Home Movie Reviews

Warner Home Video has just released the 2-disc DVD "Lon Chaney Collection"; 3 complete films, scene selections, photo galleries, audio commentaries by Michael Blake, and an intimate Chaney documentary. The first film is Goldwyn Pictures' 1921 "Ace of Hearts", with Chaney at the center of a vigilante secret society. The second movie is MGM's macabre 1927 masterpiece "The Unknown", directed by Tod Browning. Chaney stars as a deranged carnival knife-thrower who sacrifices his human limbs to enter the arms of the young girl he loves. Co-starring is 23-year-old Joan Crawford. "The Unknown" was thought to be a lost film for many years. In the early 1970's, Cinematheque Francaise discovered metal cans containing unidentified reels of film. The canisters were marked "L'Inconnu", French for "Unknown". The third is MGM's 1928 "Laugh, Clown, Laugh", a mesmerizing love story with Chaney as Tito, a jovial circus performer. Tito finds a young baby girl by the river's edge(abandoned by her parents), and adopts the tiny waif as his own. This begins his life-long love of the girl, then the woman, known simply as Simonetta. Chaney's anguished portrait of the aging clown, transfixed by a lovely young woman, is charismatic and eloquent. Simonetta is played by an enchanting 15-year-old Loretta Young. "Laugh, Clown, Laugh" has never been released on video or DVD before. It was first seen on TV in 2002 on TCM cable. If you have never seen this film, I envy the pleasure you are about to enjoy. You also receive the photo gallery/continuity-script recreation of 1927's "London After Midnight". After 1930, the negative and print of "London After Midnight" was stored away in vault 7 at MGM. The print, still in good shape, was viewed along with Tod Browning's sound re-make, "Mark of the Vampire", in 1935. The last known record of the film was in a note in the studio files in 1955. Twenty years later, a fire in vault 7, caused by ignition of improperly stored nitrate film, destroyed the last known print and original negative. "London After Midnight" is the most famous "lost film" of all time. Born into poverty, the object of ridicule(his parents were deaf and dumb), Lon Chaney perservered. Juggling low-paying jobs and a new son, his first wife attempted suicide in 1913. The scandal collapsed Chaney's theater career, and he started over in the fledging L.A. movie business. Chaney would eventually triumph, transforming misfortune into a series of radiant, elegant silent film roles. In 1930, Chaney signed for his first sound movie, unaware that it would prove to be his last. Already afflicted with the lung cancer that would kill him, he starred in "The Unholy Three". Chaney finally speaks to his adoring fans. Chaney portrays a convicted jewel thief, and in the final reel, says goodbye to his girl. He cracks a joke. Suddenly the girl cannot control her joy. Should she laugh or cry? Chaney reminds her: "Why don't you do a little bit of both? You know the gag. That's all there is to life. Just a little laugh, a little tear..."

For those of you who only know Lon Chaney as The Phantom or Quasimodo and for those who don't know him at all, this collection is the ideal introduction to one of the most gifted artists to ever step in front of a camera. Start first with the British documentary on Chaney narrated by Kenneth Brannagh to give yourself some background. The first movie to watch is LAUGH CLOWN LAUGH (reportedly Chaney's favorite among his films) which ably demonstrates his ability to convey deeply felt emotions by the use of his body language and without heavy make-up although he does wear clown make-up at the end. Also the 15 year old Loretta Young is remarkable in her feature film debut. Follow that with THE ACE OF HEARTS which is the weakest of the three but still a pretty good film that allows Chaney the opportunity to shine in a fascinating storyline that is still of interest today. Save Tod Browning's THE UNKNOWN for last as it is truly a one of a kind film that will stay with you long after it's over. Chaney plays an armless knife thrower who isn't really armless while a young Joan Crawford has a phobia about being touched. Even more bizarre than it sounds with vivid performances and an astonishing visual composition. Each movie is taken from the best available source material and comes with a newly recorded score composed specifically for each film. View the other supplements whenever you choose to get a fully rounded picture of this incredible talent. All in all a remarkable set at a good price. Like the PHANTOM and METROPOLIS DVD's released earlier this year, this is how it should be done. Hopefully Turner Classic Movies can now turn their attention to the other classic M-G-M silents in their library (BEN HUR, GREED, THE BIG PARADE, THE WIND) and release them as well. For the next deluxe package how about "The Greta Garbo Collection". Thanks to efforts like this, the art of the silent film is alive and well and being passed on to a new generation of film lovers.

