Science Movie Reviews

Undoubtedly one of the greatest films in the sci-fi pantheon, THE DAY THE EARTH STOOD STILL is one of the few science-fiction flicks from the McCarthy era that is not an anti-communist allegory. A literate and thought-provoking film, it presents extraterrestrials as humanoid in appearance and intelligent and peaceful in demeanor, as opposed to the reptilian, googly-eyed creatures with a bent for world domination that are the norm in most other Hollywood space operas of the early 1950s.

The story revolves around Klaatu (Michael Rennie), an extraterrestrial being who comes to Earth as the representative of an intergalactic peacekeeping organization. Now that the people of Earth have reached the nuclear age, they have become a potential threat to life on other planets, and the violent history of earthlings indicates that, if left unchecked, a threat is what they will indeed become. So Klaatu's league of interplanetary peacekeepers have sent him to offer an ultimatum: Either the Earth agrees to join the league and abide by its rules--basically, a no-nukes, no-aggression policy--or the Earth will be utterly annihilated. And to demonstrate that he and his fellows have the power to carry through, Klaatu arranges for all non-essential electrical devices to completely cease functioning for a full 24 hours. (The Earth stands still for an entire day--get it?)

Although there is no real evidence to support it, many contemporary fans of THE DAY THE EARTH STOOD STILL have wondered if director Robert Wise and scriptwriter Edmund North were not waxing prophetic about the global role the U.S. was, circa 1950, poised to assume. Since WWII--and even more so after the fall of the USSR--the United States has grown to become the dominant world power both militarily and economically, and it has used this position to muscle the other nations of the world into conforming to its basic principals or, at the very least, into maintaining a non-combative relationship with its allies. In retrospect, then, Klaatu and the organization he represents can easily be viewed as an allegory of the U.S., with the Earthlings in the film representing the other nations of the world. And the dropping of THE BOMB on Japan can therefore be seen as the U.S.'s demonstration of power--its proof that it can, indeed, make the Earth stand still.

Prophetic allegory or not, THE DAY THE EARTH STOOD STILL is a well-written and well-directed motion picture. Wise and North's powerful storytelling techniques create concepts and images that are hard to ignore and not easy to forget. Indeed, it's likely that Klaatu and his towering robo-cop sidekick, Gort, are cinematic icons that will remain in the sci-fi lexicon long after other 20th-century film characters are considered to be grossly passé.

The DVD offers a beautiful restored version of the film; an excellent feature commentary with the film's director, Robert Wise, and renowned writer/director Nicolas Meyer (Meyer spurs Wise with pertinent questions and comments); theatrical trailers; an interesting documentary/featurette on the making of the film; a period newsreel; and more. At Amazon's price, adding this science-fiction classic to your DVD collection is well worth the investment!

This film, directed by Robert Wise, shows what truly competent direction can give to science fiction without all the Jim Cameron razzle dazzle. The hint of love and development of intrigue and compassion between handsome Michael Rennie and lovely Patricia Neal compels from their first glance, and Gort is just downright chic. I love this film. It never dates. But I'm always sad to see Michael Rennie wave bye to Patricia Neal, and I still am unclear how long he survives after the spaceship exits. Bernard Herrmann (Taxi Driver) score is classic and minimal, with early use of Theremin.

Nearly everyone who has seen THE DAY THE EARTH STOOD STILL hails it as a classic of science fiction, even if they are not quite sure why. For a film that has withstood the test of time, it cannot be because of those elements that mark other and similar successful science fiction films. There are no corresponding battle sequences that stamp, say, INDEPENDENCE DAY, or special effects that characterize any of the ALIENS saga. What director Robert Wise did was to adapt the original short story, "Farewell to the Master," by Harry Bates to transform a tale warning Earth to forego its mutually assured nuclear destruction into a riveting story that forces viewers to ponder some serious issues of why they are here on this planet and how they can avoid massive self-genocide. Surprisingly enough, Wise does this without allowing the film's didacticism to dilute audience involvement.

