true to her artistic vision of herself, but Soames mellows somewhat because of his genuine love for his daughter. In the end we come to have some modest respect and understanding for the old man. He is as much a 21st Century American Man of Property as a Victorian gentleman.

For those viewers who fall in love with this series, I can recommend even more highly the books on which they are based by John Galsworthy. The Man of Property starts the series of well written, wonderfully entertaining novels. The books and DVDs of the Forsyte Saga are an excellent addition to any home library.

I got this DVD set after first reading the book, then seeing the second version on PBS.

While I love the 2002 production (and am one of those who admired Gina McKee as Irene) I admit to favoring this version. Mainly because of the length, which allows the viewer to see more of the growing love between Jolyon and Irene. (I'm still annoyed that the 2002 production only has TWO scenes Jo and Irene together after they fell in love!)

On top of that, I have to say that the performance of Susan Hampshire as Fleur was an admirable move on the part of an excellent actress. She could have portrayed Fleur as an innocent victim, torn from her true love. Instead, she portrayed the character as written, warts and all.

I admit, I've never understood why so many people see Jon and Fleur as star-crossed lovers, unless it is simply dislike for Irene. Fleur was a possessive, spoiled girl with much of her father in her. And like her father, she was determined to obtain and own the person she wanted, no matter the price. She lied to and manipulated family members. Her first reaction upon hearing of the death of Jon's father is not to comfort the man she supposedly loves, but to manipulate the situation to her own ends.

Anyway. While this version is perhaps too dated (with the 1960's hairstyles and makeup); and it sometimes feels like the characters are lecturing to the audience, it is a wonderful show.

If you love BBC productions, settle back and enjoy this one. It is SO much better than the 2002 production! Unlike Damian Lewis, Eric Porter as Soames manages to be very disagreeable without being absolutely hateful. Nyree Dawn Porter (no relation to Eric Porter) is perfect as Irene; she's beautiful and graceful both inside and out whereas Gina McKee's Irene (in the newer production) is awkward. This original production also covers a lot more ground than the newer one-it is based on the entire three-book series that John Galsworthy wrote about the Forsyte family; the 2002 production covers only the first book in the series.

While Soames and Irene (pronounced "Irenee") are the main characters, the saga follows three generations of the Forsyte family, a wealthy non-aristocratic family in London, beginning in the latter half of the 19th century through World War I. Many of the other characters are also unforgettable, particularly Kenneth Moore as Jo Forsyte and Susan Hampshire as Soames' daughter Fleur.

It is a masterful production of Galsworthy's portrait of the changing social mores in England's wealthy upper class over a 50-or-so-year period. The costumes, staging and casting are flawless.

Be sure to watch the special features including interviews behind the scenes and especially "The Forsyte Phenomenon". When this series was originally aired in the UK in 1967, it took the country by storm. These special features give you a real feel for what it was like by way of original footage of interviews with the "average man in the street" and talk shows. I never saw the original series back then, but I read Galsworthy's books about five years ago and have been looking for the videos/DVDs ever since. It's been worth the wait!

This is one of my favorite films. I watched it after I started riding dirt bikes, however, I can understand how it would have inspired many people people to start riding motorcycles. In all of his films, Bruce Brown has the unique ability to portray that "you shoulda been there" feeling. Never in my life have I wanted to travel back in time more than when I watched this movie. I can only imagine what it would have been like racing across the SoCal desert atop a 500cc Husqvarna, riding right next to Steve McQueen. Buy this DVD.

That's what I was thinking as I watched this movie. Sure, the music is corny, but the footage is fantastic! It had me itching to get my bikes out of the garage. The movie awakens that urge to compete! A really superb film-if you love motorcycles, then you'll love this! (Just don't watch it when you can't ride, I did and had spring fever big time from it!)

Who needs fiction when the real world is such a thrill?
This astonishingly well-made documentary is sure to send you out there on one of those beautiful machines sooner or later.
The filming is exeptional and the riders`skills and thrills are guaranteed to make you sit tight through the whole film.
These boys are stars,and not only when they actually ARE stars...McQueen is a star on a motorcycle as well as in the movies...Man,could that guy ever ride.

