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I like the good and evil battle. I liked Eddie in this movie better than any movie he has ever done. He wasn't The smart, cocky, know it all he usually plays. He shows heart and a more humble humor. The fact that it shows there are stranger things in Heaven and on earth than we can think of gives me hope.

after seeing this film for the 3rd time now i think it is almost Adam's worst film PUNCH DRUNK LOVE IS POOR in comparison to this i must say at the end when Dickie gets thrown of the boat it is so funny (the hair is different to his and i like it when he flips everyone off. This film should only be brought if your a true Adam Sandler fan.<br /><br />the characters are poor in comparison to his funny films like the Waterboy, which has the same people in it (Peter Dante) who is one of the assassins trying to kill the Australian bird.<br /><br />this film lack depth and a decent story line and deserves to be in the bottom 100

I waited ages before seeing this as all the reviews I read of this said it was horrible! i rented it expecting the worst, and while it is hardly the best sandler film out there, there are much worse! Sandler frequently talks to the camera and the film does not take itself seriously, but that is all part of the fun! A great way to waste an afternoon, and you might even find yourself laughing once a twice! A good film, well worth renting!

This 1991 NBC-TV movie aired six months before John Goodman's big-screen version of the life of Babe Ruth came out. For my money, there is no comparison between the two. The TV production isn't perfect but it presents the Babe's story with more depth and complexity than Goodman's one-dimensional telling. I especially enjoyed the film's depiction of the complex love-hate relationship Ruth had with Yankee manager Miller Huggins, who always understood his star player's brilliance and also kept trying to point out why Ruth's own character flaws would never let him become a manager or leader of players. The TV-movie rightly notes how Ruth never fulfilled his dream of managing the Yankees because of his flaws, while the horrible Goodman version tries to push the falsehood that Ruth was denied what should have been his for the taking.<br /><br />This film makes a great companion piece to "Eight Men Out" since the story starts with Ruth's arrival in New York in 1920, one year after the Black Sox Scandal and when his home run exploits literally saved baseball from ruin. Indeed, the continuity between the two films is even accentuated with John Anderson reprising his "Eight Men Out" role as Commissioner Kenesaw Mountain Landis.

I caught this movie on my local movie channel, and i rather enjoyed watching the film. It has all the elements of a good teen film, and more - this film, aside from dealing with boys-girls relationships and sex and the like, also deals with the issue of steroid use by young people.<br /><br />The film has that real-life feel to it - no loud music, no special effects and no outrageous scenes - which, for this movie, was right. That feel makes it easy to relate to the characters in the film - some of which we probably know from where we live.<br /><br />Overall, a good movie, fun to watch.<br /><br />8/10

They filmed this movie out on long Island, where I grew up. My brother and his girlfriend were extras in this movie. Apparently there is some party scene where they are all drinking beer, (which they told me was colored water, tasted disgusting, and was very hard to keep swallowing over and over again, especially in the funnel scenes). Yet none of us ever heard of the movie being released anywhere in any form. It never came out in the theaters (obviously) and it, as far as I knew, was never released on video, and I'm sure wasn't released on DVD. Yet it looks like it was seen by some people, albeit it probably very few. So there must be something. I would absolutely love to purchase this for my brother, yet there is no way I can find it anywhere. Does anybody know anything about when/where/how this movie could be purchased? And which format that would be?

DOes anyone know where or how i can get a copy of this film?!! I've been searching for way too long, someone help! Back in 1997 my girlfriends and i were extras on this Long Island based film, and we actually never got to see it. :( <br /><br />i was hoping i could find a copy somehow so i can finally check it out, and share it with the girls! Is there anyone out there who knows where to get a copy of this, so i can stop driving myself crazy? (also, it doesn't matter if its in in VHS format, i'm still in the ice age myself.) If you, or anyone you know, has a copy of this film please help, i would be willing to pay for a good copy of it!

This Schiffer guy is a real genius! The movie is of excellent quality and both entertaining and educating.<br /><br />I didn't know what a weather girl was before I learned it here.

about a year and a half ago my dad told me about The French Doors. i thought it sounded interesting enough but i didn't try to find it anywhere. Then about a year ago i remembered that film and thought "hey why not" and tried finding it on the internet. eventually after about a week of looking i found it on atom films. i called my dad over to the computer and said to him" hey dad I've found that creepy film you told me about ages ago!" He smiled at me, turned round turned off the lights so it was pitch black apart from the computer screen and told me to watch it. I started off fine...Then when he started getting worried about whatever was there i found it very unnerving. at the end i pushed back my chair and stood up...it made me jump!:P if you haven't seen this film i highly recommend you do because it is well worth it. even after the fourth or fifth time its still unsettling.<br /><br />GREAT FILM!

I spied this short on a DVD of best new Zealand shorts, all great but The french Doors was amazing. It starts off slow and you wonder if there is anything going to happen. Just as you relax into the hum drum of home renovation, the most spookiest thing happens. <br /><br />EEEEkkk, I wanted to stop watching, but I was glued. <br /><br />The films dips into the primal fear of the dark and with little, if not any, special effects. It chills you right to the bone. A simple yet brilliant concept opened up all those memories of when I was young and dream't up the most improbably but spooky situations. <br /><br />The film makers visual style are bang on and the lead character takes you convincingly through the story. It is a quality short that I haven't seen in quite some time. <br /><br />The French Doors has all the hallmarks of a great feature, alas it finishes after ten minutes or so. Never the less a great ending that begs you to want to know more. <br /><br />Loved it and well done and thanks for the ride. These New Zealanders are really turning out the talent.<br /><br />A new fan.

For the longest time, I liked this movie better than the original Care Bears movie. Well last summer, I watched them both together and decided I was wrong. The first one is a better Care Bears movie (as you may have guessed if you read my review for it). This one isn't a BAD movie, it's just... VERY STRANGE.<br /><br />Well first of all, as a few people have mentioned, it completely disavows any knowledge of the first movie. I can't think of another sequel that contradicts the original so blatantly (especially with the genders of some characters and how they all met). When I was little and watching this, I was quite a bit confused and distraught. I felt the same way watching it as an adult!<br /><br />On to the reasons why the movie is actually pretty good (IF you disassociate it from the first movie). I can't think of another movie for little kids with a DEMON as it's villan! Now I am not for a minute suggesting that evil demons who want to steal the souls of campers and Care Bears are good, I just find it cool that there's a SUPREMELY EVIL BEING in a movie for little kids! It's like that bizzare "Santa Clause vs. Satan" movie from Mexico you hear about sometimes. <br /><br />Anyhow, the demon's name is Darkheart and he wants this chick to help him get the Care Bears in return for him giving her special powers. Very dark for a kiddy flick eh? And did I mention that Darkheart appears to the girl most often as a WHINEY VOICED 10 YEAR OLD BOY??? Freaky! Meanwhile some other kids are in Care-a-Lot looking after BABY CARE BEARS! Oh, man! Demons and baby Care Bears IN THE SAME MOVIE!!!!!<br /><br />Needless to say, everything gets cleared up in the end (but not before we get to see Darkheart trap the Care Bears' souls in this scary chandelere thing in one [surprisingly] deeply disturbing scene). But I am left with the question of wether this movie has found the cult audience it so richly deserves. I might just watch it again myself.

Origins of the Care Bears & their Cousins. If you saw the original film you'll notice a discrepancy. The Cousins are raised with the Care Bears, rather than meeting them later. However I have no problems with that, preferring to treat the films as separate interpretations. The babies are adorable and it's fun watching them play and grow. My favourite is Swift Heart Rabbit. The villain is a delightfully menacing shapeshifter. I could empathise with the three children since I was never good at sports either. Cree Summer is excellent as Christy. The songs are sweet and memorable. If you have an open heart, love the toys or enjoyed the original, this is not to be missed. 9/10

The second Care Bears movie is immensely better than its predecessor. It has a deeper plot, better character development, and the tunes (especially the closing song) are both catchy and warm-hearted. Sure the movie tends to over stress caring but come on, it IS a Care Bears movie. This movie is a great picture to show to kids because it emphasizes friendship, love, and again, caring. Not to mention the Care Bears are just too adorable!

This cartoon was strange, but the story actually had a little more depth and emotion to it than other cartoon movies. We have a girl at a camp with low self esteem and hardly any other friends, except a brother and sister who are just a miserable as she is. She reaches the ultimate low point and when the opportunity arises she literally makes a pact with a devil-like demon. I found this film to be very true to life and just when things couldn't be worse, the girl sees what she's done, she feels remorse and then changes and then she helps this dark, mystical creature learn the human quality of love. The twins improve too, by helping the little bears and then they get a sense of self worth too. A very positive message for children, though some elements of the film was strange, it was and still is a rather enjoyable film. The music from Stephen Bishop (Tootsie songs) made the film even better

I was worried that my daughter might get the wrong idea. I think the "Dark-Heart" character is a little on the rough side and I don't like the way he shape-shifts into a "mean" frog, fox, boy… I was wrong, This movie was made for my kid, not for me. She "gets it" when it went over (under?) my head. Of course I don't "get it". This isn't one of the NEW kids movies that adults will ALSO enjoy. This is straight for the young ones, and the crew knew what they were doing. There isn't any political junk ether. There's no magic key that will save the world from ourselves, nobody has the right to access excess, and everyone isn't happy all the time. And as a side benefit, nobody DIES! –russwill.

As a child I preferred the first Care Bear movie since this one seemed so dark. I always sat down and watched the first one. As I got older I learned to prefer this one. What I do think is that this film is too dark for infants, but as you get older you learn to treasure it since you understand it more, it doesn't seem as dark as it was back when you were a child.<br /><br />This movie, in my opinion, is better than the first one, everything is so much deeper. It may contradict the first movie but you must ignore the first movie to watch this one. The cubs are just too adorable, I rewind that 'Flying My Colors' scene. I tend to annoy everyone by singing it.<br /><br />The sound track is great! A big hand to Carol and Dean Parks. I love every song in this movie, I have downloaded them all and is all I am listening to, I'm listening to 'Our beginning' also known as 'Recalling' at the moment. I have always preferred this sound track to the first one, although I just totally love Carol Kings song in the first movie 'Care-A-Lot'.<br /><br />I think the animation is great, the animation in both movies are fantastic. I was surprised when I sat down and watched it about 10 years later and saw that the animation for the time was excellent. It was really surprising.<br /><br />There is not a lot of back up from other people to say that this movie is great, but it is. I do not think it is weird/strange. I think it is a wonderful movie.<br /><br />Basically, this movie is about how the Care Bears came about and to defeat the Demon, Dark Heart. The end is surprising and again, beats any 'Pokemon Movie' with the Care Bears Moral issues. It leaves an effect on you. Again this movie can teach everyone at all ages about morality.

This is my favorite of the three care bears movies. Once again I liked all the songs. The big problem however as most people have pointed out was that this story contradicts the original. For those that saw the first movie recall the bears met their "cousins" who they apparently never knew about. It wasn't of course until the end that the cousins received their tummy symbols after proving how much they cared. In this story however the cousins grow up with the care bears and have tummy symbols all along. That being said this isn't a bad movie as long you keep it separate from the first. I thought the Darkheart character much more evil then the Nicholas of the first. But at the same time I felt it added a sort of balance to the sweetness of the care bears. I also liked the we care part at the end, although I know other people had mixed feelings about that scene. And of course I LOVED the songs. My favorites being Growing Up and Forever Young. The care bears movies have always had such good songs. Ten stars for a very good movie.

It all started with True Heart Bear & Noble Heart Horse get the club to safety. Noble Heart Horse meet Dawn & John & took them to see True Heart Bear. Later, The care meter went down more & True Heart Bear & Noble Heart Horse check to see if it Dark Heart but they can't go unless the club at care for so they ask Dawn & John to care for the club. After True Heart Bear & Noble Heart Horse Come back, They send Dawn & John back to camp. Than the club & cousin bears have grown up to get ready to fight Dark Heart. At the end, Dark Heart kidnap all the care bear & the kids (Dawn & John) have to tell Christy that Dark Heart is evil. Than they work to together to save the Care Bears. Later, True Heart Bear & Noble Heart Horse found out it Dark Heart shadow & return to care land to find that their gone. The Kids (Dawn, John, & Christy) come but they was not powerful to stop Dark Heart. True Heart Bear & Noble Heart Horse come to help Dawn, John, & Christy to free the other care bears but Christy got in the way & was hit by Dark Heart magic. Than Dark Heart saw Christy got hit & stop fighting the care bear in order to help her but he can't because Dark Heart (himself) don't have the power of caring to save Christy. The care bears & the kids help Dark Heart save Christy. Now Dark Heart starting to care & became a real boy to fall in love with Christy. Dark Heart is now a real boy & help out Christy to work out in camp.<br /><br />This is a great move ever & the best Care Bears Movie I ever seeing.<br /><br />I like all the care bears movies & I can't wait to see "Care Bears: Big Wish Movie (2005)".<br /><br />Who like this movie?

This movie does contradict the first one as far as the origins of the Care Bears and the Care Bear Cousins goes. I won't deny that. However, if you look at "Part II" as a separate film, then it's a very good movie. I remember watching this in the early 80's (and fitting into its targeted demographic audience then), and absolutely loving it much more than the first movie (not that I didn't enjoy that one too, it's just that this one seemed to have a little something extra to it). Sure it's darker than the first one too, but perhaps maybe that's why it's so good. And it's dark in deeper kind of subtle way too (that kids may not fully understand, but could still be a bit scared of because of the atmosphere it gives off, and adults watching will surely get quicker as I have now watching this film again now in my mid-twenties) where you basically have a young girl making a deal with an evil spirit/demon in exchange for something else. Get the picture? But simply watching that as a child, sure as I said it may have been a little scary, but nothing traumatizing. In fact if anything it gave me another fantasy game I could play when I was that age. I can't tell you the number of times I used to pretend Dark Heart wanted to imprison me, have me help him capture the Care Bears, tried to make me turn over to his dark side, and other things like that etc. So this movie was also good for my imagination. And it's also got great emotional depth to it too. I used to watch it at least once a week.<br /><br />Also Hadley Kay was the perfect choice for the voice of Dark Heart (I always thought so and I always will).<br /><br />Now it's just too bad that they never made a soundtrack available. Sometimes I just want to hear Growing Up without watching the movie, as good as it is.<br /><br />"What good is love and caring if it can't save her?"