Michael Rennie is Klaatu, an emissary who lands on Earth with the stated intention of saving humanity from itself. He offers the olive branch of his race, a device that would have eliminated some of man's most persistent problems only to find that a collective fear of the unknown blasted that device to pieces and severely wounded him. Rennie plays Klaatu as an earnest Christ figure so subliminally that the film morphs into an allegory of man's turning on the One who would die for their collective sins. Klaatu escapes from a hospital to assume the name of Carpenter, Jesus's occupation. He performs miracles: where Jesus turned stone to water, Carpenter turns motion to non-motion by literally turning off Earth's electricity, thus the day of the title. Jesus here is Tom Stevens (slimingly played by Hugh Marlowe), who betrays Klaatu, not for thirty pieces of silver but for the love of a woman (Patricia Neal), who painfully learns that behind the smiling face of that Judas lies the smallness of the insecure mind. Then there is the resurrection of Klaatu, who ascends, if not to heaven, than at least to his spaceship, which is almost the same thing. Yet all these allusions to traditional Christianity do not intrude suffocatingly. Indeed, most viewers scarcely recognize them, and it is only after repeated viewings that such correspondances suggest why audiences continually flock to witness Klaatu's Good News.

It is not only the religious coating that marks this film as a classic. It has a literate script that requires one to listen to well-reasoned ideas rather than to ooh and aah at FX. Rennie's interpretation of Klaatu is both fluid and soothing. In his exhortations to mankind to rise from the muck of squalor and viciousness, Klaatu is seen ultimately not so much as a representative of an alien power seeking to impose its will on a protesting humanity, but more as an inverted symbol of that humanity. If Jesus were crucified for being both mortal and semi-devine, then surely Klaatu is meant to be the scapegoat for man's failure to heed his wisdom. In nearly every scene that Klaatu is in, he is scorned, hunted, shot at, and mocked. In lashing out at him, the Sanhendrin-like government and mass media exhibit the same lack of acumen that stamps most of the citizens.

The number of special effects are kept to a minimum. The robot Gort is huge and menacing, but his lethality rests more in what he can do than what he does do. Klaatu's spaceship does little but squat serenely on the White House lawn, with Klaatu spending only one brief scene aboard. Some of the film's best moments are of the quiet sort, usually with Rennie in contemplative dialogue with others. The words that pass back and forth suggest a subtext that if human beings are to avoid self-immolation, then it can occur only through the medium of verbalized reason that will negate the mushrooming clouds. If and when the nukes fall, it will be because no one had the sense to cry out,"Klaatu Barada Nikto," to stop the madness.

It's not unusual for fathers and sons to have trouble communicating. But no gap has ever been wider than the one bridged in Frequency (PG-13) when a meteorological anomaly reunites a troubled New York cop with his deceased dad by letting them converse via ham radio 30 years apart. This intelligently written thrill ride (part Back to the Future, part Field of Dreams) tugs heartstrings as it races to a wild climax.

In 1969, fireman Frank Sullivan died in the line of duty, leaving behind his loving wife and 6-year-old son, John. But the past is about to change. In 1999, John uses the mysterious radio and clarity of hindsight to save his dad's life-a noble act that creates a devastating wrinkle in the fabric of time-that father and son must iron out together.

Frequency employs intense violence as the Sullivan boys try to thwart a serial killer. Persistent alcohol use and about 30 profanities also get in the way of this film's many positive messages.

The pluses? Seemingly insignificant actions alter lives forever (a reminder that behavior has consequences). Frank and John feel responsible for the ripple effect they have created and risk their lives to help others. Scenes model affection in marriage and issue a wake-up call to workaholics. With a soft spot for second chances, the film recognizes the value of healthy two-parent homes and makes a powerful anti-smoking statement.

Male bonding over electronic gizmos and baseball minutiae (specifically the '69 World Series) won't attract hoards of teens to the local cinema. Rather, they'll want to see Frequency for its mind-bending premise and sheer velocity.

Frank Sullivan ( Dennis Quade) is a firefighter that dies tragically in the line of duty. Thirty years later, his son John ( Jim Caevizel) is now a cop whose life is a mess. The film opens on the eve of the 30 year anniversary of his father's death. John's childhood best friend Gordo( Noah Emmerich) comes over to cheer him up, and they drag out Frank's old ham radio. Due to a phenmenon called an "aurora borealis" John soon realizes that he is able to speak to his father Frank thiry years in the past where the same phenomenon is occuring. Since the death of his father has not yet happened, he is able to warn Frank about the accident. However, saving Frank's life also alters the course of a serial killer which effects John's entire family. John's current investigation is the same unsolved case from 30 years before. Now John and Frank work together over the radio to solve the case and avoid the tragedy that happened to their family.