IT SEEMS IN THIS DAY AND AGE OF NONSENSE MOVIES, THE ENLIGHTENED OFTEN HAVE TO SCOUR THE ARCHIVES TO FIND CREATIVE ENTERTAINMENT.
DESPITE PAUL NEWMAN'S CONTEMPORARY 'LIBERAL' MINDLESSNESS 'HUD' REMINDS US THAT HE WAS A GOOD ACTOR ONCE.
HE PLAYS HUD BANNON, REBELLIOUS SON OF A BIG TEXAS RANCHER.
HUD AND HIS FATHER (MELVYN DOUGLAS) LOCK HORNS FREQENTLY AS THEIR PERSONALITIES AND MORALITY ARE FAR FROM COMPLIMENTARY.
HUD IS BASICLY A SELF SERVING, EGOTISTICAL OVERAGE BRAT THAT SEES THE WORLD AS HIS PERSONAL PLAYGROUND DESIGNED TO BENEFIT HIM AND HIM ALONE.
THE PATRIARCH FATHER IS FROM THE OLD SCHOOL, AND IS THE CONSIENCE OF THE FILM. THE DAD IS A STAND UP, DO THE RIGHT THING TYPE THAT USE TO BE MORE THE RULE IN PEOPLE RATHER THAN THE EXECPTION AS IT IS TODAY.
A 'LOOKING FOR A ROLE MODEL' NEPHEW IS THROWN INTO THE MIX (BRANDON DEWILDE) OF 'SHANE' FAME, AND THIS KID BECOMES THE CATALYST FOR EMOTIONAL SHOWDOWNS BETWEEN THE ROGUE AND THE GRANDPA.

ALL PARTS ARE PLAYED WELL AND IT IS A SHAME DEWILDE WAS KILLED SHORTLY AFTER THIS MOVIE CAME OUT. HE PROVES TO BE A TALENTED ACTOR WHO OBVIOUSLY HAD PROMISE IN THIS ARENA.

'HUD' IS A MORALITY PLAY BETWEEN BLACK AND WHITE RIGHT AND VARIOUS SHADES OF GRAY REALITY.

IF YOU CAN GET PAST NEWMANS FLIMSY POLITICS AND JUST WATCH THIS ONE FOR WHAT IT IS, YOU WILL LEARN SOMETHING AND BE ENTERTAINED IN THE BARGAIN.

Classic story of a Texas heel. Without question Paul Newman's best work ably supported by a dissaproving Melvin Douglas and evasive Patricia Neal, both showing more wear than we were accustomed too but very effective. This film has something unique that we just don't see anymore, four sympathetic main characters. They are all tortured for their own reasons, and polarized from each other, yet drawn together at the same time. An amazing screenplay, artful direction by Martin Ritt, yet this classic was overlooked by the Academy for Best Picture. Makes you wonder doesn't it?

Newman was great in these roles, next to Ben Quick I'd say Hud Bannon is my favorite immoral character of all time. ...

This movie was made when Hollywood knew how to make great movies. It isn't full of special effects, violence or sex. It doesn't need these. The story and characters make this movie. I've always been a fan of Paul Newman, but his is by far my favorite of his movies. The first time I saw this movie I was a teenager, but it has remained one of my all time favorite movies. I can't believe it has not been released on DVD yet. Will be waiting to add this one to my DVD collection when it does come out. If you have never seen this movie, do yourself a favor and rush out and rent it. I guarantee you won't be disappointed.