Care Bears Movie 2: A New Generation isn't at all a bad movie. In fact, I like it very much. Yes I admit the dialogue is corny and the story is a bit poorly told at times. But Darkheart, while very very dark is a convincing enough shape shifting villain, and Hadley Kay did a superb job voicing him. Speaking of the voice acting, it was great, nothing wrong with it whatsoever. The animation is colourful, and some of the visuals particularly at the beginning were breathtaking. The songs and score are lovely, especially Growing Up and Forever Young, the latter has always been my personal favourite of the two. The care bears, who I do like, are adorable, and the human children are well done too. And the ending is a real tearjerker. All in all, harmless kiddie fun. 8/10 Bethany Cox

I grew up on this movie and I can remember when my brother and I used to play in the backyard and pretend we were in Care-a-lot. Now, after so many years have passed, I get to watch the movie with my daughter and watch her enjoy it. If you are parent and you have not watched this movie with your children, then you should, just so you hold them in your arms and watch them get thrilled over the care bears and care-a-lot! The songs, especially "Forever Young" are very sweet and memorable. Parents, I highly recommend this movie for all kids so they can learn how enjoyable caring for others can be! When it comes down to all the trash that is on TV, you can raise your children to have the right frame of mind about life with movies like these.

And my children love it now! Granted, I can watch it now and realize the animation wasn't that great, and that the plot is trite. Hey, if every villian introduced themselves by saying "I ammmmm DAAAARRRKK HEEEEAAARRT" I think they might be laughed at, but for young children it is a moral story with catchy music.<br /><br />Music so catchy, mind you, that I still had the words memorized after not seeing this film in twenty years. I would definitely suggest this one for younger children.

In an era of such awful cartoons, I am rather in shock to see a movie with such good morals make it to the IMDB Bottom List for Animated movies.<br /><br />This movie does contradict the first. I won't deny that. However, when I was in the target age group for this movie, I didn't even notice, nor would it have mattered if I did. The people who made it may have used "New Generation" to note that this is another way the Care Bear Family could have began. Perhaps we are meant to decide for ourselves how the Care Bear family truly began.<br /><br />This was my favorite movie at age 3-6, and it did not scare me or confuse me at all.<br /><br />

Every kid has that movie that he pops into VHS when he has nothing to do, or when there is a babysitter around. This was that movie for me.<br /><br /> I can tell you the whole plot exactly, I must have seen it 100 times at least, and I can say it is a good kids/family movie.<br /><br />I still have the tape, I haven't watched it in 5 years, but maybe I'll get around to it this week, and be a kid for the day.<br /><br /> You just have to love the care bears, and their messege.<br /><br />

Still love it 17 or so years after the first time I saw it, in fact I discovered that I had lost my copy of this and was very upset. Despite it's non-association with the original (which as a kid I never noticed and as an adult I don't care about), this is what cartoons *should* be like. Just dark enough to be interesting and light enough to be enjoyed by everyone. I'm more than glad that my parents raised me on this kind of thing rather than the cartoons we see today that teach our kids nothing. The music is great, and gets stuck in your head forever...I have downloaded the entire soundtrack at one point or another.

This movie is great, the music "with the exception of the very first song in the movie" was awesome. The story line is awesome too, it's just basically a wonderfull movie, for ALL ages. I found the last battle scene awesome! Basically this was a great flick!

This film is exactly what its title describes--an attempt to get you to buy into what the writers have to offer.<br /><br />First, it's kinda fun to see the 1996-style Toronto I remember with all its silly haircuts, sunglasses, clothes, and attitude. It really hasn't changed any; just a nice, safe, cheap, provincial little urban backwater that makes a great meeting place for international film types! It's also amusing to see Kenny and Spenny head to L.A. and find out that it's Toronto all over again, only with a strange assortment of beach bums, musicians, fortune tellers, and yet more uppity film types.<br /><br />I don't see Pitch as a film to be enjoyed; it's not entertainment unless the viewer enjoys watching someone's aspirations being trampled. I take Pitch as a warning that power and money is really held by studio execs and production houses. Would-be (and "successful") writers, musicians, and actors are still mere transients even when they reach the Big Time.<br /><br />So, Kenny and Spenny are trying to sell you a warning. Buy it or don't, but the message is still there.

Credited by Variety to be one of the greatest documentaries to ever come out of Canada. Al Pacino, Roger Ebert, Neil Simon, Matt Dillon as well as a constant slew of celebs make this film a Canadian classic. The film is really best described as "Roger & Me" meets "The Player". Watch as Kenny Hotz and Spenny PITCH their script to the big boys of Hollywood. Called the only American film to ever come out of Canada, This film opened the Toronto Film Festival in 1997, Winner of the 'Best Indie Film Award Toronto'. Europe premier was at the prestigious HOF film fest in Germany. U.S.A. premier U.S. Comedy Festival Aspen 1999. More information available at www.kennyhotz.com

An hilariously accurate caricature of trying to sell a script. Documentary hits all the beats, plot points, character arcs, seductions, moments of elation and disappointments and the allure but insane prospect of selling a script or getting an agent in Hollywood;and all the fleeting, fantasy-realizing but ultimately empty rites of passage attendant to being socialized into "the system." Hotz and Rice capture the moment of thinking you're finally a player, only to find that what goes up comes down fast and in a blind-siding fashion;that for inexplicable reasons, Hollywood has moved on and left you checking your heart, your dreams, and your pockets. Pitch is a must-see for students in film school to taste the mind and ego-bashing gantlet that is, for most, the road that must be traveled to sell oneself and one's projects in Hollywood. If your teacher or guru has never been there, they can't tell you what you need to prepare for this gantlet. To enter the"biz," talent is necessary but far from sufficient

I really enjoyed this documentary about Kenny and Spencer's attempt to pitch "The Dawn". Was a great look at how outsiders try to get to the inside to make it big. <br /><br />The story was put together well and organized in an interesting manner that made the film flow well. Certainly worth a watch. My only complaint is that their appeared to be no closure. Perhaps that is part of the point. We expect it but in reality that is not what happened (or usually happens).<br /><br />The film is also a great way to see the personality of Kenny and Spencer outside of their Canadian television show. You can see a bit of what is yet to come. <br /><br />I look forward to a chance to see The Papal Chase.

The arrival of vast waves of white settlers in the 1800s and their conflict with the Native American residents of the prairies spelled the end for the buffalo... <br /><br />The commercial killers, however, weren't the only ones shooting bison... Train companies offered tourist the chance to shoot buffalo from the windows of their coaches... There were even buffalo killing contests... "Buffalo" Bill Cody killed thousands of buffalo... Some U. S. government officers even promoted the destruction of the bison herds... The buffalo nation was destroyed by greed and uncontrolled hunting... Few visionaries are working today to rebuild the once-great bison herds... <br /><br />"The Last Hunt" holds one of Robert Taylor's most interesting and complex performances and for once succeeded in disregarding the theory that no audience would accept Taylor as a heavy guy...<br /><br />His characterization of a sadistic buffalo hunter, who kills only for pleasure, had its potential: The will to do harm to another... <br /><br />When he is joined by his fellow buffalo stalker (Stewart Granger) it is evident that these two contrasted characters, with opposite ideas, will clash violently very soon...<br /><br />Taylor's shooting spree was not limited to wild beasts... He also enjoy killing Indians who steal his horses... He even tries to romance a beautiful squaw (Debra Paget) who shows less than generous to his needs and comfort...<br /><br />Among others buffalo hunters are Lloyd Nolan, outstanding as a drunken buffalo skinner; Russ Tamblyn as a half-breed; and Constance Ford as the dance-hall girl... But Taylor steals the show... Richard Brooks captures (in CinemaScope and Technicolor) distant view of Buffalos grazing upon the prairie as the slaughter of these noble animals...<br /><br />The film is a terse, brutish outdoor Western with something to say about old Western myths and a famous climax in which the bad guy freezes to death while waiting all night to gun down the hero...

Have no illusions, this IS a morality story. Granger is the troubled ex-buffalo hunter, tempted back to the plains one more time by kill-crazed Taylor. Granger can see the end is near, and feels deeply for the cost of the hunt-on the herds, the Indians and the land itself. Taylor, on the other hand admittedly equates killing buffalo, or Indians to 'being with a woman.' While Granger's role of the tortured hunter is superb, it's Taylor who steals the show, as the demented, immoral 'everyman' out for the fast buck and the goodtimes. There's not a lot of bang-bang here, but the story moves along quickly, and we are treated to a fine character performance by Nolan. The theme of this story is just as poignant today, as in the 1800s-man's relationship to the land and what's on it, and racism. Considering when this was made, the Censors must have been wringing their hankies during the scenes in the 'bawdy house', Taylor's relationship with the squaw, and much of the dialogue. Although downbeat, this is truly a great western picture.

This is the most compelling and excellent performance that Robert Taylor ever gave. It even surpasses his wonderful performance as "Johnny Eager" coming a full 14 years after that film. His looks are still a wonder to see, but he has a maturity now that gives him the edge in this gritty, violent role. Charlie Gilson (Taylor) is the last of his breed, a buffalo hunter who kills not for the money but for the pleasure. His wild eyed killing of not only buffalo but human beings, is stunning to watch. He is basically a lonely man, needing the people around him, but they dislike him because of his sociopath behavior. His partner is Sandy McKenzie (Stewart Granger) who is sick of the hunt, and only goes along, because he is a failure at anything else. Along the way Charlie kills a family of Indians and captures the beautiful Debra Pagent. Charlie tries to seduce her to no avail, but sees that Sandy is interested in her also. Granger is kind of sad to watch, so fed up with the hunt, longing to go away with the girl and her baby. Lloyd Nolan as the drunken skinner is wonderful with his wise cracks and accordian playing. Russ Tamblyn plays the half breed trying to fit in a white world. The group is an odd mix of good and evil, young and old. In the end Taylor gets spooked by the buffalo, as many hunters before him had, and runs off leaving Sandy with the girl. Upon his return, that night Sandy leaves with the woman, setting Charlie off on a rampage of killing in a quest to get Sandy and have the girl for himself. The final confrontation comes in a snow storm and the last scene is so shocking that you will never forget it. It is Taylor's film all the way and he was truly a much underrated actor of the era.

Like most other reviewers I have first seen this movie (on TV, never on the big screen), when I was a teenager. My Dad has always regarded this film highly and recommended it to me then, and I must say he was not only right, but this movie has stayed with me forever in the more than 2 decades since I saw it first time. I have seen it two or three more times since then (just a few days ago I gave it another watch) and it has not lost anything of its impact with time. It still a great and well worth to be seen movie! Manr regard Peckinpah's RIDE THE HIGH COUNTRY as one of the first and best later western, which had a realistic look at life in the old west, but the hardly known LAST HUNT is definitely the better movie and was even half a dozen years earlier. Actually it was probably 3 decades ahead of its time, or maybe it still is ...<br /><br />Although thinking hard and having certainly seen 100s of western (I like this genre) I can not remember any western as bleak and depressive as this one. Two men bound together, partly by hate, partly by not seeming to have other choices, surrounded by beautiful Ms. Padget, a crippled old man and a young Inian, leading the life of buffalo-killers until fate reaches out for one of them.<br /><br />Nobody who has ever seen this movie will be able to forget its ending and the last frames of this gem. When the camera moves on and away from Mr. Taylor a white buffalo skin comes into sight (on a tree)and echos from the past, when all the hatred began, are present again. Mr. Taylor has got his buffalo, but in the end the buffalo got him. <br /><br />Aside from the top performances of everybody involved, the intelligent script and the great dialogue, it should also be mentioned, that THE LAST HUNT is superbly photograped, I have seldomely seen a western that well shot (aside from the ones directed by Anthony Mann, which are also all superbly photographed), that all the locations are cleverly chosen and that even the soundtrack fits the picture very well.<br /><br />And director BROOKS is really a superb storyteller. Master craftsmanship!He has made quite a couple of really great movies and was successful in nearly every imaginable genre, but even in an as prolific career as this one, THE LAST HUNT still shines as one of his best, if not his best.<br /><br />Definitely would deserve a higher rating, compared to the 7-something RIDE THE HIGH COUNTRY enjoys.

I just watched this movie, by mistake. What a little gem. This film made in 1956 looks, and feels, like a late Seventies movie. And is in fact better, more restrained and correct than, say, Blue Soldier. The environmental, anthropological undertones are way ahead of its time. The understated cinematography is superb and terribly realistic. Much more than Dances with Wolves, The Last Hunt manages to convey the look and feel of the buffalo "killing fields" of the late 1800s. Probably because those in the movie were real killing fields. The movie was shot during legal forestry directed buffalo culls, so the animals you see are really being shot, the bones are real. In conclusion, a very under-rated western masterpiece, superbly acted, directed and shot.

I had watched several days film shooting of this movie that summer,the end result was just two scenes in the movie. The location was Sylvan Lake in the Black Hills. Bring the wagon,stop the wagon etc . So this Dakota youth looked forward to seeing the movie and was not disappointed. The local buffalo herd was being culled so the shooting scenes were for real. (yes Doris, animals were hurt during filming) I think the ending was copied by Jack Nicholson in the Shining? A great western/social comment from the 50's. This should be in the same class as High Noon for real western drama or used as a social statement like Blackboard Jungle or Rebel Without A Cause was for 50's youth.