Lon Chaney was and is still built today as Hollywood's first horror actor. However, Chaney was much more than just that. He was Hollywood's first CHARACTER actor. He was a true acting master of his time. This DVD set shows you just why he is still thought of today as an amazing actor and man. Its features include:

The Ace of Hearts
Laugh Clown, Laugh (said to be Chaney's most favorite film)
The Unknown

*BONUS FEATURES:
Documentary - Lon Chaney: A Thousand Faces
London After Midnight (Still Photo Reconstruction)
Audio Commentaries by Michael F. Blake
Photo/Memorabilia Galleries
Behind the Scenes of the films' musical scores
Special Introductions by TCM host Robert Osborne

Overall, this two-disc set is an amazing package! I would have liked if they would have included another disc with possibly two or three more films, but the set as it is has plenty of footage and features to keep you coming back for more! No true Chaney or Horror-movie fan can pass up this great set!

Here's a little known gem, which every B-movie fan should see!

The added bonus of Stuart Whitman's commentary makes this DVD even more enjoyable. He has an easy going style and let's us in on a few tidbits of his life before and after his 7 year contract with Fox. Highly recommended.

Arguably the best performance of Stuart Whitman's career, one wonders why he didn't win the Oscar for his sensitive portrayal. A film that leaves one thinking long after the closing credits.

A fictional story that captures the essence of minor league baseball in a small town in the 1950's. William Russ (Roy Dean Bream) is great as an aging pitcher, whose dedication and love for the game contrasts with the flippant and immature attitudes of some of the younger players. Glenn Plummer (Tyrone Debray) portrays a 17 year old black pitcher making his start in the minors. Roy Dean becomes friend and mentor to Tyrone. Russ's character has a health condition that is kept secret, revealed in the end of this poignant story. The baseball action is realistic, rare in baseball movies.

Want to see a great baseball film, without major stars or sexist overtones and language? This movie has it all. The drive and passion of an "over the hill player" on his way out who befriends a young black player trying to enter the big leagues in the 1950's, is the focus of this film. Great dialogue, fantastic acting, and bring some Kleenex. Similiar to "Bang the Drum Slowly" in pace, this is a keeper for all baseball fans young and old

Casting, detail to to the emotions and charm of the game, and the very heart of the minor league-the people that make the game.

The kind of movie you don't mind seeing over and over. This movie depicts one player's love for the game, a coaches dedication to game and the abilities of his players, and also the reality of what the minor leagues were all about.

I guess what impressed me the most what the script. The dialogue was appropriate, as was the content. A family movie.

this dvd shows how robeson was caught up in international politics and paid with his life. he was years ahead of his time, a one man civil rights movement careering into the mccarthyite era, a dangerous place to be, but he did not shirk: " i have made my choice, i have no alternative." his mission?" all men are brothers because of thier music." still misunderstood by the american conciousness, this dvd goes some way to explaining robeson's political manoevers and also demonstrates the huge american support he had during his opposition to the prevailing policies of the day, many of which are now discredited and redundant. what a hero.

This documentary is probably one of the best biopics I've seen in a long time--it's incredibly moving, it told a compelling story I wanted to keep listening to, and it devoted enough time and attention to its subject so that by the end you really felt you knew something about the man.

The reviewer on this page did an excellent job of summarizing the content of the documentary, though I disagree with her about the Robeson films shown. That section of the movie dragged for me. It's true that in role after role, Robeson was forced to play characters unworthy of him, allowed only the narrow, stereotyped range that moviegoers expected to see African-Americans portray, and undermined by directors and editors even when he attempts to give his work a deeper significance and a more challenging political message. But the filmmakers seemed determined to show extended footage of each and every one of these movies, and it's painful to watch such a talented man being objectified in film after film. I finally had to fast-forward.