Frequency remains one of my all time favorite movies. The acting is phenomenal!! Jim Caevizel gives the best performance in the movie as John Sullivan. The love for his dad that he shows as well as the determination to solve the case is amazing. Dennis Quade continues to amaze me with his versatile and brilliant roles. Frank Sullivan is no exception. I love the way that he shows love for his son, and how he must become like a cop even though he is a firefighter. Noah Emmerich adds a nice touch to the story with Gordo. A suprising performance was given by Elizabeth Mitchell who plays John's mom Julia. Andre Braugher always does a good job and continues to with Satch. The villan of the story is played by Shawn Doyle. He gives a very impressive performance that will shock you! The story itself is brilliant. It involves many elements. The love between father and son, a murder mystery, and the scientific phenomenon of the aurora borealis. Some timetravel movies suffer with due to lack of explanation. But as the movie goes on, memories of both lives ( the one with Frank dying, and the one with him alive) are shown. You get to see John's life on both timelines, as if they both merged to create the present. This lets us see where the chages were coming from and why they were done.

With amazing performances, an incredible script, and an action packed story, Frequency is a treat to watch. It puts an interesting spin on the time travel genre! The DVD is a must own because you not only get the movie, but great special features. You get to see featurettes, deleted scenes, and much much more

This is one of my favorite movies. The acting was very good and the story line was excellent. It is about a son who is able to talk to his dad on his ham radio even though his dad has been dead for thirty years. He is able to warn him about a fire he was going to where he would die. This changes the course of the future and some interesting things happen. This is a very good film.

I never liked this movie. I thought the characters and acting was stupid. The blood in the end looked so fake.

I'm still not sure what to think of this movie. I have seen it quite a few times and yet it still doesn't make sense to me.
When mental patient James Cole (Bruce Willis) is sent back in time to find information on a lethal virus has wiped out five billion people in 1996. Mistakenly, he arrives in 1990. After explaining his plea to Dr. Kathryn Railly, (Madeleine Stowe) he is placed in a mental institution. In 1996, he kidnaps Railly, using her to find the 12 Monkeys, a group of revolutionists that are planning to release the virus into select cities. But he is wanted by the authorities for murder and kidnapping, plus he refuses to return to the future.

This is a good movie. I didn't give it a five because it seems as if something was lacking. I don't know what it was, but that is probably why I'm not a director.

I think the whole movie is summed up where Cole (Bruce Willis) has trouble deciding what is real about half way through the movie. And, also, the theme that goes along with that is who is crazy and who decides that they are crazy that I think is echoed in the beginning mental institution scenes. I can't say much more. Yeah, too much, and I'll give away the movie; which I hope I haven't already.

Brad Pitt, Madeline Stowe, and Bruce all do a good job. It's funny, and frightening (a little), and deep. I'm still trying to figure out a few things. I've watched it about 8 times.
Brad Pitt is pretty funny throughout the scenes that seem to be important for the movie. Maybe the writers did it on purpose- to lighten it maybe, but nonetheless they are pretty powerful and moving scenes.

And that's about it.

I never liked this movie. I thought the characters and acting was stupid. The blood in the end looked so fake.

I'm still not sure what to think of this movie. I have seen it quite a few times and yet it still doesn't make sense to me.
When mental patient James Cole (Bruce Willis) is sent back in time to find information on a lethal virus has wiped out five billion people in 1996. Mistakenly, he arrives in 1990. After explaining his plea to Dr. Kathryn Railly, (Madeleine Stowe) he is placed in a mental institution. In 1996, he kidnaps Railly, using her to find the 12 Monkeys, a group of revolutionists that are planning to release the virus into select cities. But he is wanted by the authorities for murder and kidnapping, plus he refuses to return to the future.

This is a good movie. I didn't give it a five because it seems as if something was lacking. I don't know what it was, but that is probably why I'm not a director.

I think the whole movie is summed up where Cole (Bruce Willis) has trouble deciding what is real about half way through the movie. And, also, the theme that goes along with that is who is crazy and who decides that they are crazy that I think is echoed in the beginning mental institution scenes. I can't say much more. Yeah, too much, and I'll give away the movie; which I hope I haven't already.

Brad Pitt, Madeline Stowe, and Bruce all do a good job. It's funny, and frightening (a little), and deep. I'm still trying to figure out a few things. I've watched it about 8 times.
Brad Pitt is pretty funny throughout the scenes that seem to be important for the movie. Maybe the writers did it on purpose- to lighten it maybe, but nonetheless they are pretty powerful and moving scenes.