I saw this film about twenty years ago on the late show. I still vividly remember the film, especially the performance of Robert Taylor. I always thought Taylor was underrated as an actor as most critics saw him as solid, almost dull leading man type, and women simply loved to watch his films because of his looks. This film, however, proved what an interesting actor he could be. He did not get enough roles like this during his long career. This is his best performance. He is totally believable in a truly villainous role. From what I have read, he was a very hardworking and easy going guy in real life and never fought enough for these kind of roles. He basically would just do what MGM gave him. This film proves that he could have handled more diverse and difficult roles. The other thing I remember about this film is how annoying Lloyd Nolan's character was. Nolan was a great actor, but this character really aggravated me. The last scene of the film has stuck with me for all of these years. This film is definitely worth a look.

The film largely focuses on a bullying Robert Taylor as a ruthless buffalo hunter and the people who have to put up with him. Set amidst a hunt for dwindling numbers of buffalo, it portrays the end of a tragic era of senseless slaughter and is full of drama and remorse for both the buffalo and the Native Americans. Taylor is blinded by his hatred of Indians and his naivete that the buffalo herds will never disappear. In one scene, he shoots animal after animal, while in another he murders Indians and then eats the food they had cooking on their fire. Under this ruthless exterior lies an insecure person who is reduced to begging his comrades (Stewart Granger, Lloyd Nolan, and Russ Tamblyn) not to leave him. It's not the most pleasant of films and is weighed down by the drama it creates, leading to a dismal and very fitting conclusion in a blizzard.

The memory of the "The Last Hunt" has stuck with me since I saw it in 1956 when I was 13. It is a movie that was far ahead of others at the time in that it addressed the treatment of the natives, the environment, and the ever present contrast between the short and long term effects of greed. It is as relevant today as in 1956, a cinemagraphic discussion of utmost depth and relevance. To top it off the setting is beautiful and the cinematography excellent. The memory of this movie will be with me to the end of my days.

Richard Brooks' The Last Hunt was a film star Stewart Granger couldn't even stand to hear mentioned – he even tore up a vintage poster for the film when presented it for signing in his later years – but then the director did run off with his wife, so it's understandable. For anyone else this is one of the best of the adult Westerns of the 50s, and years ahead of its time in its attitude to the environment.<br /><br />In many ways it plays almost like a sequel to one of Anthony Mann's Westerns that see their heroes dragged to their redemption kicking and screaming against it every step in the way. Here Granger's legendary buffalo hunter has already seen the light but, after a buffalo stampede costs him his herd of cattle in a fit of poetic justice, he's dragged back into the darkness by Robert Taylor's callous and proudly racist gunslinger, justifying it on the grounds that "I've already got the guilty conscience. I might as well have the money as well." Raised by Indians, he's fully aware of the damage he's doing as the disappearing buffalo heads for extinction, and he gradually becomes almost as consumed with self-loathing as Taylor is with hate. When the two men fall out over Debra Paget's squaw – the sole survivor of a band of Indians Taylor kills – and a white buffalo hide that's priceless to the hunters and the Indians for very different reasons, a showdown becomes inevitable, though the outcome certainly isn't.<br /><br />Taylor's is certainly ironic casting – it was Granger turning down many of the epic roles MGM developed for him in films like Quo Vadis and Ivanhoe that gave Taylor his 50s comeback after years of steady decline. His hair color may not convince but his performance does, a shallow and violent man so consumed with hate that he doesn't wear a gun, the gun wears him. Granger's accent isn't always convincing, but he makes a good quiet hero in the Jimmy Stewart mold, trying to keep hold of his newfound decency and reconcile his actions with his beliefs before finally getting a chance to make amends. Russ Tamblyn's halfbreed skinner and Lloyd Nolan's one-legged old-timer also give as good as they get, but the real star is the script: tightly plotted with an excellent eye and ear for character – not to mention an ending Stanley Kubrick borrowed for The Shining – it balances historical revisionism with entertaining drama without ever selling either short. The new French DVD is extras-free but does boast a 2.35:1 transfer with an English soundtrack.

Robert Taylor as the mad buffalo hunter Charlie Gilson is the main character in this film. At the beginning I was thinking that Charlie would end up redeeming himself like John Wayne in The Searchers or James Stewart in The Naked Spur. But as the film goes along Gilson keeps doing more atrocities until you realize there is no hope for him. Stewart Granger is Sandy McKenzie, who wants to stop hunting because he realizes that the buffaloes will soon be gone and he becomes disgusted by the act of killing. Gilson is a natural killer who makes no distinction between animals or human beings. Debra Paget as the Indian girl is a surprising character considering the self imposed censorship of that time. She lies with Gilson in total resignation even though she hates him. The last scene of a frozen Gilson, is unforgettable.

For some reason, this film has never turned up in its original language in my neck of the woods (despite owning the TCM UK Cable channel, which broadcasts scores of MGM titles week in week out). More disappointingly, it's still M.I.A. on DVD – even from Warners' recently-announced "Western Classics Collection" Box Set (which does include 3 other Robert Taylor genre efforts); maybe, they're saving it for an eventual "Signature Collection" devoted to this stalwart of MGM, which may be coming next year in time for the 40th anniversary of his passing… <br /><br />I say this because the film allows him a rare villainous role as a selfish Westerner with a fanatical hatred of Indians and who opts to exploit his expert marksmanship by making some easy money hunting buffaloes; an opening statement offers the alarming statistic that the population of this species was reduced from 60,000,000 to 3,000 in the space of just 30 years! As an associate, Taylor picks on former professional of the trade Stewart Granger – who rallies alcoholic, peg-legged Lloyd Nolan (who continually taunts the irascible and vindictive Taylor) and teenage half-breed Russ Tamblyn to this end. As expected, the company's relationship is a shaky one – reminiscent of that at the centre of Anthony Mann's THE NAKED SPUR (1953), another bleak open-air MGM Western. The film, in fact, ably approximates the flavor and toughness of Mann's work in this field (despite being writer/director Brooks' first of just a handful of such outings but which, cumulatively, exhibited a remarkable diversity); here, too, the narrative throws in a female presence (Debra Paget, also a half-breed) to be contended between the two rugged leads – and Granger, like the James Stewart of THE NAKED SPUR, returns to his job only grudgingly (his remorse at having to kill buffaloes for mere sport and profit is effectively realized).<br /><br />The latter also suffers in seeing Taylor take Paget for himself – she bravely but coldly endures his approaches, while secretly craving for Granger – and lets out his frustration on the locals at a bar while drunk! Taylor, himself, doesn't come out unscathed from the deal: like the protagonist of THE TREASURE OF THE SIERRA MADRE (1948), he becomes diffident and jealous of his associates, especially with respect to a rare – and, therefore, precious – hide of a white buffalo they've caught; he even goes buffalo-crazy at one point (as Nolan had predicted), becoming deluded into taking the rumble of thunder for the hooves of an approaching mass of the species! The hunting scenes themselves are impressive – buffaloes stampeding, tumbling to the ground when hit, the endless line-up of the day's catch, and the carcasses which subsequently infest the meadows. The film's atypical but memorable denouement, then, is justly famous: with Winter in full swing, a now-paranoid Taylor out for Granger's blood lies in wait outside a cave (in which the latter and Paget have taken refuge) to shoot him; when Granger emerges the next morning, he discovers Taylor in a hunched position – frozen to death! <br /><br />Incidentally, my father owns a copy of the hefty source novel of this (by Milton Lott) from the time of the film's original release: actually, he has collected a vast number of such editions – it is, after all, a practice still in vogue – where a book is re-issued to promote its cinematic adaptation. Likewise for the record, Taylor and Granger – who work very well off each other here – had already been teamed (as sibling whale hunters!) in the seafaring adventure ALL THE BROTHERS WERE VALIANT (1953)…which, curiously enough, is just as difficult to see (in fact, even more so, considering that it's not even been shown on Italian TV for what seems like ages)!!

The Last Hunt is one of the few westerns ever made to deal with Buffalo hunting, both as a sport and business and as a method of winning the plains Indian wars. Before the white man set foot on the other side of the Mississippi, the plains used to have herds of American Bison as large as some of our largest cities. By the time of the period The Last Hunt is set in, the buffalo had been all but wiped out. The 20th century, due to the efforts of conservationists, saw a revival in population of the species, but not hardly like it once was.<br /><br />Robert Taylor and Stewart Granger are co-starring in a second film together and this one is far superior to All the Brothers Were Valiant. Here Stewart Granger is the good guy, a world weary buffalo hunter, who has to go back to a job he hates because of financial considerations.<br /><br />The partner he's chosen to throw in with is Robert Taylor. Forgetting Taylor for the moment, I doubt if there's ever been a meaner, nastier soul than Charlie Gilsen who Taylor portrays. In Devil's Doorway he was an American Indian fighting against the prejudice stirred up by a racist played by Louis Calhern. In The Last Hunt, he's the racist here. He kills both buffalo and Indians for pure pleasure. He kills one Indian family when they steal his mules and takes the widow of one captive. Like some barbarian conqueror he expects the pleasure of Debra Paget's sexual favors. He's actually mad when Paget doesn't see it that way.<br /><br />No matter how often they refer to Russ Tamblyn as a halfbreed, I was never really convinced he was any part Indian. It's the only weakness I found in The Last Hunt.<br /><br />However Lloyd Nolan, the grizzled old buffalo skinner Taylor and Granger bring along is just great. Nolan steals every scene he's in with the cast. <br /><br />For those who like their westerns real, who want to see a side of Robert Taylor never seen on screen, and who don't like cheap heroics, The Last Hunt is the ideal hunt.

I was initially dubious about this movie (merely because of the subject), but the richly drawn characters, the fabulous scenes of the buffalo hunt, and the dramatic conclusion make it well-worth watching. I initially had trouble distinguishing between the two buffalo hunters but as the movie progressed they increasingly distinguished themselves. I am still haunted by the final scene.

The Last Hunt is the forgotten Hollywood classic western. The theme of genocide via buffalo slaughter is present in other films but never so savagely. Robert Taylor's against-type role as the possessed buffalo and Indian killer is his finest performance.<br /><br />In the 1950s, your mom dropped you and your friends off at the Saterday matinée, usually featuring a western or comedy. But it was wrong then and now to let a youngster watch psycho-dramas like The Searchers and The Last Hunt. Let the kids wait a few years before exposing them to films with repressed sexual sadism and intense racial hatred.<br /><br />Why did Mom fail to censor these films? Because they featured "safe" Hollywood stars like Taylor and John Wayne. But the climatic scene in The Last Hunt is as horrifying as Vincent Price's mutation in The Fly.<br /><br />The mythology of the white buffalo, part of the texture of this movie, was later ripped-off by other movies including The White Buffalo, starring Charles Bronson as Wild Bill Hickock. The laugh here is that Bronson used to play Indians.<br /><br />Today a large remnant bison herd resides in Yellowstone National Park in Wyoming. In the winter, hunger forces surplus animals out of the park into Montana, where they are sometimes harvested by Idaho's Nez Perce Indians under a US treaty right that pre-dates the Lincoln Presidency. Linclon signed the Congressional act which authorized the continental railroad and started the buffalo slaughter.

A lot of talk has been made about "psychological Westerns", but this is one of the very few that is truly in that genre. It has big name stars who perform very well, but it is the director who makes this such a good movie. Stewart Granger loses his British safari hunter stereotype to play a haggard retired buffalo hunter who is revered in the West as one of the best. Robert Taylor plays the upstart (in contrast to the usual young upstart, Taylor's character is middle aged, too), who wants to slaughter buffalo, and lures Granger into business with him. They hire two other big name actors, Lloyd Nolan and Russ Tamblyn, into being their skinners. Granger is haunted by the buffalo he has killed, knowing that he may be to blame if they become extinct, knowing if they become extinct, the Native American way of life will greatly suffer. Taylor soon reveals a sadistic side, but it is a realistic saidism, unlike the one dimensional sadists of modern film, created by nerds and dorks. He is insecure, and needs human companionship. Still, he won't stop at murder. The end pits the two against each other, with a startling conclusion. The psychological effects of what they're doing are well depicted.

Robert Taylor and Stewart Granger switch the goodie-baddie roles they held in "All the brothers were valiant". Taylor seems a bit uncomfortable in his bad-guy role but Granger plays his part perfectly. However the real hero in the story are the bison and the northwest. The film is perfectly made, with the atmosphere of the times wonderfully given. The direction is taut and although the film is no light-hearted entertainment it is, to my way of thinking a major film, unjustly ignored by the cognoscenti.

Some time in the late 19th century, somewhere in the American West, several cowboys in need of money go on a buffalo hunt. The group's leader believes that buffaloes are too numerous for the hunting to have any impact, but the more experienced hunter has seen how quickly the population can collapse, and he isn't so sure. Featuring buffalo herds living in South Dakota and showing film of actual hunting (the movie's introduction explains it as necessary thinning of the herd), the movie does an excellent job of presenting us with the plight of the buffalo and its effect on Native Americans without ever getting preachy about it.<br /><br />The real story, however, is about the dysfunctional family which is created by the small group formed to do the hunting. The father figure is Charlie, a violent man with a short fuse. Sandy, his "brother", is the experienced hunter who is tired of killing but needs the job after losing his cattle. A half-Indian boy, who hates the fact that he looks entirely Caucasian, takes the role of adopted son. The grandfather (and moral compass) is an alcoholic buffalo skinner; Charlie's "wife" is an Indian woman whose companions he killed after they stole his horses.<br /><br />Charlie is clearly the most interesting figure. He is mean and insulting towards everyone around him, yet at the same time he knows that they are the only family and friends that he has. He expects the abducted Indian women to hate him, then accept him, but he doesn't know how to react when she refuses to do either. He's the one who put the family together in the first place, but he's also the one who is fated to ultimately destroy it.<br /><br />This is all very similar to the classic "Red River", which also features a family of sorts being torn apart by the increasingly violent and alienated father figure. As one might expect, this movie suffers by comparison. The plot is not as focused on developing the characters and family dynamics, and the direction fails to keep all of the scenes working towards this common goal. Charlie is so thoroughly unlikable from the very beginning that we never have any reason to care about what happens to him or his family. On the positive side, however, the message surrounding the buffalo slaughter adds an extra dimension to the film and its conclusion is far superior to the Hollywood ending which was tacked on to the end of "Red River". As a result, "The Last Hunt" is an interesting and entertaining film, very well made, but falling short of what would be needed to consider it a classic.