This is what I consider film making at it's very best. Probably the best way to approach this film is to see it not as an accurate account of the events leading up to the OK Corral Gunfight, but as a symbol of the life of Wyatt Earp, and of the American West. Ford's story of Wyatt, Doc, and the Gunfight at the OK corral doesn't even come close to being historical correct, but, no matter how unfaithful this movie is to real events, something about it still rings true, that to call the movie a complete fabrication would in turn, be untrue. Ford's biggest alteration of history is to change the relationship between Wyatt Earp and Doc Holliday from friendship to antagonism that is somewhat softened by mutual respect, and eventually evolves into alliance. The genuine tension between Wyatt and Doc strengthens the film. The Marshall and the OK Corral incident have become legends, and it could be said that, in certain aspects, the film aims to turn the legends into mythology. Art (film making) is not necessarily life, readers. It's producing a sound, vivid, entertaining film of high caliber, excellent drama, beautifully cinematography and becomes very entertaining. Let us face it, the Earp family were all criminals, same as the Clantons, but Ford brought the myth into play and brought a part of American West out superbly.. Yes, we do like to turn legends into mythology, even if it isn't historically correct, but when a film brings to the screen the myth, with such excellent scenes, such visual stunning, and good acting, it becomes reality for us for a couple of hours and that is what making films is all about, to be entertaining.

As for the acting, the cast is very strong. Henry Fonda's performance as Wyatt and his locked kneed saunter makes his portrayal all more natural. Walter Brennan excels as the heartless patriarch of the Clanton family, whose sons draw Earp into an unavoidable blood feud. Brennan's performance, like Bond's, is magnificently understated, as is pretty much everything else about this film -- director John Ford imbues every scene with an economy of presentation that takes the western genre into the level of high art. Everything about this film rings true... well, other than the romantic melodrama surrounding 'Doc' Holliday, and Victor Mature's mannered portrayal of the tubercular gunman... with fronteir life evoked with the same richness of detail that Ford later recreated in another black and film we won't mention here. Here, though, the choke of dry dust and sense of fast danger are much more present. The Clantons are a much more sinister set of badmen than Lee Marvin's exaggerated schoolyard bullies; Brennan and his boys simply sidle up and ooze menace and dark violence. A number of Ford regulars such as Russell Simpson, and Linda Darnell provide solid support and there is not one false moment to be found in Cathy Downs' Clementine Carter.

This western is moody and often looks like a western version of a "film noir". The film also delivers the most tension of any Earp film to date, yet remains very touching and sympathetic. For instance, there's a justly famous scene in which the camera watches Wyatt while he builds up the courage to ask Clementine Carter to dance. And he's a picture of languid, dangerous grace as he keeps order in Tombstone while leaning back in his chair and resting a booted foot on a post. Fonda is cool and collected as Wyatt. The patient and deliberate manner in which Ford and Fonda allow scenes to unfold with a minimum of dialog gives this film a quality unique among films of the era, which tended to be filled with vastly more talking than today's films.

Many of the elements that help create the film's effect are common to other Ford films: the extraordinary photography (veteran Joseph MacDonald, though Ford's eye was so good that he functioned as a second cinematographer), the sparse, spartan sets, the rituals that individuals wittingly or unwittingly follow in the concourse with one another, the use of music to create especially powerful moments (in this case, the title of the film as well), the themes of individual responsibility and compassion, and the stellar cast of Ford regulars. But in this film, many of the great moments derive from Ford supporting cast of excellent actors.

Admittedly, the gunfight could use more excitement, but Director John Ford's approach to the final action scenes avoids being overly made-up, a curious choice given the film's nature. But this course of action is correct in order to maintain the film's "down-to-earth" integrity. This film has some excellent entertainment value and probably one of the top five ever westerns made. Ford was the master of filming outdoor pictures in black and white. Several scenes, such as the dance at the church, are visually stunning. Needless to say, the B&W cinematography is typically gorgeous, and Ford never misses a beat in his calm, patient direction. Really, it's beautiful, low-key, has excellent vignettes, but I feel that much of the excellent cinematography will be lost in a small screen. This is a great film from beginning to end. Highly recommended.

Henry Ford starred as Wyatt Earp in MY DARLING CLEMENTINE, directed by John Ford. Set in or near scenic Monument Valley, this is one of the best-acted and best-directed westerns. Fonda's Wyatt Earp and Victor Mature's Doc Holliday stand out as exceptional performances.