In the ample footage of Robeson performing on his own, on the other hand, whether singing, speaking to crowds, or describing his life in television appearances, Robeson isn't forced to compromise with someone else's vision. Here, he can say what he really thinks. I was astonished at how unrelentingly outspoken Robeson was at such an early date--at least from the Second World War if not earlier. In fact, when Robeson returns from an extended trip abroad in the early 1960s, he's greeted at the airport by a gaggle of interviewers, one of whom wants to know whether he'll be particating in the Civil Rights Movement. Given everything we've seen thus far, it's an astonishing question and I was torn between outrage and laughter, but Robeson just gives the guy a mildly condescending stare and says, "I consider myself to have been doing so my entire life." Likewise, a segment that shows how, over the years, Robeson transformed the song 'Ol' Man River' from a testament to racism to an ode to struggle and endurance is powerful. I was also entranced by Robeson's television appearances. In these, you can see something that doesn't come through in his singing speaking, or acting: that he was a natural storyteller, with a gift for timing and humor, and an actual physical involvement in each anecdote that seems to reflect his youthful training as an athlete.

All in all, I found this movie one of the most informative I've seen, one that educated without sacrificing its ability to entertain and entrance. Much of the credit must go to Robeson himself, committed both to teaching America about the truth of its behavior toward its most disadvantaged citizens, and to the extraordinary quality of his artistic work, which has a beauty and power that remains to this day.

I'll never understand why more people do not know who Paul Robeson was. His steadfast adherence to the principles that make the promise of America so great made him one of the great unsung american heroes of the 20th century. This DVD has interviews, pictures, film clips, and audio excerpts that bring the memory of this great man alive. It's a must for anyone who understands or wants to understand the principles behind equality of justice and opportunity, and how one person really can make a difference in the pursuit of these lofty goals.

I love this classic movie, about 2 men being forced to changed their evil ways, by working in a community center with under privilege youths, all the while trying to find the mystery man who is behind this blackmailing scheme. The movie features Bill Cosby, Sidney Poitier, Denise Nicholas, James Earl Jones, Tracy Reed, and many more up and coming actors and actressess.

This was the last pairing of Cosby and Poitier in 1977 and watching it, you can easily see where Quentin Tarantino and a lot of other young filmmakers get ideas for plotting, pacing and musical backdrops. The most refreshing thing about the film is that it manages to deliver a message about empowering today's youth without beating you over the head with it's preachiness. Brilliantly scored by the late, great Curtis Mayfield and featuring contributions from The Staple Singers, "A Piece..." perfectly encapsulates it's time without sinking to the depths of 'Blaxploitation' and buffoonery. The terrific all-star cast includes James Earl Jones, the impossibly gorgeous Denise Nicholas matched only by the lovely Tracy Reed, a very young Sheryl Lee Ralph and the soon- to- be- a- star-via-"What's Happening!", Ernest Thomas. One scene is of particualar note: one of the youngsters involved in the job search program, Willie, delivers a powerful, tear-filled monologue about why he has to find a job 'or something, so that he can be a man' that just breaks my heart and lends the film an air of poignance that elevates it above the level of simple comedy. With that said, "A Piece Of The Action" is an all time favorite that contains elements of drama, action & suspense (I could watch these people plot, scam and sneak to get Nikki back all day!) and comedy that makes for a very satisfying viewing experience. A Classic. Go get a piece!

I have seen this movie many, many, times, and I just wanted to own a copy of it. It's a funny upbeat true to life movie. I recommend it to all who like Sidney Poitier, Bill Cosby, and especially James Earl Jones.

I just wanted to mention that NTSC VHS videos are viewable
not only in USA and Canada but also in Japan.

Caution: This does not apply to DVDs.