A man readjusts to life alone after 45 years of marriage. He also has to solve the problem of the family milch cow, Tulip, which refuses to allow itself to be milked. Until, that is, he visualizes his wife who was the one who used to milk Tulip.<br /><br />Tulip is based on a real story told in Griffith's family, of her grandparents' generation. The film is a nostalgic look back at a disappearing way of life, one where people still felt some sense of responsibility for each other, set in the lush green Victorian (the Australian state, not the era) countryside.<br /><br />Writer and director Griffiths evidently has further ambitions in both areas, and this multiple award-winning 15-minute short is a fine beginning to her reel.

I hope she can keep acting and directing. She's surely up to the task and could easily develop that visionary streak into a long career of unconventional and rare works of art. Her work has a rare kind of generosity and her timing is spot-on! Oy I'm kvell

Rachel Griffiths writes and directs this award winning short film. A heartwarming story about coping with grief and cherishing the memory of those we've loved and lost. Although, only 15 minutes long, Griffiths manages to capture so much emotion and truth onto film in the short space of time. Bud Tingwell gives a touching performance as Will, a widower struggling to cope with his wife's death. Will is confronted by the harsh reality of loneliness and helplessness as he proceeds to take care of Ruth's pet cow, Tulip. The film displays the grief and responsibility one feels for those they have loved and lost. Good cinematography, great direction, and superbly acted. It will bring tears to all those who have lost a loved one, and survived.

"Tulip" is on the "Australian All Shorts" video from "Tribe First Rites" showcasing the talents of first time directors.<br /><br />I wish more scripts had such excellent dialogue.<br /><br />I hope Rachel Griffiths has more stories to tell, she does it so well.

Many people know how it feels when a loved one is lost. The feelings of pain, grief and sorrow can be unbearable. However, sometimes it is the memories they leave behind that trigger the saddest emotions. This theme is superbly portrayed in the short film 'Tulip', directed by the award winning Australian actress, Rachel Griffths. Described as a movie 'as much about memories as it is about love', a string of sensitivity and sentimentality is expertly threaded into this triumphant 15 minute film.<br /><br />'Tulip' is a beautifully wrought, touching and heart-warming story of a man's journey in coming to terms with the loss of his wife through the relationship he shares with a very special animal, 'Tulip'. The film opens with a rising dawn, the chirping of birds and a vast landscape, introducing the sense of rustic harmony present throughout the film. A soft music plays, marking the entrance of Ruth (Jean Bain). She wears a flowered dress and apron with a sun hat on her head. She gently pets Tulip, caressing her ears and patting her back. The furnishing of the house is impressive and the attention to detail is creditable (a vase of tulips can be seen on the bench), reflecting the peaceful rural community. Will (Charles 'Bud' Tingwell) greets Ruth as she is spooning the milk from the bucket. They pour the milk and coffee together, a sign of companionship and teamwork. Not a word is said but it is obvious that their relationship is close and affectionate; they paint a perfect picture of happiness.<br /><br />Sadly, happiness doesn't last forever. The tragic passing of Ruth affects Will deeply. An effective scene of fading cars highlights Will's isolation and vulnerability at the end of the day of the funeral. Soon he sinks into depression and becomes oblivious to his surroundings when everything seems hopeless and lost. At Will's moment of despair, Tulip becomes the symbol of Ruth, the genuine connection Will has with his late wife. It was through Tulip that Will learns to cope with the absence of Ruth and overcome the heartrending feelings of loneliness.<br /><br />Each of the characters is realistically and solidly portrayed, especially the part of Will. Charles 'Bud' Tingwell brings the character to life through personal investment. The recent loss of his own wife (Audrey Tingwell) is effectively reflected in his acting. Every sag of his shoulder and every frown on his brow make the viewer empathize strongly with the character. The character of Ruth is wonderfully carried out by Jean Bain. Although Ruth does not say a single word throughout the movie, her sweet personality and loving relationship with Will are obvious. Lois Ramsey and Kati Edwards give delightful performances in supporting roles as the friendly Margaret and Mary. They also add a subtle humor to the bittersweet story.<br /><br />An anecdote from Griffths' childhood, the story of loss and discovery is remarkably captured in 'Tulip'. Beautifully shot and superbly acted, this film will surely make you misty eyed, triumphant or feel like drinking a cup of milk.

This might be the WWE's 2nd best PPV of the year after Wrestlemania it was a good suprise! John Cena had an excellent match in which he upset Chris Jericho. Jeff Hardy retained his IC title in a short sloppy match with Willam Regal. Bubba & Spike Dudley won a fairly violent tables match over Benoit & Guerrero. Jamie Noble had a really good match with Kidman which was suprising to me. Booker T defeated The Big Show in a no dq match, at one point Booker T gave the scissors kick to Big Show and sent him right through the table. In a stupid decision by the WWE Christian and Lance Storm, the jealous anti-americans defeated Hogan and Edge with a lot of help from Test and Jericho. RVD and Brock had the match of the night it was filled with great high spots and RVD got to retain his ic title through a DQ so I was happy he kept the title. Triple H also signed with Eric Bischoff and Raw which means little to nothing. And in the main event the Rock became the first ever 7-time WWE world champion defeating both Kurt Angle & Undertaker in a triple threat match. Overall this is probably the WWE's 2nd best PPV of 2002! 7/10

I have seen a lot of PPV's in the past but this is the most entertaining, intense PPV and the most complete DVD i have ever seen. The DVD extras are worth it because they it gives a different view of how the wrestlers act after the show (such as the chris benoit interview/edge interview), some glimpse into the Monday Night Wars era,the first match of Hogan winning tag title gold and some promotional talk. Additionally there is a good music video.<br /><br />1. Tag Team Table match: Bubby Ray and Spike Dudley vs. Eddie Guerro and Chris benoit 7/10 This was a pretty good intense match to start off the show. Not too many holds and just pure raw physicallity. Spike can hold his own in tables matches and Guerro and Benoit gave good pure wrestling skills on the mat. <br /><br />2. WWE Crusierweight championship: Jamie Noble w/ Nidia v. Billy Kidman 3/10 The crowd really didn't care about either wrestler and didn't get interested until Kidman did a shooting star press. Usually people expect a lot of high flying in a cruiser weight championship, but this had very little. In fact it was so bad that when Noble hit his finisher, no one even cared or knew (you can tell by the lack of camera's flashing). The ending was quick though. <br /><br />3. WWE European Championship: Jeff hardy v. William Regal 5/10 I've never really liked regal as a wrestler, he lacks intensity and style. Hardy was impressive but really didn't get a chance to show off his high flying act, although he still performed some good counters and added that needed fast pace to the match. It ended off quickly which was perfect for this match. <br /><br />4. John Cena v. Chris Jericho 6/10 It's funny looking back at Cena's very first PPV, how he used to act, how he used to dress, and how he used to look (watch his interview, it's pretty funny). This was a good intense match with Cena showing a nice variety of holds, suplexes, counters and some aerial. Jericho was sub-par but definitely helped Cena launch his career. Cena Wins.<br /><br />5. WWE Intercontenital championship: RVD v. Brock Lesnar 8/10 This was a very intense and good match. Both wrestlers styles really matched up well on the screen, with Brocks pure power and raw energy vs. RVDs skill full moves and quickness. RVD looked great in this match (better than his later matches with edge and cena)and the entire match was fast pace. The ending worked perfectly because it still preserved Brock's undefeated streak while giving RVD his just desserts in his home state.<br /><br />6. No disqualification match: Booker T v. Big Show 7/10 Another solid match that lacked a certain intensity as the RVD match but still a good follow up. Although it started off kinda slow (which it always is with big show) Booker T was impressive and did a sick move on the announcers table. The finisher was awesome, the ending was a great upset and big move up for Booker T.<br /><br />7. WWE Tag Team Championship: Hogan and Edge v. Christian and Lance storm 5/10 This was a mediocre match. Hogan comes out like usual to a huge pop but his variety of moves lacks that intensity and energy. Then again Christian doesn't exactly have the greatest athletic abilities himself. This ended up being a mediocre match at best but was still OK for PPV. <br /><br />8. Triple Threat Match for the Undisputed Championship: 10/10. Rock v. Undertaker v. Kurt Angle.<br /><br />Easily the match of the year. This is by far the best triple threat match i have ever seen. It had close falls, plenty of finishers, stolen finishers, raw energy, intensity and fast pace. No one could predict who would come out of this one. If your going to buy this DVD i would buy it strictly for this match. (ending? watch for yourself!)<br /><br />Overall this was a solid PPV with plenty of extra goodies to keep you watching again and again. Although this is hard to find (i had to pay a little more than usual for this DVD) it is definitely worth your money.

Firstly let me say that I didn't like the fact that The Rock won the title that is so gay. Next I feel Regal should have got back his European title, Jeff Hardy is a crappy champ. Rob Van Dam had the Intercontinental title too long already Brock should have won it. I am pleased with Storm and Christian being tag champs, best match was the Booker T and Big Show match in my opinion.