Walter Brennan is excellent as the menacing Old Man Clanton.

Of course, the movie ends with the shootout at the OK Corral.

The story of the Earps, the Clantons, and Doc Holliday led to many other movies, but this great Western from the 1940's set the standard.

This is one of several films whose title may have deterred at least some people from seeing it. (Zulu is another which immediately comes to mind.) Questions have been raised as to how historically authentic Ford's portrayal is of the Earps, Doc Holliday, the Clantons, and their eventual showdown at the O.K. Corral, one which allegedly lasted less than a minute. Others are far better qualified than am I to comment on historical matters. Perhaps Ford and his screenwriters as well as Stuart N. Lake (author of the book on which the screenplay is based) invoked creative license. As for the title, this film's stature as a classic western indicates that its title is not an issue. What we have here is a film whose acting is superb, whose plot developments are cohesive, and whose climax is satisfying. The same can be said of another version co-starring Burt Lancaster and Kirk Douglas but I think this one has richer narrative texture and more nuances of interpretation, notably the presentation of Wyatt Earp (Henry Fonda). The central conflict between the Earps and the Clantons is obvious. Less obvious is the transition in Tombstone from lawlessness to civilization. Wyatt Earp and his brothers protect the townspeople, of course, but in doing so, they allow the transition to proceed.

One of the most memorable scenes occurs when Sheriff Earp reluctantly agrees to dance with (if I recall correctly) Clementine Carter (Cathy Downs). This scene may have inspired a similar scene in a later film when Shane dances with Marion Starret while her husband and friends beam with approval. The community of Tombstone is evolving toward churches, schools, shops selling consumer goods, social events, etc. all of which require respect for law and order to flourish. Property rights will be respected only when they are properly protected.

What to make of the tubercular Doc Holliday (Victor Mature)? As presented in this film, he is a deeply troubled person although well-educated and cultured. His reputation, however, is that of a dangerous gunslinger. He and Wyatt Earp respect each other and even seem genuinely fond of each other. At one point, they need each other but for different reasons. The arrival of Clementine Carter evokes in Holliday all manner of memories, frustrations, disappointments, regrets, etc. She also complicates his relationships with the Earps as well as with Chihuahua (Linda Darnell). Even with these and other sub plots, Ford carefully guides the narrative to the inevitable showdown.

My own vivid memories of this film include the aforementioned scene in the street when Wyatt stoically but gracefully dances with Miss Carter, his brief discussion of women with Mac (James Farrell MacDonald), the performance by Granville Thorndyke (Alan Mowbray) which Holliday helps him to complete, and of course the brief but dramatic climax in the O.K. Corral.

One final opinion: The black-and-white cinematography (Joseph MacDonald) and set design (Thomas K. Little and Fred J. Rode) seamlessly support the narrative and the acting. They also establish a credible physical context within which to tell the story. I could be very wrong about this, I realize, but I think that if it were possible to travel back in time and visit Tombstone in the 1880s, it would resemble the town portrayed in this classic film. For John Ford, having an authentic location (one which almost becomes one of the characters) was always very important; for My Darling Clementine, it was imperative.

This largely misunderstood film, based on the Tennessee Williams play and co-screen written by Francis Ford Coppola, paints the stark portrait of a dysfunctional mother/daughter relationship that is doomed to end in tragedy. Natalie Wood (Alva) continues to demonstrate her unusual knack for deep psychological roles. To this she adds her own blossoming to full womanhood with a beauty that is at once mezmarizing and perfectly wedded to her seductively meschievous character. Kate Reid excels as the "toxic parent" whose ruthless possessiveness and manipulation form a trap from which Alva only escapes through fantasy. Robert Redford (railroad exec Own Legate) delivers as her unlikely would be savior, while at the same time sounding the death knell for the small Depression Era railroad town that sustains her. And Carles Bronson adds a surprisingly fit performance as the roughneck who courts the mother only to get close to the daughter, but instead unwittingly plays a role in her destruction.