Hercule Poirot is one of the most famous detectives in literary history. Yet, strangely, except for his portrayal by Albert Finney in the star-studded movie version of "Murder on the Orient Express," for a long time, there did not seem to be an actor who could convincingly bring to life the clever, dignified little Belgian with his unmistakable egg-shaped head, always perched a little on one side, his stiff, military, slightly upward-twisted moustache, and his excessively neat attire, which had reached the point that "a speck of dust would have caused him more pain than a bullet," as Agatha Christie introduced him through his friend Captain Hastings's voice in their and her own very first adventure, "The Mysterious Affair at Styles" (1920). But leave it to the BBC to finally find the perfect Poirot in David Suchet, who after having had the dubious honor of playing a rather dumbly arrogant version of Scotland Yard Chief Inspector Japp in some of the 1980s' movies starring Peter Ustinov as Poirot, was now finally allowed to move center stage.

And the match is spot-on, not only physically but also, and most importantly, in terms of personality. Suchet shares Poirot's inclination towards pedantry: "I like things to be symmetrical ... If I put two things on the mantelpiece, they have to be exactly evenly spaced," he once said in an interview, comparing his real-life persona to that of Poirot, but adding that unlike his on-screen alter ego, "I don't need the same sized eggs for breakfast!" Although previously not interested in mysteries, his habitually meticulous research allowed him to quickly become intimately familiar with Christie's Belgian sleuth and the workings of his little gray cells - and to slip so much into Poirot's skin that I, for one, can no longer pick up a Poirot book without instantly hearing Suchet's voice as that of the great little detective.

This collection contains feature-length dramatizations of four mysteries, supplementing the nine Poirot movies and the TV series' shorter episodes, which are currently (as of March 2003) being transferred to DVD, in twelve sets of three episodes each (Sets 1 - 3 have been released; Set 4 is awaiting release in April). As usual, Philip Jackson stars as a rather sturdy, down-to-earth incarnation of Chief Inspector Japp, Pauline Moran is Poirot's epitome of a secretary, Miss Lemon (whose role, like Japp's, is added into a number of stories not originally featuring them, thankfully without greatly disturbing the narrative flow and setting of Christie's originals); and Hugh Fraser takes on the role of Captain Hastings, whom the screenplays, unfortunately, make come across as more of a well-educated but vacuous gentleman than do the novels narrated from his point of view, such as "The Mysterious Affair at Styles" and "Lord Edgware Dies." (And this although the BBC did so well in debumblifying Sherlock Holmes's friend and chronicler Dr. Watson!)

"The Murder of Roger Ackroyd" (1926) is one of the most remarkable entries in all of Christie's collection, not least because of its completely unexpected turntable conclusion. The BBC version moves the story towards the end of Poirot's career to better explain his retirement to King's Abbot, an archetypal English village like those that later became so crucial to Christie's Miss Marple mysteries (the first of which, "Muder at the Vicarage," dates from 1930). Roger Ackroyd is an industrialist, the richest man around and "more impossibly like a country squire than any country squire could really be," as village doctor James Sheppard describes him in the novel. When he is found murdered, Poirot steps out of his retirement to investigate his death - and its connection to that of Ackroyd's friend, the recently widowed Mrs. Ferrars.

In "Lord Edgware Dies" (a/k/a "Thirteen at Dinner," 1933), Poirot is asked to intervene on behalf of beautiful young actress Jane Wilkinson, Lady Edgware by marriage, who now seeks her husband's consent to a divorce. When shortly thereafter Lord Edgware is found murdered, Lady Edgware is Inspector Japp's obvious suspect. Rightly so? Poirot, somewhat dazzled by the Lady, is not sure - and unfortunately, his little gray cells do not work quickly enough to prevent a second murder, that of American actress Carlotta Adams, and even a third one, of a young playwright.

"Murder in Mesopotamia" (1936) is one of several stories based on the impressions Christie gained while accompanying her second husband, archeologist Sir Max Mallowan, to the Middle East; and it features a classic "closed room" riddle: Poirot and Hastings are invited to visit an excavation site not far from Baghdad. During their visit, Louise, the beautiful wife of expedition leader Dr. Eric Leidner is found murdered - in her room, behind a closed door and closed window, and although nobody has been seen entering the courtyard and staircase leading to her room.