Match 1: Tag Team Table Match Bubba Ray and Spike Dudley vs Eddie Guerrero and Chris Benoit Bubba Ray and Spike Dudley started things off with a Tag Team Table Match against Eddie Guerrero and Chris Benoit. According to the rules of the match, both opponents have to go through tables in order to get the win. Benoit and Guerrero heated up early on by taking turns hammering first Spike and then Bubba Ray. A German suplex by Benoit to Bubba took the wind out of the Dudley brother. Spike tried to help his brother, but the referee restrained him while Benoit and Guerrero ganged up on him in the corner. With Benoit stomping away on Bubba, Guerrero set up a table outside. Spike dashed into the ring and somersaulted over the top rope onto Guerrero on the outside! After recovering and taking care of Spike, Guerrero slipped a table into the ring and helped the Wolverine set it up. The tandem then set up for a double superplex from the middle rope which would have put Bubba through the table, but Spike knocked the table over right before his brother came crashing down! Guerrero and Benoit propped another table in the corner and tried to Irish Whip Spike through it, but Bubba dashed in and blocked his brother. Bubba caught fire and lifted both opponents into back body drops! Bubba slammed Guerrero and Spike stomped on the Wolverine from off the top rope. Bubba held Benoit at bay for Spike to soar into the Wassup! headbutt! Shortly after, Benoit latched Spike in the Crossface, but the match continued even after Spike tapped out. Bubba came to his brother's rescue and managed to sprawl Benoit on a table. Bubba leapt from the middle rope, but Benoit moved and sent Bubba crashing through the wood! But because his opponents didn't force him through the table, Bubba was allowed to stay in the match. The first man was eliminated shortly after, though, as Spike put Eddie through a table with a Dudley Dawg from the ring apron to the outside! Benoit put Spike through a table moments later to even the score. Within seconds, Bubba nailed a Bubba Bomb that put Benoit through a table and gave the Dudleys the win! Winner: Bubba Ray and Spike Dudley<br /><br />Match 2: Cruiserweight Championship Jamie Noble vs Billy Kidman Billy Kidman challenged Jamie Noble, who brought Nidia with him to the ring, for the Cruiserweight Championship. Noble and Kidman locked up and tumbled over the ring, but raced back inside and grappled some more. When Kidman thwarted all Noble's moves, Noble fled outside the ring where Nidia gave him some encouragement. The fight spread outside the ring and Noble threw his girlfriend into the challenger. Kidman tossed Nidia aside but was taken down with a modified arm bar. Noble continued to attack Kidman's injured arm back in the ring. Kidman's injured harm hampered his offense, but he continued to battle hard. Noble tried to put Kidman away with a powerbomb but the challenger countered into a facebuster. Kidman went to finish things with a Shooting Star Press, but Noble broke up the attempt. Kidman went for the Shooting Star Press again, but this time Noble just rolled out of harm's way. Noble flipped Kidman into a power bomb soon after and got the pin to retain his WWE Cruiserweight Championship! Winner: Jamie Noble<br /><br />Match 3: European Championship William Regal vs Jeff Hardy William Regal took on Jeff Hardy next in an attempt to win back the European Championship. Jeff catapulted Regal over the top rope then took him down with a hurracanrana off the ring apron. Back in the ring, Jeff hit the Whisper in the wind to knock Regal for a loop. Jeff went for the Swanton Bomb, but Regal got his knees up to hit Jeff with a devastating shot. Jeff managed to surprise Regal with a quick rollup though and got the pin to keep the European Championship! Regal started bawling at seeing Hardy celebrate on his way back up the ramp. Winner: Jeff Hardy<br /><br />Match 4: Chris Jericho vs John Cena Chris Jericho had promised to end John Cena's career in their match at Vengeance, which came up next. Jericho tried to teach Cena a lesson as their match began by suplexing him to the mat. Jericho continued to knock Cena around the ring until his cockiness got the better of him. While on the top rope, Jericho began to showboat and allowed Cena to grab him for a superplex! Cena followed with a tilt-a-whirl slam but was taken down with a nasty dropkick to the gut. The rookie recovered and hit a belly to belly suplex but couldn't put Y2J away. Jericho launched into the Lionsault but Cena dodged the move. Jericho nailed a bulldog and then connected on the Lionsault, but did not go for the cover. He goaded Cena to his feet so he could put on the Walls of Jericho. Cena had other ideas, reversing the move into a pin attempt and getting the 1-2-3! Jericho went berserk after the match. Winner: John Cena<br /><br />Match 5: Intercontinental Championship RVD vs Brock Lesnar via disqualification The Next Big Thing and Mr. Pay-Per-View tangled with the Intercontinental Championship on the line. Brock grabbed the title from the ref and draped it over his shoulder momentarily while glaring at RVD. Van Dam 's quickness gave Brock fits early on. The big man rolled out of the ring and kicked the steel steps out of frustration. Brock pulled himself together and began to take charge. With Paul Heyman beaming at ringside, Brock slammed RVD to the hard floor outside the ring. From there, Brock began to overpower RVD, throwing him with ease over the top rope. RVD landed painfully on his back, then had to suffer from having his spine cracked against the steel ring steps. The fight returned to the ring with Brock squeezing RVD around the ribs. RVD broke away and soon after leveled Brock with a kick to the temple. RVD followed with the Rolling Thunder but Brock managed to kick out after a two-count. The fight looked like it might be over soon as RVD went for a Five-Star Frog Splash. Brock, though, hoisted Van Dam onto his shoulder and went for the F-5, but RVD whirled Brock into a DDT and followed with the Frog Splash! He went for the pin, but Heyman pulled the ref from the ring! The ref immediately called for a disqualification and soon traded blows with Heyman! After, RVD leapt onto Brock from the top rope and then threatened to hit the Van Terminator! Heyman grabbed RVD's leg and Brock picked up the champ and this time connected with the F-5 onto a steel chair! Winner: RVD<br /><br />Match 6: Booker T vs the Big Show Booker T faced the Big Show one-on-one next. Show withstood Booker T's kicks and punches and slapped Booker into the corner. After being thrown from the ring, Booker picked up a chair at ringside, but Big Show punched it back into Booker's face. Booker tried to get back into the game by choking Show with a camera cable at ringside. Booker smashed a TV monitor from the Spanish announcers' position into Show's skull, then delivered a scissors kick that put both men through the table! Booker crawled back into the ring and Big Show staggered in moments later. Show grabbed Booker's throat but was met by a low blow and a kick to the face. Booker climbed the top rope and nailed a somersaulting leg drop to get the pin! Winner: Booker T<br /><br />Announcement: Triple H entered the ring to a thunderous ovation as fans hoped to learn where The Game would end up competing. Before he could speak, Eric Bishoff stopped The Game to apologize for getting involved in his personal business. If Triple H signed with RAW, Bischoff promised his personal life would never come into play again. Bischoff said he's spent the past two years networking in Hollywood. He said everyone was looking for the next breakout WWE Superstar, and they were all talking about Triple H. Bischoff guaranteed that if Triple H signed with RAW, he'd be getting top opportunities coming his way. Stephanie McMahon stepped out to issue her own pitch. She said that because of her personal history with Triple H, the two of them know each other very well. She said the two of them were once unstoppable and they can be again. Bischoff cut her off and begged her to stop. Stephanie cited that Triple H once told her how Bischoff said Triple H had no talent and no charisma. Bischoff said he was young at the time and didn't know what he had, but he still has a lot more experience that Stephanie. The two continued to bicker back and forth, until Triple H stepped up with his microphone. The Game said it would be easy to say "screw you" to either one of them. Triple H went to shake Bischoff's hand, but pulled it away. He said he would rather go with the devil he knows, rather than the one he doesn't know. Before he could go any further, though, Shawn Michaels came out to shake things up. HBK said the last thing he wanted to do was cause any trouble. He didn't want to get involved, but he remembered pledging to bring Triple H to the nWo. HBK said there's nobody in the world that Triple H is better friends with. HBK told his friend to imagine the two back together again, making Bischoff's life a living hell. Triple H said that was a tempting offer. He then turned and hugged HBK, making official his switch to RAW! Triple H and HBK left, and Bischoff gloated over his victory. Bischoff said the difference between the two of them is that he's got testicles and she doesn't. Stephanie whacked Bischoff on the side of the head and left!<br /><br />Match 7: Tag Team Championship Match Christian and Lance Storm vs Hollywood Hogan and Edge The match started with loud "USA" chants and with Hogan shoving Christian through the ropes and out of the ring. The Canadians took over from there. But Edge scored a kick to Christian's head and planted a facebuster on Storm to get the tag to Hogan. Hogan began to Hulk up and soon caught Christian with a big boot and a leg drop! Storm broke up the count and Christian tossed Hogan from the ring where Storm superkicked the icon. Edge tagged in soon after and dropped both opponents. He speared both of them into the corner turnbuckles, but missed a spear on Strom and hit the ref hard instead. Edge nailed a DDT, but the ref was down and could not count. Test raced down and took down Hogan then leveled Edge with a boot. Storm tried to get the pin, but Edge kicked out after two. Riksihi sprinted in to fend off Test, allowing Edge to recover and spear Storm. Christian distracted the ref, though, and Y2J dashed in and clocked Edge with the Tag Team Championship! Storm rolled over and got the pinfall to win the title! Winners and New Tag Team Champions: Christian and Lance Storm<br /><br />Match 8: WWE Undisputed Championship Triple Threat Match. The Rock vs Kurt Angle and the Undertaker Three of WWE's most successful superstars lined up against each other in a Triple Threat Match with the Undisputed Championship hanging in the balance. Taker and The Rock got face to face with Kurt Angle begging for some attention off to the side. He got attention in the form of a beat down form the two other men. Soon after, Taker spilled out of the ring and The Rock brawled with Angle. Angle gave a series of suplexes that took down Rock, but the Great One countered with a DDT that managed a two-count. The fight continued outside the ring with Taker coming to life and clotheslining Angle and repeatedly smacking The Rock. Taker and Rock got into it back into the ring, and Taker dropped The Rock with a sidewalk slam to get a two-count. Rock rebounded, grabbed Taker by the throat and chokeslammed him! Angle broke up the pin attempt that likely would have given The Rock the title. The Rock retaliated by latching on the ankle lock to Kurt Angle. Angle reversed the move and Rock Bottomed the People's Champion. Soon after, The Rock disposed of Angle and hit the People's Elbow on the Undertaker. Angle tried to take advantage by disabling the Great One outside the ring and covering Taker, who kicked out after a two count. Outside the ring, Rock took a big swig from a nearby water bottle and spewed the liquid into Taker's face to blind the champion. Taker didn't stay disabled for long, and managed to overpower Rock and turn his attention to Angle. Taker landed a guillotine leg drop onto Angle, laying on the ring apron. The Rock picked himself up just in time to break up a pin attempt on Kurt Angle. Taker nailed Rock with a DDT and set him up for a chokeslam. ANgle tried sneaking up with a steel chair, but Taker caught on to that tomfoolery and smacked it out of his hands. The referee got caught in the ensuing fire and didn't see Angle knock Taker silly with a steel chair. Angle went to cover Taker as The Rock lay prone, but the Dead Man somehow got his shoulder up. Angle tried to pin Rock, but he too kicked out. The Rock got up and landed Angle in the sharpshooter! Angle looked like he was about to tap, but Taker kicked The Rock out of the submission hold. Taker picked Rock up and crashed him with the Last Ride. While the Dead Man covered him for the win, Angle raced in and picked Taker up in the ankle lock! Taker went delirious with pain, but managed to counter. He picked Angle up for the last ride, but Angle put on a triangle choke! It looked like Taker was about to pass out, but The Rock broke Angle's hold only to find himself caught in the ankle lock. Rock got out of the hold and watched Taker chokeslam Angle. Rocky hit the Rock Bottom, but Taker refused to go down and kicked out. Angle whirled Taker up into the Angle Slam but was Rock Bottomed by the Great One and pinned! Winner and New WWE Champion: The Rock<br /><br />~Finally there is a decent PPV! Lately the PPV weren't very good, but this one was a winner. I give this PPV a A-<br /><br />

Some people have stated that as of the 11th season, South Park has started a trend of leaving behind their politically biting satire for shallow spoofs; but this could not be further from the truth.<br /><br />While this episode does spoof the Living Dead series, there is more. It is a satire of how people treat the homeless. Characters say things like "They're pretending to be just like us" or "They want to be human." This episode attacks a culture of people who ignore the lower class who are often just down on their luck.<br /><br />So yes, it is still a satire, and also a wonderful spoof. What more could you want?

"Night of the Living Homeless" was a fairly strong finish to the first half of Season 11. Obviously a parody of various zombie movies, most notably Dawn of the Dead, this episode parallels the homeless with the living dead, as creatures who feed and thrive off of spare change rather than brains.<br /><br />Kyle is blamed for the sudden mass outbreak of homeless people when he, out of the goodness of his heart, gives a $20 to a homeless man in front of his house. More homeless people begin to infiltrate South Park, until the town is completely overrun with them. This is a very strong Randy Marsh episode, as he assumes the role of the shotgun-wielding leader of the adults who take refuge on the roof of the Park County Community Center. But before Randy makes it to the community center, he is accosted by hundreds of homeless people while hilariously screaming "I don't have any change!!" Unfortunately, the refugees end up losing Gerald Broflofski to the homeless, when he tries to escape by catching a bus out of town, and unwittingly tosses away all his change for the bus to distract the homeless people. Then he becomes one of them, asking everyone for change.<br /><br />The boys attempt to find out why there are so many homeless people in South Park, and find a man who is a director of homeless studies. They find out that the nearby city of Evergreen used to have a similar problem with the homeless, so they escape to Evergreen to find out what they did to solve the problem. Unfortunately, homeless people break into the man's house, and he attempts to take the easy way out by shooting himself. However, he fails several times, as he shoots himself in the jaw, in the eye, in the chest, in the neck, in the shoulder, screaming horribly until he finally dies. This scene may have been funnier had a similar scene not happened in "Fantastic Easter Special" two weeks ago.<br /><br />Meanwhile, a member of the refugees discovers that due to the homeless problem, the property values have nosedived, thus the bank has foreclosed on his house, making him homeless. Randy immediately turns on him, holding the gun to the man's head. When the man finally begs the others for a few bucks to help him out, Randy pulls the trigger.<br /><br />In Evergreen, the boys find out that the citizens of the town sent the homeless to South Park, and that the passing of homeless from town to town happens all over the country. The boys modify a bus that leads the homeless out of South Park and takes them all the way to Santa Monica, California.<br /><br />The zombie movie parallels and the great Randy Marsh lines make this one definitely re-watchable. 8/10

And yet another run of South Park comes to an end. This wasn't as strong an episode as I'd hoped for, but Night of the Living Homeless was a stronger finisher then Stanley's Cup, Tsst, Bloody Mary, or Erection Day. It still can't hold a candle to Woodland Critter Christmas and Goobacks, but few episodes can.<br /><br />Night of the Living Homeless is a spoof of the zombie genre, done in a way only South Park would think of. Instead of flesh eating zombies, the entities are homeless that request change and seem to survive off of it.<br /><br />Randy and other residents are locked in the Community Center, though this time on the roof, where they can survey the scene. A particularly funny moment is when one member finds out his home is gone, and becomes homeless, leaving Randy no choice but to shoot him.<br /><br />Meanwhile, the four boys set out to solve the problem, with the whole story behind the homeless takeover trying to convey a message, but being seriously uninspired. South Park is at it's best a lot of the times when it is being ridiculous. Matt and Trey played it safe this week, and didn't really critique the homeless problem, just lampooned it.<br /><br />The shock moment of the episode comes when a scientist shoots himself in an attempt to avoid the homeless. This is the first time a suicide on South Park goes wrong, and we watch the poor man miss his brain and then attempt to shoot himself many times while he painfully dies. Another inspired South Park moment.<br /><br />Overall, the episode was funny, but it was kept from being great by withholding any real commentary on the homeless and sticking straight with the zombie shtick. The ending is somewhat funny, but nothing new.<br /><br />Now we must wait until October for the next batch of episodes. It's a long haul, but South Park must be applauded for it's run. The show seemed to be running out of steam last season, but now it's back in full form.

I found this episode to be one of funniest I've seen in a long time. The south park creators have done the best spoof of a Romero film I have ever seen.They have truly touched on Romero's underlying social commentary that he has made with each one of his films. I would love to know what George Romero's opinion was on this episode I'm sure it was purely positive! Keeping his true vision for his zombie epics fully intact! Most spoofs deal with the pure gore without making the viewer think as Romero tries to do with his films. I think that if a zombie outbreak did happen we may actually worry about our property values before our lives as shown in this episode!

Night Of The Living Homeless is a funny spoof of the 1978 film(and the 2004 remake) of "Dawn Of The Dead".Only this time...with the homeless.The episode has homeless people all coming to South Park and the people cannot figure out why.They treat the homeless like zombies who want change and a few of the parents end up on the roof of a supermarket like in the movie.So now it's up to the boys to find out where they came from and how to get rid of them.This is a fairly funny episode with some good moments like the boys singing their own version of the 2pac/Dr.Dre song "California Love".Overall a good episode.<br /><br />8/10

Stylish, moody, innovative revenge-driven bloodbath. Also cheesy, of course, and sporadically very cheesy. It reminded me a lot of The Big Heat because it has the revenge plot set off by the exact same event, and the girl comes around to the good guy's side because of the same bad behavior by the bad guy. It's sad there's no Gloria Grahame but so fantastic that it's Alain Delon and not Glenn Ford. Could there be anyone as beautiful as Alain going around in a cashmere sweater and trenchcoat? Yet he's totally tough and icy cool. No one nowadays can touch him--though someone like Jude Law could try I guess. Hard for any girl to look good with him. The music was funky and perfect and there were several excellent car chases (and those aren't generally my cup of tea)--especially one willy nilly one in the woods. People also met their dooms in creative and bloody fashion, for instance in a junkyard cruncher. But beyond the cheese, the overall atmosphere was affecting and expertly pulled off. More creativity, excitement and freshness in that "forgotten" movie than most of what I've seen lately.