Critics panned this film that clearly goes against the grain of what was considered tasteful for the times, but that deftly describes the destructive patterns of co-dependency and toxic parenting before they were understood in those terms. Indeed, this movie offers much to the discerning viewer who can crack its promiscuous surface.

I don't even care what the quality of extras will be (if any ) on this DVD, I just want to see the movie...it has Robert redford, Natalie Wood, Charles Bronson, Robert Blake...so you know it is a good cast...and it's a sad story. Natalie was beautiful in this picture.

This is probably one of the most underrated performances by these two actors. I am a HUGE Natalie Wood film, and I had been wanting to see this film forever. She gives such a raw and uninhibited performance, and she was absolutely stunning the entire time. I loved the chemistry between her and Robert Redford, too. I can't believe such a sexually charged movie was made in 1966! I liked the music, the hot and and sticky location, and the daring story! A must see movie about the "American Dream!"

This is a really good DVD and really good because it has 2, count them 2 exclusive episodes [which is now one since they aired I Had An Accident.] You should get this DVD because it also has Mermaid man and Barnacle Boy. The one slight drawback is that the episodes get boring.

If you want to start seeing the series of "MermaidMan and BarnacleBoy" episodes, the first volume, "MermaidMan and BarnacleBoy" is in this DVD. The DVD also has the double-length episode, "House Party", the episode, "Tea at the Treedome" in which SpongeBob first meets Sandy, and one of my favorite episodes, "I Had an Accident" with a cute finale-seeing people watching the show on a TV with rabbit ears(or were they watching the episode on this DVD?) made me want to see SpongeBob come to regular TV, like the Nick on CBS.

SPONGEBOB RULES! Iam sooooooooo glad they made up this cartoon! It's my favorite! I mean honestly, I don't know what I'd do without it. If they EVER cancelled SpongeBob, I would cry so hard! My favorite episodes are Party Pooper Pants(House Party), I Had an Accident, Born Again Krabs, and, well, ALL THE EPISODES INVENTED! When I'm sad, I pop in SpongeBob and I forget what I was even sad about! And remember: When in doubt, pinky out!

In the finest tradition of A & E, this film is a riveting, detailed documentary of R.M.S. Titanic. It reviews the complacency and overconfidence of the Gilded Age, describes the events which led to the building of the Titanic, and through the words of survivors and other eye witnesses, takes us through the sailing, the collision with the iceberg, the sinking, and the aftermath, both in the United States and in the United Kingdom.

The only weakness is that Stanley Lord of the Californian gets off too lightly. He and his officers at the very least were negligent for not awakening the wireless operator and trying to find out what was going with the "mystery ship" they all admit to knowing about.

This documentary made me cry. It's an incredible addition to the Titanic history but also a supreme achievement in the world of documentary filmmaking. I just ordered the VHS set and am on the edge of my seat waiting for my copy.

I watch this DVD at least 3 times a week. It's really three two-hour documentaries, but the first two comprise one series and the third is it's own short film.

The first disc shows you everything about the voyage of the fateful liner, from it's infancy to it's fateful sinking and the legacy left afterward.

The second disc shows a great documentary about Titanic's affect on pop culture. I bet you never knew that the Titanic was featured in a Nazi propoganda film! I consider myself to be quite the Titanic fanatic, and the second disc taught me things I honestly never knew!

I HIGHLY recommend this DVD set to anyone interested in learning about the world's most famous ocean liner, and the legacy it's left. After watching this, you won't even be able to remember who James Cameron is!

If I'm doing a chore that I don't really want to devote my mind to or if I'm just looking for a pleasant way to spend a rather boring afternoon, "Soapdish," with its endless cast of Oscar winners and nominees, is the movie I watch.

Now, when I first saw it in theaters when I was around 14 or so, I was not as big a fan of it because I wasn't as big of a soap watcher. As I've seen more of the soaps and their surrounding culture that this film lampoons so closely, I find the humor to be spot on.