Lastly, "Evil Under the Sun" (1941) likewise features a now classic pattern, in assembling Poirot and all suspects in a hotel on a small island off the English coast, with no possibility to leave until after the murder it solved. Christie herself had already employed such a setup in 1939's "And Then There Were None," where the murderer killed one person after another in the style of the "Ten Little Indians" nursery rhyme, and she repeatedly returned to it, probably most famously in the 1965 Miss Marple story "A Caribbean Mystery," which - tropical setting aside - is similar to "Evil Under the Sun" not only in its primary setup but also in its solution; and which I find the more successful of the two stories: If there are ever easily-detectable red herrings *and* obvious hints in an Agatha Christie mystery, "Evil Under the Sun" is it; and it is probably one of the few stories where at least those familiar with Christie's writings have a decent shot at solving all or part of the mystery before the famous final conclave.

Nevertheless, in closing ... regardez, mes amis: There is something of great interest to our little gray cells here. Eh oui, yours, too!

This is Poirot at his finest! It is a great collection.

Holly Hunter gives a great performance in a HBO movie that was perfect for her. The story centers around a woman who wants to have her daughter's cheerleading rival axed to assure her daughter a spot on the cheerleading squad. All the actors do a great job but it is Holly Hunter that nails her role and keeps you glued to the set. The director did a great job of not making the character someone that you hated completely, instead showing a woman that doesn't realize how horrific her actions truely are. Also stars Beau Bridges.

Simply stating that this movie is good is an understatement! Holly Hunter's performance with an outstanding supporting cast was spectacular. I have seen this film too many times to count. The script isn't cheesey and no one actually is portrayed as a victim. Every character had a wonderful human touch. Great performance of a real life event.

This movie succeeds in being hugely entertaining thanks to Holly Hunter's amazing performance in the title role. She is thoroughly convincing as the trashy, pushy mom who's dedication to the success of her daughter's future as a cheerleader eventually leads to attempted murder. The realism is heightened by the use of restaged media footage, and "interviews" with Hunter (in character), who's cracked logic and twitchy mannerisms will have you in stitches. All the performances are good, and the result is a very black comedy that effectively ridicules this misguided woman's bizarre and near-deadly obsession with success and one-upmanship. Recommended, as it works on so many levels.

Nobody's Baby is an odd film. At times, its humor will have you rolling on the floor, and at other times, its mean-spiritedness and sense of cluelessness will leave you frustrated. It's a film that seems to want to achieve several different objectives, and travel a few different paths. The movie is a chaos of weirdness, on one hand focusing on the more repulsive aspects of babyhood, on another hand getting its hillbilly jollies out of its redneck caricatures, and on another hand wallowing in terrible violence. All in the name of comedy. The filmmakers were clearly going for the Raising Arizona crowd, but perhaps a more apt crowd would be those who find endless hilarity in strange situations. The odd cast, which consists of some gifted actors, makes the film worth watching. Recommend to Gary Oldman fans just to see the multi-talented man pull off yet another character that is completely different from anything he has yet done. Good disc, you have a pretty good movie that over comes the fact that there are no extra features to play with. Picture Quality is good, and the sound is as good as any movie of it's kind. If you like straightforward, movies about guys and babies, you should like this one.

I must say I didn't think much of the title when I saw it sitting on the shelf and I would never have picked it up had it not had Gary Oldmen in it. However, I must say, and I am not saying this lightly, Nobody's baby is Great film.

I am a major movie lover and if I had to rank this film I would put this in the top five of all time. the movie made me laugh and the ending made me cry. A big thank you to the writer, director,producers, and actors.

This is the best film I've seen produced by the SE8 Group. I loved it! The comedy smacks of Cheech and Chong. Other parts of the film made me end up sobbing. Especially, the ending. It was an emotional roller coaster.
I'm one who tends to be critical of every aspect of a film or play (as anyone who knows me can tell you), having done theatre most of my lifetime. I've watched this one several times already and have yet to get bored with it. However, I'll wait to purchase a copy when the price comes down a bit. ([price]for VHS! Please!)