And that's about it.

I'm not a religious man, but after masochistically suffering through this vile piece of cinematic drek, I was enlightened that God must exist because only Lucifer himself could have allowed this bile to be made. Remember Kevin Spacey in "The Usual Suspects"? -"The greatest trick the devil ever pulled was convincing the world he didn't exist". Well, sorry Verbal, but he made it abundantly clear he is real with "Manos: Hands of Fate" (literally, "Hands: Hands of Fate). I had to rate it one star merely out of technicality; there is nothing here that deserves one star. True, this film was made on a bet by a Texas fertilizer salesman who committed suicide 2 weeks after it was released. Lucky S.O.B. got off easy, for were he alive today I'm sure Congress would federally mandate his execution. I felt it necessary to apologize to my retinas and started taking self-hypnosis exercises to hopefully expunge my memory of this horrid non-film. Thus far, I have succeeded in forgetting my phone number and how to drive, but these are minor consequences in the fact that I would lovingly erase every memory in my head just so long as the twisted recollection of Manos went with them. My review doesn't cover the aspects of the movie, but merely to serve as a warning to those with morbid curiosity interested in viewing it. If it's pain you want, put a fork in the toaster; skin will regenerate, but your mind will be scarred forever. The retched souls who made it couldn't have been sober for more than about 39 seconds at a time, for it would take massive consumption of just about every kind of illicit substance to make anyone think that #1: this film was worth making, and #2: that anyone would bother to watch it. I would say avoid Manos like the plague, but I would lovingly embrace the plague and every other pathogen as an alternative to maiming myself further by watching it again. I have become a vastly better person for I fear my punishment in Hell would be to watch this movie for eternity with the director at my side, for he truly resided there. God have mercy on those who share my pain; for the rest of you, use the gift God has given you, and never let this movie cross your mind again.

Manos is an example on how NOT to make a movie. Directed, written, produced, and starred in by a fertilizer salesman from El Paso named Hal Warren, he made this film on a bet that he could make a low budget horror film againsta friend. Guess the friend won the bet, as this, along with Titanic, are the WORST MOVIES I'VE EVER SEEN!! Warren is a family man, trying to go on vacation with his daughter and wife. After getting horribly lost, and the audience bored by the nearly endless driving sequence, they wind up at a lodge, and meet the caretaker Torgo, who takes care of the place while the Master is away. After many attempts at filmaking, the Master comes back to life to terrorize the family, but the audience will be too bored to give a crap. The only version you should see is this, the MSTied version, as Joel and the bots make this a hilarious romp, poking fun at everything from Torgo's oversized knees, to Warren's inept filmmaking. Only get the unMSTied version if you are a seasoned MST3K fan.

The video in the host segments is crisp and clear, while Manos is scratched, bleak, and grainy, and us MSTies like it that way. The audio in the host segments and comentary is great too. The episode starts with the second half of a short called "Hired!", which is fricking hilarious. The supplement is a 30-minute blooper reel for the series called "Poopie!". A fine outing. (Even though the episode is great, I rate by movie alone. MST3K gets 5 stars, while Manos gets a 0)

MANOS: THE HANDS OF FATE
(1966, NR)

The Master: Tom Neyman
Torgo: John Reynolds
Margaret: Diane Mahree
Michael: Hal Warren
Debbie: Jackey Neyman
Teenager in Car: Joyce Molleur

Director: Hal Warren
Writer: Hal Warren

MOVIE: 0
VIDEO: 3
AUDIO: 3
EXTRAS: 3
MENUS: 3
OVERALL: 2

Manos is often referred to as the worst film ever done on MST3K by many fans and some of the show's writers and seeing is believing no matter how many times you watch it. It's an amazing piece of, er, uh, cinema, that will leave you wondering how and why it was made. However, you'll be glad the film's "star" and producer decided it was his dream to make a movie because the MST3K cast and writers do such an amazing job turning this movie from a waste of film into a hilarious comedy (see the Psychotronic Film Guide by M. Weldon for more info on the movie itself). The short before the film, "Hired", is also hilariously handled. The bonus inclusion of the "Poopie" out-takes reel is also something every fan of the show should see and is a great extra feature.