Tony Arzenta, a Sicilian hit-man or professional killer, decides to leave the business, and his former employers do not agree.In terms of content, this highly enjoyable action movie doesn't have one; in terms of sheer amusement, it is fun—it is very melodramatic, violent, quite brutal, the car chases are notable. "Arzenta" is an unpretentious ,yet very likable film—much better than the current Hollywoodian trash that gets the same label. It comes from Delon's rather short flirting with the Italian B cinema of the '70s. It carefully uses Delon's tough guy persona, belonging to the gallery of bad-ass thugs that he made in his youth. <br /><br />I enjoyed very much the fact that Delon made this film, that he had a role in a good Eurocrime flick.<br /><br />The score is very fine, with a good introductory song—making felt that gusto that the Italians had for the film considered as a synthetic work,where the musical art has an important part.<br /><br />In Tony Arzenta/ Big Guns/ No Way Out the very appealing Erika Blanc (31 years in '73) appears as an unnamed hooker.Meanwhile, Arzenta's girlfriend, Sandra,is played by Carla Gravina (a starlet that practically left the movies after '75).<br /><br />"Arzenta" is interestingly filmed—an ambitious visual conception, some Expressionistic peculiar angles. The movie was directed by the prolific Duccio Tessari,the one who made also Zorro (the Delon comedy).Needless to mention that these two films,Tony Arzenta (1973) and Zorro ,are very unlike.The first one is a bloody melodramatic violent action movie--the second is a lighthearted comedy,more kindred to a spoof,though remarkably coherent and skilfully made.Duccio Tessari directed films like Kiss Kiss... Bang Bang (1966),Sons of Satan ,The Bloodstained Butterfly ,¡Viva La Muerte... Tua! ,Tough Guys (1974),Safari Express (1976) ,etc..

Alain Delon visits swift, sure vengeance on the ruthless crime family that employed him as a hit-man in the Duccio Tessari thriller "Big Guns" after they accidentally murder his wife and child. Tessari and scenarists Roberto Gandus, Ugo Liberatore of "A Minute to Pray, a Second to Die," and Franco Verucci of "Ring of Death" take this actioneer about a career gunman for the mob right down to the wire. Indeed, "Big Guns" is rather predictable, but it still qualifies as solid entertainment with lots of savage and often sudden killings. Alain Delon of "The Godson" is appropriately laconic as he methodically deals out death to the heads of the mob families who refused to let him retire so that he could enjoy life with his young son and daughter. Richard Conte of "The Godfather" plays a Sicilian crime boss who wants to bury the hatchet with the Delon character, but the rest of his hard-nosed associates want the hit-man dead. Like most crime thrillers in the 1960s and 1970s, "Big Guns" subscribes to the cinematic morality that crime does not pay. Interestingly, the one man who has nothing to do with the murder of the wife and son of the hero survives while another betrays the hero with extreme prejudice. Tessari does not waste a second in this 90-minute shoot'em up. Apart from the mother and son dying in a car bomb meant for the father, the worst thing that takes place occurs in an automobile salvage yard when an associate of the hero is crushed in a junked car. Ostensibly, "Big Guns" is a rather bloodless outing, but it does have a high body count for a 1973 mobster melodrama. Only at the last minute does our protagonist let his guard down and so the contrived morality of an eye for an eye remains intact. Tessari stages a couple of decent car chases and the death of a don in a train traveling through a train tunnel is as bloody as this violent yarn gets. The photography and the compositions are excellent.

Icy and lethal ace hit-man Tony Arzenta (a divinely smooth and commanding performance by Alain Delon) wants to quit the assassination business, but the dangerous mobsters he works for won't let him. After his wife and child are killed, Arzenta declares open season on everyone responsible for their deaths. Director Duccio Tessari relates the absorbing story at a constant snappy pace, maintains a properly serious and no-nonsense tone throughout, stages the stirring shoot-outs and exciting car chases with considerable rip-snorting brio, and punctuates the narrative with jolting outbursts of explosive bloody violence. Delon's suave and charismatic presence adds extra class to the already engrossing proceedings. This film further benefits from sterling acting by a bang-up cast, with praiseworthy contributions by Richard Conte as wise Mafia kingpin Nick Gusto, Carla Gravini as Arzenta's supportive lady friend Sandra, Marc Porel as Arzenta's loyal pal Domenico Maggio, Anton Diffring as ruthless, calculating capo Grunwald, and Lino Troisi as the venomous gangster Rocco Cutitta. Silvano Ippoliti's glossy cinematography boasts several graceful pans. Gianni Ferrio's funky score hits the get-down groovy spot. Erika Blanc and Rosalba Neri pop up briefly in nifty bit parts. Better still, there's no filler to speak of and we even get a decent dab of tasty gratuitous female nudity. The startling conclusion packs a mean and lingering wallop right to the gut. A solid and satisfying winner.

As one other IMDB reviewer has remarked, this movie starts a bit slow, but gets considerably better as it goes along. Yes, it is released by Roger Corman, and yes, it goes over some of the same thematic ground as much higher budget predecessors such as FATAL ATTRACTION and POISON IVY. However, the juxtapositioning of the wife's career as a rising blues singer against the husband's gathering loneliness and his almost Freudian need for filling the emotional and physical "void" or "hole" while she's away along with the clever use of minimal effects and settings is nicely done. Utilizing a very small number of locations and characters, and also using water in almost every scene both as a cleansing and drowning metaphorical symbol throughout, this movie, though clearly suffering from a minuscule budget, reminds me in many ways of the more fully realized and more recent scenario, namely the French film "SWIMMING POOL" which it seems to me at least may have borrowed liberally some useful ideas from "UP AGAINST AMANDA." With a smaller tool set, UP AGAINST AMANDA maintains its suspense with a rudimentary, fatalistic view of surrendering to ones occasional lustful temptations, but accomplishes this as well or better as other films in this genre. The twist of the stepfather abuse of Amanda in the past (again, very Freudian) is also very unique in this genre and interesting. I agree with other viewers about the unexpected and sympathetic reaction for Amanda's plight this aspect of the story elicits. The cast is excellent I think.<br /><br />

I saw this movie when it first came out. It was an official selection for the Temecula Valley International Film Festival and I voted for it for best picture.<br /><br />Justine Priestley is hot as the psychotic, but complex Amanda. This is not your ordinary psycho movie. Lots of interesting and original slants on the genre. Sort of a "Fatal Attraction" for the younger set with some great blues music mixed in as the object of Amanda's affection is married to an up and coming blues singer who has less time for her husband as her career takes off.<br /><br />

This movie was released by Roger Corman, so you know that the filmmakers didn't have much money to work with.<br /><br />Although, some viewers may miss the subtleties in this movie because of the very typical "obsessed killer" type marketing approach, there are unique differences about this movie.<br /><br />AMANDA, as played by the obviously talented Justine Priestley, is a complex character. Some people like these movies precisely because the violence can seem random, but here the ramifications of past abuse (dealt with in a realistic but tasteful manner) are what shape the psychosis of AMANDA. Surprisingly, Amanda redeems herself at the end with an act of love, where most of these movies turn into the typical, all out fight to the death and the evil character dies just as evil in the end as to begin with.<br /><br />Some rough edges in this picture, but I have to give it 7 out of 10 stars based on its thoughtfulness and yes, originality as compared to the usual -- especially on a budget.

Like most people, I've seen Jason Priestley on TV and I think he's great. But I didn't know he had a sister! Justine Priestley is simply "mah"velous as the scorned other woman. Good music, intrigue, and a death scene involving Amanda's revenge on an abusive Dr. that will stay with you for weeks. I'll leave it at that. Kudos.

It was extremely low budget(it some scenes it looks like they recorded with a home video recorder). However it does have a good plot line, and its easy to follow. 8 years after shooting her sexually abusive step father Amanda is released from the psychiatric ward, with the help of her doctor who she is secretly having an affair with. The doctor ends up renting her a house and buying her a car. But within the first 20 minutes of the movie Amanda kills him and buries him in her backyard. Then she see's her neighbor Richard sets eyes on him and stops at nothing until she has him. She acts innocent but after another neighbor Buzz finds out that Amanda killed that doctor and attempted to kill Richards wife Laurie (this is after Amanda and him get it on in the hot tub). Then she stops acting so Innocent and kills Buzz and later on attempts to kill Richard whom she supposedly loves and cares for. And you'll have to rent the movie to find out if Amanda dies or not. Overall good movie, reminds me a lot of my life you know the whole falling for the neighbor and stopping at nothing until you have him part.

It's funny. It's not Arthur Miller or T.S. Elliot, but man this is funny. Kline and Fields are great. (Her toss-off line "God, you are so disGUSting" as she climbs in his window - great! Kline's running into the door after scoping out Teri Hatcher - great too!) Robert Downey Jr. and Kathy Moriarty work together flawlessly - until he finds out who she really is... a soap opera turn if there every was one!<br /><br />The scene near the end in the chinese dining area had my kids and I rolling on the floor - that scene alone is worth the rental price.<br /><br />Doesn't solve any world problems or show the seemy underbelly of daytime T.V. (I hope). Just a lot of fun.

It really is a shame that films like this never snag Best Picture nominations, because this one is simply a winner. This is by far the most consistently hilarious comedy I have ever seen. Its screenplay and design are impeccable, not to mention the incredible cast. I can quote this movie for hours on end. Watch it.

A riotous farce set in the world of glamorous daytime soap operas! This film is hilarious! Admittedly, you have to have a taste for films with screaming, hysterical dialogue, over-the-top acting, and melodramatic plot twists. But if you do, you're in for one hell of a treat.<br /><br />Sally Field plays Celeste Talbert, daytime TV's "Queen of Misery." Celeste's cushy life is thrown into upheaval with the unexpected arrival of Lori Craven (Elisabeth Shue), her long-lost niece, and, simultaneously, Jeffrey Anderson (Kevin Kline - splendid as always), Celeste's long-ago lover. But Celeste has been hiding a deep, dark secret, and the arrival of Lori and Jeffrey might just bring it to the surface. Add in the diabolical Montana Moorehead (a wonderful Cathy Moriarty, in full "gorgeous woman with testosterone to spare mode"), who is trying mighty hard to destroy Celeste's career; David (Robert Downey, Jr.), the weenie-boy producer of the soap who's secretly plotting with Montana to ruin Celeste; and, Rose Schwarz (Whoopi Goldberg), scriptwriter and Celeste's one true confidant, and you are in for a heaping helping of subplots and general chaos.<br /><br />Chaotic comedies like this are tricky to execute (does anyone remember 'Mixed Nuts'?), but when done well, can be pretty damn funny! A major ingredient that is necessary to any good comedy is the casting of seasoned pros who know that lots of times the funniest things are not said but seen in an expression or a look. Field, Kline, Goldberg, and the rest all work together so well and are clearly having a great time that it is hard not to become drawn in by their energy and enthusiasm. Shue is clearly the weakest link here, but she only draws attention to herself because she is surrounded by Field, Kline, et al. Moriarty is a stand-out in the showy villainess role, making you think of the hottest damn dominatrix you ever did see!! There are also lots of familiar faces that you'll recognize in small (but, nevertheless, all very funny) roles, including Carrie Fisher, Garry Marshall, Kathy Najimy, and Teri Hatcher. Director Michael Hoffman keeps the pace swift and the histrionic plot moving toward the big finish. Mention must also be made of Robert Harling's screenplay, carefully constructed to stage a soap opera within a soap opera. The dialogue is boiling over with great lines, delivered brilliantly by the actors (I'd be willing to bet that a lot of this stuff was improvised).<br /><br />Look, if you want to see a bunch of pros doing what they do best and having a great time doing it, get your hands on this one. If not for anything else, it will put you in a good mood and make you laugh!

This is one of the best comedy ever ! The writing of this parody of soap is brilliant and the cast, well just look at the names of the cast and you'll understand why it is so great. If you're a Kevin Kline fan, he does (as always) an fantastic performance, and Robert Downey Jr is perfect. If you don't laugh while seen this movie, you don't have any sense of humor.

Years ago I did follow a soap on TV. So I was curious about this movie, and I was so rewarded for finding it. It's a marvelous spoof of soaps, with jealousies, the usual actors' insecurities, and all sorts of lovely excesses. But more than anything - an amazing cast and an incredible script. How did someone get all those top-notch actors to play in such a silly sort of movie? And how did this little movie get writers to write the perfect lines? I never hear anyone talk about this movie or even admit hearing of it, but it's marvelous and I highly recommend seeing it. Sometimes I'll throw it on while doing housecleaning, and end up sitting on the couch, watching, laughing and thoroughly enjoying the whole wonderful thing. Many congrats to all who made it.

It's very funny. It has a great cast who each give great performances. Especially Sally Field and Kevin Kline. It's a well written screenplay by Andrew Bergman (Honeymoon In Vegas). I don't like soap operas, even though I never watch them. But I do love this film because it's so crazy and off the wall, that it beats the hell out of any stupid soap that they have on daytime television. In my opinion, it's the best film of 1991.

I think that this is possibly the funniest movie I have ever seen. Robert Harling's script is near perfect, just check out the "quotes" section; on second thought, just rent the DVD, since it's the delivery that really makes the lines sing.<br /><br />Sally Field gives a comic, over-the-top performance like you've never seen from her anywhere else, and Kevin Kline is effortlessly hilarious. Robert Downey, Jr. is typically brilliant, and in a very small role, Kathy Najimy is a riot as the beleaguered costumer. I was never much of a fan of Elisabeth Shue, but she's great here as the one *real* person surrounded by a bevy of cartoon characters on the set of "The Sun Also Sets" -- that rumbling you feel beneath you is Hemingway rolling over in his grave. Either that, or he's laughing really hard.<br /><br />Five stars. Funny, funny, funny.