This is a wonderful peruvian movie, with Salvador Del Solar (peruvian) and Angie Cepeda (colombian) starring it, they're 2 highly talented actors...and this movie is based on the Mario Vargas Llosa novel Pantaleón y las Visitadoras.

I STRONGLY RECOMMEND YOU TO SEE THIS ONE, YOU WOULD CONSIDER IT AS ONE OF YOUR FAVORITE FOREIGN MOVIES OF ALL TIMES

The beauty and eroticism of the Peruvian Amazon captured in a single movie. Lombardi's work takes Vargas Llosa's novel to a new level in both spice and sensuality.

Hilarious, sultry and clever, this film traces the adventures of the dedicated Peruvian Army Captain Pantoja, who is sent by his higher-ups to an assignment deep in the jungle. It seems the soldiers there have been raping local women, due to the well-accepted fact that the jungle boils a man's desire out of control. Pantoja's secret task is to form a government-sponsored brothel to keep the men's libidos in check. With characteristic thoroughness, and at first reluctantly, Pantoja analyzes every aspect of the job, exhaustively researching human sexuality with a scholar's detachment. This leads him to many insights into accomplishing his task in the most efficient manner possible. One example: the provision of pornographic material to a soldier waiting for his "visit" reduces his average "visit time" by 36 seconds, thus allowing a "visitor" to service six more soldiers during her shift, and reducing cost accordingly.
Unfortunately for Pantoja, the operation becomes too efficient and eventually draws the attention of a corrupt local radio personality. The dignity that Pantoja bestows upon his employees irks his superiors, and they too turn on him.
Llosa's original novel is brought to life delightfully, and the film is highly entertaining, especially for one familiar with Latin American culture.

A worthwhile take on the apocalyptic theme - jealous angels, scared people, and an indifferent satan. God doesn't do a lot in these movies - just mankind (our heroes) vs. angels (Gabriel's goons) in a celebrity deathmatch to determine our fate. And a few other angels tossed in to make things interesting.

I can't usually stomach Christopher Walken, but am writing this review mainly to say he is perfect as Gabriel. The first time I can recall liking his performance(s). I don't generally like movies that require children to act either, but that is fairly easily overlooked in these films. 4 stars.

Anyone who has ever thought about philosophy and teleogical substances will find this movie great. It brings a whole new concept to the classic battle of God vs. The Devil by bringing in good angels who want to be a catalyst to the final end battle.

This series of movies details a war in Heaven between opposing factions of angels, those loyal to the Word of God and those loyal to the Archangel Gabriel (played superbly by Christopher Walken), who is jealously unwilling to be placed on a lower shelf than human beings in receiving God's love, being that we humans (or "talking monkeys", as sneeringly referred to by Gabriel and later Zophael throughout the series) were gifted by The Creator with a soul, which the angels lack.

I won't detail each movie in the trilogy in terms of plot specifics (each movie is reviewed separately under its respective title), but I will go so far as to say that this represents a most original Biblical crisis, foretold in an innovative style. Each movie has its own merits as well as detractions, but the main reason for owning the full set is of course Christopher Walken. He's obviously enjoying himself throughout the entire series, and as a result he gives an inspired performance as an omnipotent being who is surprisingly weak in areas that one wouldn't normally expect.

The key element to remember when watching the series is the lack of Biblical verse set in modern times. This creates a sense of displacement for the angels on Earth as portrayed in the series; Gabriel's fascination for 20th century technology belies his contempt for those who created it, and his inability to drive a car requires him to intercept humans on their way to their Eternal Reward in order for him to move from place to place. This is a problem that couldn't've occurred even in the New Testament and one that I feel is dealt with by the series' producers in a realistic fashion.

If you're a fan of Christopher Walken, each of the movies is worth owning, as his development of the Character of Gabriel is well-worth watching. At the very least I can recommend the first movie in the series to everyone, as it presents a fresh take on a genre of films that lacks many recognized classics, outside of perhaps the "Exorcist" and "Omen" franchises.