Eventhough this movie is one of my least favorites it deserves four stars for bringing a great addition to the colection. We have great TNG moments in it: cameos of loved characters, holodeck magic and one of Starfleets greatest foes. I loved the subplot about the First Contact, it brought a new perpective of the Starfleet culture.
I don't espcially like the new Enterprise, looks too cartoonish next to the refited Enterprise and Enterprise-A. And I didn't like the devellopment of the Borg. I always thought of the Borg as a very misterious civilization, I think that all civilizations depicted in Star Trek express a different side of humanity and the Borg being the darkest one of all. Even so, it is very fun to watch and I definetly recommend it.

(...) I liked Star Trek First Contact and it's one of the best things Star Trek has ever done.

First Contact is the continuing adventures of the crew of the Enterprise from TNG series. The crew must go back in time and stop the cybernetic species The Borg. The Borg are trying to stop Zepryham Cochran. The man who developed warp drive and established first contact. If stoped it could be catostrophic to the futre of the Enterprise and of the federation.

The cast from The Next Generation is fantastic. They all had there specific talents that added to the show. They all shine in First Contact.

Patrick Stewart is great. He is one of the most underrated actors of all-time. He is a former Shakesperian actor and he can flat out act. He wasn't always given the best work in Star Trek and this is some of his finest work he has ever done.

Jonathan Frakes is great. Not only does he continue his role as Cmdr. Riker but he directed the film. He uses the suspense and unkown of the Borg well. He really does add to there race with what he does with them in the movie. He's funny as Riker and is less of the playboy that Riker is in the show.

Brent Spiner is great as well. It's a shame he hasn't done a lot more out of Star Trek. He really gets into his characters well and plays them well. Data is one of the most beloved characters in Star Trek and the film really shows why.

Levar Burton has a great role in the film. He plays Geordi well in what has become his signature role. He's argueably the most successful man ouside of Star Trek with his role on Reading Rainbow and from the hit mini series Roots. It's great to see Geordi without that stupid visor he had the show. I love his optical implants.

I love the score Jerry Goldsmith wrote for this film. I think it's the best work he's ever done. I think it got jipped at the Oscars. The woodwind and horns are beautiful in the theme. If your a classical music fan you should love the score.

Star Trek Fist Contact is one of the best Star Trek films ever made. Fans outside of Star Trek should like it. You don't have to be a trekkie to understand the film which really helps it a lot. It's a must for anybody that calls themself a Trekkie and I think all Sci-Fi fans should see it. It's a great movie that will do what movies are suppose to do: Teach us a lesson and Entertain us.

Star Trek: First Contact is the most searching, driven, smart, and watchable of the Star Trek movies. The character development is mostly even-sided, and we can see the actors having fun with their characters in ways that they had not done in the TV show.

There are humorous scenes: an exasperated Riker trying to talk with a 21st century Zephram Cochrane while a drunken Troi passes out; a blearly-eyed first warp-drive mission accompanied by Steppenwolf, a Captain jealous of Mr. Data's ability to turn off his emotions when frightened, and a angry Klingon telling a Borg precisely what he can assimilate.

There is increadible action and suspense: a fight against the (nearly) unstoppable Borg as they colonize the Enterprise, a race to protect humanity's past and secure its future.

There is real character conflict. Captain Picard gets angrier than ever as he faces his own consuming drive to destroy the Borg.

A smart movie, and a fun one, too. It seems that Star Trek always succeeds when it takes its cues from Melville.

Sail on.

By far one of the technically best movies ever made. I may be over stating here,but consider these points.

I beg you to find a single section of the movie that didn't relate to other parts of the movie. In this respect it is phenominal. The only other Sci Fi movies I have encountered that come close are the original Alien and T2. An almost Shakespearian use of foreshadowing, plot device, and humanity.

2. Continuity: Robocop shows down with Dick Jones, Drops his gun. Later in the movie, does he magically have his gun? NO! Lewis has sneak into the police dept. to give him one. Freakin perfect. Many other instances of this.

3. Realism: Have you seen other action movies from the 80s, (including Robocop 2 and 3). Bad guys are lame characitures (wrap around shades, headbands, mohawks, etc.) This movies' bad guys look act and feel like genuine people and bullies. "You a good cop? Yeah, I bet you're some kind of a super cop, Comin in here all by your self". Clarence, Emelio, Dick Jones. Dag, these guys come across as real today as they did back then.