This has to be, hands down, hats off, one of the most uproarious comedies ever made. Starting with the animated blowing, popping bubbles, the entrance to the Daytime Awards, the usual phony drivel spewed by the stars on the red carpet, the rehearsed and badly acted acceptance speech, the venomous comments uttered by the actor's jealous co-stars and producer, under phony smiles. Now THAT is only in the first few minutes. Then, all hell breaks loose from there and it only gets more frantic and ridiculous. Ridiculous in a good way, no, make that a great way. This was the first time I'd seen the always charming Teri Hatcher. While I may not be a follower of Desperate Housewives, she herself is always watchable - same goes for Lois & Clark. Not a huge follower, but if I run across an episode I'd watch it. Robert Downey, jr., does a great turn as slimy, smarmy, snaky, sycophantic David Seaton Barnes, the producer who'd give his right eye to see Sally Field's Celeste Talbert leave the show, if only to finally get to get it on with Cathy Moriarty's Montana Moorehead.<br /><br />Moriarty absolutely shines in this movie, just as she had everywhere else she's appeared. Here, all she has to do is scream "I HATE YOU I HATE YOU YOU CREEP!" or give one of her anti-Celeste-co-conspirators an evil grin, and she has me rolling in the aisles. Yes, Cathy Moriarty is a very gifted actress, and one hell of a comedienne. Sally Field gratefully departs from the usual 70-MM-sized Lifetime Tragedy of the Week movies, and we're all reminded why she is who she is today, having started off in comedy afraid of nothing. Her ensuing years of drama had hidden her sense of humor, but like a caterpillar in a cocoon, the brilliant comedienne she is had blossomed and it was joyous to see her as hilarious as she was. The thing with dramatic actors and actresses is that you see in such heavy, serious roles, that you associate them with their character and you can't believe it when you see them finally having some fun on screen.<br /><br />How lucky were the producers to land Carrie Fisher, if only for a glorified cameo. She doesn't realize what a presence she bears on screen. She takes a role which, in the hands of a lesser actress, could easily have been forgotten, but she owns the character and it seems as if she wrote it herself.<br /><br />How lucky was Elisabeth Shue to get thrown in the middle of all this! At the time, she wasn't really known for much. Adventures in Babysitting was kind of cute (yes, I was dragged to an evening show for which I had to pay full price), but she didn't hold my attention - - much. But here, she makes the most of her character - star's niece who falls in love with the star's ex-co-star-and-lover who, of course, turns out to be the niece's father, and the star turns out to be the poor girl's mother.<br /><br />I'll stop there - I feel I practically wrote a book about this brilliant screwball comedy, or at least a novela. If you've seen it, then reminisce. If you haven't, you've missed a real classic, but not really. The DVD's are made of a material that'll last for at least 25 years, and this movie is timeless, so what the hell.

The scene where Sally Field and Whoopi Goldberg go to the mall to revive Sally's flagging spirits is enough reason alone to enjoy this movie, but wait! There's more! This is a crackling good sendup of daytime TV, movie stars on the way down, (and up) and the horrors of love. Robert Downey Jr shows the lighter side of his genius, and Cathy Moriarty is splendid. The dialogue is witty, and the physical humor done with consummate skill. This is a movie that will appeal to those who really enjoy the arts of acting, directing, and writing.

Hollow Man starts as brilliant but flawed scientist Dr. Sebastian Caine (Kevin Bacon) finally works out how to make things visible again after having been turned invisible by his own serum. They test the serum on an already invisible Gorilla & it works perfectly, Caine & his team of assistant's celebrate but while he should report the breakthrough to his military backers Caine wants to be the first invisible human. He manages to persuade his team to help him & the procedure works well & Caine becomes invisible, however when they try to bring him back the serum fails & he remain invisible. The team desperately search for an antidote but nothing works, Caine slowly starts to lose his grip on reality as he realises what power he has but is unable to use it being trapped in a laboratory. But then again he's invisible right, he can do anything he wants...<br /><br />Directed by Paul Verhoeven I rather liked Hollow Man. You know it's just after Christmas, I saw this a few hours ago on late night/early morning cable TV & worst of all I feel sick, not because of the film but because of the chocolates & fizzy pop I've had over the past week so I'll keep this one brief. The script by Andrew W. Marlowe has a decent pace about but it does drag a little during the middle & has a good central premise, it takes he basic idea that being invisible will make you insane just like in the original The Invisible Man (1933) film which Hollow Man obviously owes a fair bit. It manages to have a petty successful blend of horror, sci-fi & action & provide good entertainment value for 110 odd minutes. I thought the character's were OK, I thought some of the ideas in the film were good although I think it's generally known that Verhoeven doesn't deal in subtlety, the first thing he has the invisible Caine do is sexually molest one of his team & then when he gets into the outside world he has Caine rape a woman with the justification 'who's going to know' that Caine says to himself. Then of course there's the gore, he shows a rat being torn apart & that's just the opening scene after the credits, to be fair to him the violence is a bit more sparse this time around but still has a quite nasty & sadistic tone about it. Having said that I love horror/gore/exploitation films so Hollow Man delivers for me, it's just that it might not be everyone's cup of tea.<br /><br />Director Verhoeven does a great job, or should that be the special effects boys make him look good. The special effects in Hollow Man really are spectacular & more-or-less flawless, their brilliant & it's as simple & straight forward as that. There's some good horror & action set-pieces here as well even if the climatic fight is a little over-the-top. I love the effect where Kevin Bacon disappears one layer at a time complete with veins, organs & bones on full show or when the reverse happens with the Gorilla. There's a few gory moments including a rat being eaten, someone is impaled on a spike & someone has their head busted open with blood splattering results.<br /><br />With a staggering budget of about $95,000,000 Hollow Man is technically faultless, I can imagine the interviews on the DVD where some special effects boffin says they mapped Bacon's entire body out right down to he last vein which they actually did because you know everyone watching would notice if one of his veins were missing or in the wrong position wouldn't they? The acting was OK, Bacon made for a good mad scientist anti-hero type guy.<br /><br />Hollow Man is one of hose big budget Hollwood extravaganzas where the effects & action take center stage over any sort of meaningful story or character's but to be brutally honest sometimes we all like that in a film, well I know I do. Good solid big budget entertainment with a slightly nastier & darker streak than the usual Hollywood product, definitely worth a watch.

Remember H.G. Wells' "The Invisible Man"? Well here's another movie like it, only more extreme. "Hollow Man" is like no one story about invisibility as a weapon of choice. Kevin Bacon plays Sebastian Caine, a scientific genius who goes out into the world of invisibility and making it useful for military purposes. At first making the serum was the easy part, making the person come back was not. Most of the first tries ended up unstable. Until one night, when he perfected the formula. And who else, but Caine would be the lab rat. The gorilla was the first and almost died, so when he came to, it was a close one. So when the did Caine, he decided to use it for fun. Then when he got tired of being not seen, the team tried their best to bring him back to the world of the flesh. However, the visibility formula happens to not work the way it should, and Caine would delve into madness. So he ends up being one mad invisible killer. It would be best to just get out of town instead of taking the lives of people that are close to you. I would care less about the ones who did you wrong. Great movie, plenty of fun. 3 out of 5 stars!

this movie scared me so bad, i am easily scared though so its no big thing but this movie was scary and whoever wasnt scared by this movie, im surprised because everyone i know said it was scary, i hope everyone sees it, but dont see it with the lights off like i did....

HOLLOW MAN is one of the better horror films of the past decade. The sub-plot is original and the main plot is even better. The special effects are brilliant and possibly the best I have ever seen in a horror film. Kevin Bacon proves again that he can handle any role that comes his way.<br /><br />Claude Rains shocked the world with THE INVISIBLE MAN in 1933, well now, Kevin Bacon has shocked *us* with HOLLOW MAN. One of the most thrilling horror films ever. The action is intense and the chills are true. You may actually find yourself jumping if you are watching it in the dark on a stormy night. The supporting cast includes Elizabeth Shue, Josh Brolin, Kim Dickens, Joey Slotnick, Greg Grunberg, and Mary Randle. All of whom do an exceptional job. <br /><br />---SPOILERS---<br /><br />Dr. Sebastian Caine (Kevin Bacon) and his team have discovered the secret to making someone invisible. After animal testings, they move on to human testing. But someone has to be the subject. Volenteering, Caine is turned invisible. But when his team is unable to bring back into visibility, Caine is driven mad by his condition as he seeks his revenge...*end spoilers*<br /><br />The film has created memorable shock sequences and is destined to become a classic well into the next century. Becoming the basis for a spoof joke in SCARY MOVIE 2, this film grabs you by the throat and never lets go. The first 45 minutes or so are slow, developing the characters and showing how their experiments work. The second half is exciting and appealing to most action and horror fans. Think of DEEP BLUE SEA. Then change the sharks into an crazy invisible man. And then change the water into fire and explosions. A rehashing of a killer shark movie. Interesting... HOLLOW MAN gets 5/5.

Paul Verhoeven (genius and master film maker) strikes back with the less than perfect, yet still fun in a "dirty old man type of way," Hollow Man. The first two acts are so good that the slasher final act disappoints. Yet I am giving a recommendation to this film for it's MIND BLOWING special effects (perhaps the best so far around) and two dandy performances by the leads. Verhoeven's moral questions are of course thought provoking, and although the film turned off many, this movie is pretty soft-core for old Verhoeven.<br /><br />Two major flaws: Josh Brolin (aka walking ape-man) and the whole deal with the elevator. If there was an access ladder, why were they trapped down in the lab? <br /><br />A fun horror film for a Saturday night.

Contains spoilers<br /><br />"Hollow Man" is probably the weakest movie that Paul Verhoeven, director of great movies like "Total Recall", "Starship Troopers" and "Robocop" has ever made. <br /><br />That's probably not his fault. For some reason, Verhoeven got stuck with an utterly mediocre script, and he made the best of it. <br /><br />The first part of this movie is rather good, with lots of cynical jokes, great special effects and even Skunk Anansie on the soundtrack. Unfortunately, the movie falls flat in the second part, were it degenerates into a standard slasher movie or maybe a very bad "Alien" clone. The ending is especially ridiculous <SPOILER>, as Kevin Bacon keeps coming back to life after a number of incidents that should (in the logical sense of the word) have killed him. </SPOILER>. And the entire thing is quite shallow, indeed: the subject of becoming invisible is never fully investigated.<br /><br />But all in all, Verhoeven manages to stay well above average with this movie. <br /><br />**1/2 out of **** stars

Okay, we've got extreme Verhoeven violence (Although not as extreme as other Verhoeven flicks), we've got plenty of sex and nudity, but something is missing...Oh, yes, it's missing the intelligence that Paul Verhoeven is known for in his sci-fi movies. I admire the way Verhoeven introduces the characters and how they have a sense of humor, but unlike most Verhoeven films, the movie itself doesn't have enough humor for it to fall into the comedy genre. The acting overall was above average compared to most slasher films.<br /><br />What makes Hollow Man a good movie is not the story, not the cast or characters, but the amazing special effects work that would otherwise make a film like this impossible. The crew has truly made an invisible man, without the use of things like a floating hat suspended on piano wires and other practical effects (effects done on set). The most stunning effects scenes are not seen while Kevin Bacon is invisible, they are when Kevin Bacon is becoming invisible and visible.<br /><br />The problem is that this invisible man story deserves to be more imaginitive. Here, it takes place at a lab for the most part. I would have enjoyed seeing the invisible Kevin Bacon robbing a bank and getting away with it, or let's say steal something from people's purses, or something like that. But what is shown is decent enough to make Hollow Man an entertaining movie. Grade: B

Bogmeister and others have pretty much nailed this. Shore Leave is really TOS' first attempt at lightweight sci-fi (which they would later perfect with the classic Trouble with Tribbles). It gave both the crew of the Enterprise and its TV viewers a needed respite from the universe threatening consequences of, for example, The Corbomite Manouever.<br /><br />Looking for a place to chill out for a while, the Enterprise happens across a seemingly idyllic M Class planet, and sends an exploratory team down to take a closer look. Soon enough all kinds of absurdities begin to take place - some seemingly perilous - but it all seems a morass of human emotional extremities played out in a weird blend of fantastic mystery (McCoy has gone through the looking glass), psychological thriller (Kirk is stalked by an indefatigable bully from his past), and romantic comedy (no comment).<br /><br />TOS was the least serialized of all of the series in the Trek franchise, so it is easy to forget how many episodes in the first season focused on heavy-handed, potentially calamitous drama. Unlike later series franchise writers, TOS' production team was not afraid to literally go where no TV series had gone before. And Shore Leave, despite its occasional problems, is an example. My only criticism of this episode is that the cast (particularly Shatner - ironic given his legendary sense of humor) didn't seem to know how to handle this new wrinkle on ST's themes. The last scene is possibly one of the worst scenes I can remember from the entire TOS run - both compositionally and in terms of acting.<br /><br />'nuff said. My recommendation - see it while watching the entire first season as it was meant to be seen - it order.

This is one of the shallowest episodes in that the plot really seemed like an excuse to just have fun. BUT, I appreciated this light-hearted approach and this is truly one of the best episodes to see on a purely fun level. Think about it--the crew members have encounters with the white rabbit and Alice from Wonderland, a Bengal tiger, a samurai warrior, a knight on horseback who kills McCoy, and a host of other seemingly bizarre events that just don't make any sense at all until the very end. Despite all the danger, you just can't take everything very seriously--it's just too fun and the whole episode seems very surreal. So, on a purely non-aesthetic level, it's great stuff.

Another episode from childhood that, as an adult, I look back on with a different perspective. This was one of my favorite childhood episodes, one that really cemented my adoration of this show. However, on viewing this episode after 20 years, I'd say it is definitely one of the lighter ones, played for laughs and amusement, instead of the dramatic and well-constructed story lines in previous episodes in this, their first and best season. Perhaps this episode was written for a little fan R&R too! As Mr. Spock would say, the story just isn't logical but there are some amusing lines like, of course, Mr. Spock's final one at the end--when he asks the Captain, McCoy et al whether they enjoyed their R&R and they answer in the affirmative, he raises an eyebrow and says "Fascinating..." in only the way Mr. Spock could do that. An interesting story line, of course, the idea of an amusement park being actually amusing (instead of the fake and often annoying "amusement" of Disneyland, for example), being able to have one's wishes actually come true. Really, a great idea but not that well executed. And coming from Theodore Sturgeon, another of the great SF short story writers they used in the first season, one wonders how much tinkering was done to the script that Sturgeon turned in.<br /><br />Now, here is a little trivia I learned on this very site: In 1987, James Gunn established the Theodore Sturgeon Award for best short science fiction story. And I'll quote the rest from this site: In 1968 he {Sturgeon} wrote "The Joy Machine", a third script for the Star Trek TV series {Amok Time the other}, that was never shot. The main reason that it wasn't used in the series is that it contained expensive special effects sequences that would be too much for their budget. However, the script was adapted into a book by Sci-Fi writer James Gunn (Star Trek #80, The Original Series) and published by Pocket Books in 1996.<br /><br />I'd sum this up to say this episode is still very enjoyable, especially if one doesn't think too much about it. Just laugh and enjoy it and next episode we can get back to the serious stuff of protecting the universe.