At this point, I've seen the film so many times that I can recite Celeste's speech about giving up her baby by heart. I know how many people Montana Moorehead attempts to seduce and how many she succeeds in seducing. I know that the producer David is a sniveling pig opportunist who embraces every twist that manages to work in his favor.

The script is hysterical. Line after line is quotable. And though I wouldn't call it a great movie, it's certainly an immense amount of good fun.

And the cast is top-notch, as well. At this point, the Oscar nominees and winners in the cast are: Cathy Moriarty, Whoopi Goldberg, Robert Downey Jr., Elisabeth Shue, Kevin Kline and Sally Field. The film also features funny appearances from notables like Garry Marshall, Teri Hatcher, Costas Mandylor and Carrie Fisher. Oh, and to show its daytime TV savvy, Finola Hughes ("All My Children"), Stephen Nichols ("General Hospital"), John Tesh (late of "Entertainment Tonight") and Leeza Gibbons also make appearances.

This movie is HILARIOUS, and the first time I saw it in the theater, people were practically rolling in the aisles. Sally Field, Kevin Kline are fantastic, but my favorite is Cathy Moriarity, playing the evil soap vixen Montana Moorehead. She is just perfect!! I also like Robert Downey Jr. a lot too. If you are fan of daytime drama, you will love this movie, because it has many inside jokes for soap fans -- even the sets and cinematography add to the "soapish" flare. This is a treat not to be missed. Take it out when you are feeling blue and you will be roaring in no time!!

Terribly, incredibly, uproariously funny! The story of people who work for a soap opera and their lives are the best soap opera of all!

I HAVE BEEN WATCHING THE 'OUT OF TOWNERS' FOR ALMOST TWENTY YEARS. THE FIRST TIME WAS ON A LOCAL FLORIDA STATION WHEN THEY AIRED IT AS PART OF THE LATE LATE SHOW (FOR THOSE OF US WHO REMEMBER). THE VERSION WAS VERY OLD AND GRAINY. I WILL ENJOY SEEING THIS FILM, ONE OF THE FIRST I EVER SAW, IN DVD FORMAT AND IN WIDESCREEN. FOR THOSE OF YOU WHO HAVE NOT SEEN THIS FILM I URGE YOU TO SEE IT. ESPECIALY THOSE OF YOU WHO LIVE IN NEW YORK. THE WHOLE FILM IS SHOT ON LOCATION THROUGHOUT NYC. SO YOU GET TO SEE HOW THINGS WERE THIRTY YEARS AGO. IT'S ONE OF THE BEST AND ONE OF THE MOST IMPORTANT FILMS IN MY LIFE.

I always loved, The Out Of Towners. I saw it first as a movie of the week when I was in high school or there abouts and I saw it as just plain funny and interesting. Gave me lots of insights into humans and their odd ways but thats all until I had my own first adventure on my own in a big city.

I recently had to visit New York City on my own for business after living a very sheltered life. OyVey the things the Out Of Towners prepared me for. That movie just means so much to me now that I have personally experienced the full weight of feelings as the characters in the movie. Of course I did not have the comedic bad luck at every turn they did thank you but, I sure had my moments. I guess I am saying once you have traveled this movie is even funnier as life in a new world not your own is a strange experience.

The movie is a light hearted fast paced rollercoaster ride of events that occur to a happless but far from helpless midwest couple visiting New York City. The city never turns a cold shoulder to them but never exactly warms up to them either. With relative good cheer and true midwest grit the intrepid couple deal with thugs, exploding man hole covers, rude hotel staff and one misunderstanding after another in a way both real and funny. The husband is just confused you know the way Lemmon plays it. The wife is just whiney enough to be real but never nerve wracking. There is lots of physical humor and running jokes throuhout the picture. The picture is not high art and does not pretend to be. This is a movie you watch just to laugh at the madcap humor that life sometimes can just spew out to hit the a first time traveler.

I loved it so much I brought it and do not regret my selection one bit. Its every bit as funny today as it was when I first set eyes upon it in prehistrotic times of my youth.

that movie was good.and 5 stars up.