4. Socio-commentary: The adverts are brilliance. The hatred of yuppie indulgence (before yuppies were a "thing"), the deprecation of society. Compare the gas mileage of the 6000SUX to the modern SUV (SUX, SUV... 1 letter off) hmmm...

5: That gun!!!!

6: Premonition: Yuppies, Vehicle Extravigance at the price of Gas (6000SUX), DVD, (think about the time it was made), The TV show everyone watched in the film seems a little to like Howard Stern for my likes (I'd buy that for a Dollar!)

7. The scene where he walks through his own home and remembers his past (or pieces) is one of the most touching pieces of filmmaking ever.

8: realism #2: Computers work like computers. No flashy pop up displays, truncated words to fit a screen. Realism over flash. Brilliance!

Well, anyhoo, this is an amazing movie, and I've watched a lot. this is the one to watch and own. Go get this. I mean it. go get this movie. I know where you live.

Before "Robocop" displays its extreme violence in a parade of bullets and blood, it opens with a newsbreak that details a world on the verge of disaster and a city out of control, Detroit. While the world deals with Star Wars, impending Nucleur doom and war, Detroit deals with drugs, rampant violent crime and corporate scum who control the police, hospital system and prisons. The one bit of actual integrity is the police, who still go out on the streets to try to find some order in the choas.

Now, "Robocop" is never as serious as I put on. That newsbreak and corporate scum is scathing satire that prevails throughout the film on 1980s' America, hitting close to home. Everything is privitized, the world on the edge of disaster and America riddled in crime and decadence. Man in the future isn't pretty.

The police however, are trying to do some good in this world. One of their men, Murphy (Peter Weller) ends up being shot to pieces by crime boss Clarence Bodiger (Kurtwood Smith) and his cohorts in one of films' most graphic sequences. But Murphy returns, sort of, as Robcop, one of the company OCPs' projects to try to clean up crime (but only for a company project called Delta City). Murphy, however, is still holding some of his shattered humanity, and when he learns of who exactly killed him, he goes on a revenge mission to find them. He encouters Bodiger and his cohorts in a cocaine plant and an old abadoned steel mill, each attempts to kill each other.

Besides that satire, director Paul Verhoeven is the films' insatiable and bloody energy, showing his fetish proudly for lots and lots of bloodshed. But editor Frank Urioste and cinematographer Jost Vocano are the bulk of the reason why "Robocop" is a fluid, fast-paced action flick. And writers Ed Neumier (who also signed on as executive producer) and Michael Miner make "Roocop" an intelligent and pessimistic view of the future.

In the near future, Detroit is jam-packed with gangs and narcotic dealers. After being shot to pieces by a vicious gang, a cop (Peter Weller) is redesigned into a cyborg cop (Robocop) that is capable of stopping any crime. Though he works very well, he seeks retaliation over the punks who killed him.

Although the sequel does a superior job utilizing the bleak, cartoonish future, Paul Verhoeven (Total Recall, Basic Instinct, Showgirls) does a commendable job displaying the action scenes and scenarios with an accompanying, cohesive plot. The most notable scenes are the ones that mock modern news by displaying them in the ugly future, where considerable disaster is spoken of as a normalcy.

If you like this film, I'd also recommend Terminator 2.

Overall rating 4.7 stars (rounded to 5)

Rated R for strong graphic violence, gore, language, drug-use, brief nudity.

By far one of the technically best movies ever made. I may be over stating here,but consider these points.

I beg you to find a single section of the movie that didn't relate to other parts of the movie. In this respect it is phenominal. The only other Sci Fi movies I have encountered that come close are the original Alien and T2. An almost Shakespearian use of foreshadowing, plot device, and humanity.

2. Continuity: Robocop shows down with Dick Jones, Drops his gun. Later in the movie, does he magically have his gun? NO! Lewis has sneak into the police dept. to give him one. Freakin perfect. Many other instances of this.

3. Realism: Have you seen other action movies from the 80s, (including Robocop 2 and 3). Bad guys are lame characitures (wrap around shades, headbands, mohawks, etc.) This movies' bad guys look act and feel like genuine people and bullies. "You a good cop? Yeah, I bet you're some kind of a super cop, Comin in here all by your self". Clarence, Emelio, Dick Jones. Dag, these guys come across as real today as they did back then.