"Shore Leave" is mostly an average Star Trek adventure. Nothing wrong with the episode, though. I simply think that this is not the best representation of what the show had to offer to fans. It is lightweight entertaining, nothing more. However, I'm glad to see that a TV show of this type had enough good sense to take a break from serious intergalactic conflicts. In this episode, Kirk decides to grant his crew some time off, and a landing party is beamed down to a planet that looks like the perfect place for a vacation. As usual, the planet is not as peaceful as it appears to be. There are some action and tense moments, but most of the story is played for laughs. Good, but unexceptional.

Probably one of the prime examples of following a suspenseful, dramatic episode (in this case, the superb Balance of Terror) with a lighter affair, Shore Leave is the first true attempt on behalf of the Star Trek writers to produce a more entertaining piece of sci-fi, and while the formula isn't quite right yet in this entry (the true triumph is Trouble with Tribbles, in Season 2), the laughs come pretty fast as long as the viewer is willing to allow for all the silliness.<br /><br />Diverting from the show's tradition, the Enterprise isn't on any proper mission in this episode. Instead, Kirk has found a perfect planet for his crew to spend some time off duty: a well deserved break after three months of incessant work. The Earth-like planet (a budget-related fact) is very appealing, but it only takes a few minutes before something weird happens: Dr. McCoy starts having visions of a white rabbit that seems to come straight out of Lewis Carroll's work. Soon, other people begin experiencing similar things: a woman meets a Don Juan-like character, Sulu has a run-in with a samurai, and Kirk faces a double encounter with the past, in the shape of almost love and the guy who used to pick on him at the Academy. Throw in a freakishly real-looking tiger, and it's easy to see why Kirk and Spock are determined to figure out what's going on before anybody gets hurt.<br /><br />The idea is a classic one: idyllic place turns out to be far from heavenly. The episode's humorous take on the topic is rather successful, weren't it for a dark turn of events that doesn't sit well with the rest (of course, everything works out fine again come the end) and the cast's general unwillingness to show a funnier side of themselves (most notably, and ironically, the otherwise hilarious William Shatner). And yet Shore Leave deserves recognition for being another good example of the writers trying new, previously unseen things: the definition of Star Trek's success.<br /><br />7,5/10

This one's a romp; many Trek fans don't rate this as high as the well-known all-time classic episodes because it lacks the deep meaning or undertone of those really great ones, but this one is so well executed for what it is, so successful as pure entertainment, it always makes my personal list of the top half dozen episodes, no matter what mood I'm in. Several well known future movies ("Westworld") and TV shows (the more bland "Fantasy Island") took their cue from the premise of this episode (then, of course, the TNG show revamped the concept with the holodeck technology). Beautifully filmed (especially evident in the restored version and on DVD) and directed, it takes place in the nice park-like setting of a planet which the Enterprise has just arrived to. It's odd that no animal life, even insects, seems to exist here (how are flowers pollinated, for example), but things turn really odd when members of the landing party start seeing people from their past (Kirk has a people-heavy past, it turns out), as well as figures from other well-known fantasy stories. Sulu even finds an old-style police revolver (adding to his collection of swords, no doubt).<br /><br />By this point in the Trek series (halfway thru the first season), the main characters had pretty much solidified into the old friends we'd come to know over the many proceeding years. Here, we get to really see them relax, converse and work together to figure out this episode's puzzle: the strong narrative is a mystery again, of sorts, and the audience is along for the ride as Kirk & friends seek to unravel a very bizarre series of events which have a decidedly amusing flavor to them. It's almost whimsical, following up on the carefree style established up on the starship as Kirk was finally maneuvered into beaming down after showing definite signs of stress and fatigue (the Enterprise had, it's suggested, just completed a harrowing mission). Then Dr. McCoy is killed by a knight on horseback; yes, this is Dr. McCoy's final episode...just kidding. But, it's no joke to the rest of the landing party at this point in the story. McCoy really is dead for all intents and purposes and, like the best Trek episodes, the 2nd half of this adventure escalates to a more frantic, more desperate tempo of action and suspense. This is all signaled by Kirk's resolute response to Sulu, who voices his lack of understanding about any of these events just after McCoy's death - Kirk will get to the bottom of all this, come what may.<br /><br />But, it doesn't get much easier for Kirk: what follows is probably the longest staged mano-a-mano fight for the series as Kirk tussles with his nemesis from his academy days, a struggle that seems to take place over half the planet. Yet, this is counterbalanced by scenes of extraordinary tenderness, with another of Kirk's past acquaintances. This episode runs the gamut of all human experience, rather fitting in light of what we learn about the actual purpose of this weird planet. It's gratifying that the script really does explain all of what's happened, as opposed to some nonsensical approach which permeates many other fantasy & sci-fi series with similar plot lines (unexplained appearances by persons who could not possibly be there). And there actually is a subtext to the story - that we humans need to 'work' off our tensions and fatigue in a particular fashion, or we just don't function in a 'normal' natural way. Also, note the appearance of the very cute Yeoman Barrows and the sudden absence of Yeoman Rand, who did not return until the first Trek movie in '79. I believe that after this episode, even more Trek fans couldn't wait for the next appearance of all their favorite characters. But I leave this episode with a final, perhaps tantalizing thought: if McCoy was killed (verified by Spock), how do we know it was our real McCoy who beamed back up to the ship? Perhaps this explains why this McCoy was still inspecting starships about a century later and getting along very well with Data.

I watched SHORE LEAVE the other day. I've seen it so many times, and I never get tired of it. Strangely enough, every time I watch it lately, it takes me right back to the very first time I saw it. Including this time. Must be that sense of mystery and "What IS going on here?" about it.<br /><br />Oddly enough, the one part of the story that ALWAYS felt awkward and uncomfortable for me, this time, actually had a HUGE effect on me-- Ruth. I think a lot of it was Gerald Fried's score. A real masterpiece, that! The romantic section was reused-- much more extensively-- in THIS SIDE OF PARADISE. But of course, it debuted here. I get the impression that, out of all the girls Kirk knew over the years, she may have been the "sweetest". When she said, "Do you have to go?", combined with the music, I could really feel the pain she must have felt at not being able to have him stay with her.<br /><br />Someone commented online that Ruth looked older than he was, yet she wasn't supposed to have aged at all in 15 years. Which makes me think... MAYBE she was one of the teachers at the academy. Kirk had an affair with an older woman! (Perhaps he thought back to this in "MIRI" when he told Janice, "I never get involved with older women." Maybe he meant, "...anymore."<br /><br />Reading ST reviews the other day, I see where someone compared WHAT ARE LITTLE GIRLS MADE OF? with I, MUDD. But it seems SHORE LEAVE oughta be in there, too. What are all those "people" if not androids? And could "The Caretaker" be related to "The Old Ones" from the earlier episode? Whoever he is, he seems to be one of the RARE cases in ST where you have a race that is actually "superior" as opposed to merely thinking they are.<br /><br />Yeoman Barrows seems to be filling in for Yeoman Rand. Considering how much attention Dr. McCoy showered on her, it's just one more frustrating example of a potentially good character who appears once and then never shows up again! Sheesh.<br /><br />One thing missing from the last several I've watched that snuck back in here was, Spock smiling. He was! I saw him. I really prefer knowing there's 2 sides to him going on inside all the time, rather than this "submerged" business. When he said, "Enjoy yourself, sir." near the beginning, you could see it wasn't just his addressing his superior officer, but talking to his friend. And at the end, when he needlessly says, "Totally illogical!", I can't help but think he does it purely to provoke a reaction. He may not be smiling or laughing, but I think he likes seeing his fellow crew members around him happy.

Probably the most whimsical installment of the first season, 'Shore Leave' has its ups and downs; some parts drag on too long and others are unambitiously cut short, but one can't deny they threw in everything but the proverbial kitchen sink to make this an entertaining episode. Kirk and crew seem to have found the perfect planet for shore leave after an extended tour of duty has left everyone on board in need of rest, relaxation and so on. It appears for all intents and purposes to be an uninhabited Earth, with beautiful scenery and an ideal climate. The first indication that things might go just a little awry is when McCoy, leading an advance team, spots Alice (from Wonderland) following a large white rabbit wearing a vest. Kirk beams down and finds the others reporting similarly bizarre happenings and encounters. The one thing they all have in common is that each crew member was thinking about the person/place/thing they discovered right before they discovered it. This doesn't immediately sink in with Kirk or anyone else. More strangeness ensues, including sightings of Don Juan, a Siberian tiger, a WW2 fighter plane, etc; Kirk meets up with Ruth, a gorgeous old girlfriend (of course) and a bully from his Academy days, Finnegan. The chase/fight scene with Finnegan goes on too long but at the same time, McCoy is run through with a lance by a knight on horseback and apparently killed. Finally, an elderly man appears and explains what has been happening. The planet is a futuristic 'amusement park' where visitors have only to imagine something to have it appear. Nothing is permanent; McCoy isn't really dead. Once this is explained, Kirk decides to order shore leave for everyone after all. Despite the 'it was all a dream' sort of ending, 'Shore Leave' holds up as another first-rate episode of Star Trek's first season.

Bizarre, trippy, forget-about-a-story-and-full-steam-ahead low budget sci-fi about the Williams family, living in the California desert. They become witness to a series of events that escalate in their level of strangeness; apparently, they've been caught in a time-space warp, where past, present and future collide.<br /><br />This is the excuse for a parade of highly amusing special effects - a constant light and sound show, dinosaur-like creatures that have at each other, a friendly and tiny little E.T. who enchants the granddaughter, and so on. This picture does show off a little imagination, if nothing else.<br /><br />Very nice music by Richard Band, engaging special effects work from the likes of David Allen, Randall William Cook, and Peter Kuran, and, importantly, a likable family are key assets. It generates a sense of child-like amazement; it may very well be that it's more of a romp for kids (or the kids inside many of us) who are able to gloss over any flaws in the narrative or presentation.<br /><br />I found it hard to resist; it's a short and sweet (80 minutes) diversion, and a decent credit for director John "Bud" Cardos (of "Kingdom of the Spiders" fame) and executive producer Charles Band.<br /><br />7/10

Considering it was made on a low budget, THE DAY TIME ENDED manages to make the most of its budget with some surprisingly good special effects work.<br /><br />The story involves a family who are about to move into their solar-powered home in an isolated part of the Mojave Desert in southwestern California, only to find it trashed--by motorcycle vandals, they think. But their youngest daughter (Natasha Ryan) has begun to see mysterious things--a green pyramid, strange humanoid figures, etc. And only recently, the light from a trinary star explosion has caused extremely unusual auroras to show up in the desert skies. Thus the family, led by Jim Davis and Dorothy Malone, finds themselves face-to-face with strange alien forces who have put them in a time-and-space warp.<br /><br />Mixing in elements of 2001: A SPACE ODYSSEY and CLOSE ENCOUNTERS OF THE THIRD KIND, THE DAY TIME ENDED, despite its obvious flaws and uneven acting, remains interesting due to the superb special effects work of David Allen. The desert setting is very appropriate for this film's close encounters; and while the movie cannot really be compared with either Kubrick's or Spielberg's films, THE DAY TIME ENDED is much better than many other 2001/CLOSE ENCOUNTERS knock-offs. I give credit to director John 'Bud' Cardos, whose 1977 thriller KINGDOM OF THE SPIDERS made for an interesting precursor to ARACHNOPHOBIA, for at least trying--and on that basis, I give THE DAY TIME ENDED a 7 out of 10.

If you love cult 70's Sci-fi the way I do, or if you like movies such as "Repo Man" or "Buckaroo Bonzai" than you're going to love this one. It's a stream of consciousness 70's Sci-fi spectacular, including a 22nd century junkyard and the Earth a million years from now. This movie is pure 70's. Put on Steve Miller's "Fly Like An Eagle" or Pink Floyd's "Dark Side Of The Moon" and you're ready to go!

The Williams family live on a ranch located in the middle of the remote desert. They find themselves in considerable peril when the place is suddenly thrust into a time vortex where the past, present and future collide in a wildly chaotic and unpredictable manner. Director John "Bud" Cardos begins the film on a compellingly mysterious note and gradually allows things to get stranger, crazier and more exciting as the loopy story unfolds. Moreover, Cardos fills the screen with plenty of dazzling visuals and does a nice job of creating a genuine sense of awe and wonder. The admirably sincere acting from a game cast qualifies as another major plus: Jim Davis as hearty patriarch Grant Williams, Dorothy Malone as his cheery wife Ana, Christopher Mitchum as the concerned Richard, Marcy Lafferty as his lovely wife Beth, Natasha Ryan as sweet little girl Jenny, and Scott C. Kolden as the gutsy Steve. The funky special effects offer an inspired combo of gnarly miniatures, neat stop-motion animation monsters (said creatures include a tiny spindly hairless guy, a big, lumpy, fanged beast, and a scrawny lizard dude), and nifty matte paintings. Richard Band's rousing full-bore orchestral score really hits the stirring spot. John Arthur Morrill's crisp, sunny cinematography likewise does the trick. A fun flick.

"the day time ended" is an incredible picture. in some ways, it's better than "close encounters of the third kind." (i prefer cheesy independent flicks to big budget spectaculars.) the special effects ARE cheesy, but that's a big part of the fun. jim davis gives an excellent performance in this film. it's probably one of the best roles he ever had in a feature. the musical score is very good. the story DOESN'T make sense. BUT THAT ONLY MAKES IT ALL THE MORE INTRIGUING. like many of the best works of art, "the day time ended" isn't afraid to be subtle and ambiguous. "the day time ended" may be a low budget indie film, but it isn't too much of a stretch to compare it with the "existential" European films of the fifties and sixties. (many of which were low budget independent productions themselves.)