4. Socio-commentary: The adverts are brilliance. The hatred of yuppie indulgence (before yuppies were a "thing"), the deprecation of society. Compare the gas mileage of the 6000SUX to the modern SUV (SUX, SUV... 1 letter off) hmmm...

5: That gun!!!!

6: Premonition: Yuppies, Vehicle Extravigance at the price of Gas (6000SUX), DVD, (think about the time it was made), The TV show everyone watched in the film seems a little to like Howard Stern for my likes (I'd buy that for a Dollar!)

7. The scene where he walks through his own home and remembers his past (or pieces) is one of the most touching pieces of filmmaking ever.

8: realism #2: Computers work like computers. No flashy pop up displays, truncated words to fit a screen. Realism over flash. Brilliance!

Well, anyhoo, this is an amazing movie, and I've watched a lot. this is the one to watch and own. Go get this. I mean it. go get this movie. I know where you live.

Before "Robocop" displays its extreme violence in a parade of bullets and blood, it opens with a newsbreak that details a world on the verge of disaster and a city out of control, Detroit. While the world deals with Star Wars, impending Nucleur doom and war, Detroit deals with drugs, rampant violent crime and corporate scum who control the police, hospital system and prisons. The one bit of actual integrity is the police, who still go out on the streets to try to find some order in the choas.

Now, "Robocop" is never as serious as I put on. That newsbreak and corporate scum is scathing satire that prevails throughout the film on 1980s' America, hitting close to home. Everything is privitized, the world on the edge of disaster and America riddled in crime and decadence. Man in the future isn't pretty.

The police however, are trying to do some good in this world. One of their men, Murphy (Peter Weller) ends up being shot to pieces by crime boss Clarence Bodiger (Kurtwood Smith) and his cohorts in one of films' most graphic sequences. But Murphy returns, sort of, as Robcop, one of the company OCPs' projects to try to clean up crime (but only for a company project called Delta City). Murphy, however, is still holding some of his shattered humanity, and when he learns of who exactly killed him, he goes on a revenge mission to find them. He encouters Bodiger and his cohorts in a cocaine plant and an old abadoned steel mill, each attempts to kill each other.

Besides that satire, director Paul Verhoeven is the films' insatiable and bloody energy, showing his fetish proudly for lots and lots of bloodshed. But editor Frank Urioste and cinematographer Jost Vocano are the bulk of the reason why "Robocop" is a fluid, fast-paced action flick. And writers Ed Neumier (who also signed on as executive producer) and Michael Miner make "Roocop" an intelligent and pessimistic view of the future.

In the near future, Detroit is jam-packed with gangs and narcotic dealers. After being shot to pieces by a vicious gang, a cop (Peter Weller) is redesigned into a cyborg cop (Robocop) that is capable of stopping any crime. Though he works very well, he seeks retaliation over the punks who killed him.

Although the sequel does a superior job utilizing the bleak, cartoonish future, Paul Verhoeven (Total Recall, Basic Instinct, Showgirls) does a commendable job displaying the action scenes and scenarios with an accompanying, cohesive plot. The most notable scenes are the ones that mock modern news by displaying them in the ugly future, where considerable disaster is spoken of as a normalcy.

If you like this film, I'd also recommend Terminator 2.

Overall rating 4.7 stars (rounded to 5)

Rated R for strong graphic violence, gore, language, drug-use, brief nudity.

This is the kitchiest piece of junk in the entire series. Not only is the plot ridiculously unbelievable - they have to go back in time to get whales because of some strange ship they can't stop from destroying the Earth while searching for its "cousins" - but it is utterly lacking in any of the ST spirit. Though I am a big star trek fan, this is both silly and stupid. But then, I love hard sci fi and deplore this totally predictable, feel-good pap. Not recommended.

This is the highest grossing Star Trek movie to date, and for good reason. It's funny, and has a socially-conscious theme.

STAR TREK IV: THE VOYAGE HOME (Special Edition) is a great edition to the Star Trek collection and for those who enjoy extras and features the second DVD has a lot to offer. There are retrospectives, behind the scenes, histories, graphics, illustrations, deleted scenes and features that include the original cast, crew and some insights from NASA and other scientists.

The DVD extra's are fantastic and filled insight, education and perspectives. Even Eugene Roddenberry, Star Trek's Creator Gene Roddenberrys (Earth II, The Questor Tapes) son makes some interesting commentary on his father.

The movie was the second direction by Leonard Nimoy (Three Men and A Baby, The Good Mother) and written by Harve Bennet, Leonard Nimoy and Nicholas Meyer (The same team responsible for Star Trek II: The Wrath of Khan and Star Trek III: The Search For Spock) and has been the critics, general publics and Star Trek fans favorite of all the Star Trek movies. (That includes The Next Generation features too!)

The story is simple - all the good ones are - mankind is in trouble and our crew of the Starship Enterprise are the only ones who can save humanity. How? They need to go bring two humpback whales back in to the 23rd century. Why? There is an alien space probe that is communicating to the Earth's oceans on a level of intensity that is destroying Earth.

The fun begins when you take 23rd Century philosophies and through them into the 1986 San Francisco mentality. Seeing this crew in the middle of San Fran trying find their way around, spend money and ride the busses is hysterical.

The best performances come from Captain Kirk himself - William Shatner (Miss Congeniality, Loaded Weapon 1) and a Zoologist played by Catherine Hicks (7th Heaven, Child's Play.) When they interact with each other. They are charming, funny, witty and energetic. Leonard Nimoy (Golda, Invasion Of The Body Snatchers) himself does a stunning and hysterical job as Spock who just got his "mind" back. He has some of the funniest lines in the whole movie. The whole original cast seems to be having the best time throughout this movie.

It has action, adventure, a great story, special effects and the best humor a movie could possibly want. The DVD extra's are by far the most educational of all the DVD's of Star Trek series. The funniest is listening to the commentary of Shatner and Nimoy as the film runs. Fun for the whole family and a must for any one who likes these types of movies; Science Fiction, Comedy, Adventure! 5-20-03 & 11-14-04

This is the kitchiest piece of junk in the entire series. Not only is the plot ridiculously unbelievable - they have to go back in time to get whales because of some strange ship they can't stop from destroying the Earth while searching for its "cousins" - but it is utterly lacking in any of the ST spirit. Though I am a big star trek fan, this is both silly and stupid. But then, I love hard sci fi and deplore this totally predictable, feel-good pap. Not recommended.

This is the highest grossing Star Trek movie to date, and for good reason. It's funny, and has a socially-conscious theme.

STAR TREK IV: THE VOYAGE HOME (Special Edition) is a great edition to the Star Trek collection and for those who enjoy extras and features the second DVD has a lot to offer. There are retrospectives, behind the scenes, histories, graphics, illustrations, deleted scenes and features that include the original cast, crew and some insights from NASA and other scientists.

The DVD extra's are fantastic and filled insight, education and perspectives. Even Eugene Roddenberry, Star Trek's Creator Gene Roddenberrys (Earth II, The Questor Tapes) son makes some interesting commentary on his father.

The movie was the second direction by Leonard Nimoy (Three Men and A Baby, The Good Mother) and written by Harve Bennet, Leonard Nimoy and Nicholas Meyer (The same team responsible for Star Trek II: The Wrath of Khan and Star Trek III: The Search For Spock) and has been the critics, general publics and Star Trek fans favorite of all the Star Trek movies. (That includes The Next Generation features too!)

The story is simple - all the good ones are - mankind is in trouble and our crew of the Starship Enterprise are the only ones who can save humanity. How? They need to go bring two humpback whales back in to the 23rd century. Why? There is an alien space probe that is communicating to the Earth's oceans on a level of intensity that is destroying Earth.

The fun begins when you take 23rd Century philosophies and through them into the 1986 San Francisco mentality. Seeing this crew in the middle of San Fran trying find their way around, spend money and ride the busses is hysterical.

The best performances come from Captain Kirk himself - William Shatner (Miss Congeniality, Loaded Weapon 1) and a Zoologist played by Catherine Hicks (7th Heaven, Child's Play.) When they interact with each other. They are charming, funny, witty and energetic. Leonard Nimoy (Golda, Invasion Of The Body Snatchers) himself does a stunning and hysterical job as Spock who just got his "mind" back. He has some of the funniest lines in the whole movie. The whole original cast seems to be having the best time throughout this movie.

It has action, adventure, a great story, special effects and the best humor a movie could possibly want. The DVD extra's are by far the most educational of all the DVD's of Star Trek series. The funniest is listening to the commentary of Shatner and Nimoy as the film runs. Fun for the whole family and a must for any one who likes these types of movies; Science Fiction, Comedy, Adventure! 5-20-03 & 11-14-04