Reviews

When I read many of the vituperative user comments, I wonder if I saw the same movie. This was totally true to the spirit of the original series with a bit of a sharper edge. Most of the latter was supplied by Gary Oldman in a much more formidable portrayal of Dr. Smith than offered by the effete Jonathan Harris. Jack Johnson was a spectacular Will. I thought Matt LeBlanc totally broke out of his mold and was terrific as Major Don West. All of the cameos supplied by the original cast were excellent, although I wanted older Will Robinson to be played by Billy Mumy. Sure many of the plot angles were screwy, but so was the original series. As for all the boring comments, I just don't understand... I thought the pacing was tight.

In fact, one of the worst and most boring movies ever made from a science-fiction TV series was Star Trek I -- and it's a blessing for all of us that the studios didn't abandon the concept after the original turkey directed by Robert Wise.

The one thing I will agree with is that William Hurt played the same boring and egocentric character he always seems to play these days and bore no resemblance to the soul of Guy William's John Robinson. But, Hurt's was a minor imperfection that didn't ruin a pretty good update of the series for me.

This is satire at its funniest. When I first saw this movie in 1994, I was really depressed and it cheered me right up. So, the following year, I was feeling blue again and saw this for sale for $10 and bought it, and it cheered me again.

There is no rocket science here (except of course, for Jethro), just enough flat-out absurdist satire to make me laugh and laugh and laugh. Extremely true to the spirit of the original, this is very well-performed and totally irreverent. Cloris Leachman, Lily Tomlin, and Elena Ereniak are standouts as Granny, Miss Jane, and Elly Mae, actually improving slightly on the originals which I didn't think possible. Buddy Ebsen is marvelous in a cameo as Barnaby Jones, and Linda Carlson makes a terrific Cousin Pearl. Junior Drysdale is also enjoyable. {Penny Fuller was very bad as Mrs. Drysdale, but it's a minor role.} Dietrich Bader is a great Jethrine, and a fair-to-middling Jethro.

But, the real revelation is the late Jim Varney (incredible to think that he is dead for five years while Buddy Ebsen is still with us).

I HATE the Ernest movies, and was expecting the worst. But Varney, actually captured the soul and spirit of Jed Clampett even better than Ebsen if possible. He is magnificent in the role. What a pity he died so young!

But, every time I watch this gem of unreality-TV (to steal Nick at Nite's brilliant catch-phrase), which I have done 10 times so far, Varney's best performance ever lives on in my heart.

What fun this movie is! Naive tenderfoot writer Jeff Bridges goes off to Hollywood to write B Westerns. And, every note is enjoyable. Andy Griffith is magnificent as bigger-than-life Howard Pike. Alan Arkin has all-kinds-of-fun as the egomaniacal director and Blythe Danner lights up the screen in her role. This is a great piece of Americana.

Normally lightweight William Lundigan is quite good as the hero cop of this quickie programmer. The rest of the cast is also quite good and the suspense remains high throughout. The plot is deceptively simple which is what makes the whole thing work in this atmospheric thriller. The only disappointment you'll have is that it's over so quickly.

Well-written independent film gets great performance from Pantoliano in the title role. He is a horse's rear end, but he is an honest horse's rear end working as an IRS investigator. This film is purposefully devoid of glamour, and it gives the story that much more integrity. Wade Dominguez dies while making this movie at age 32 of respiratory failure. What a waste! He is terrific here. Robert Townsend is wonderful as the prosecutor, too. Mike Starr from "Ed" is quite good as Pantaliano's boss.

This attempt to recreate the magic of the early 1960's series succeeded only in making me wax nostalgic for the series. They made two theatrical movies of the series in the mid-60's; they were both poor; this is abominable. On paper, Tom Arnold as McHale and Dean Stockwell as Binghamton sounded like it should have had some possibilities. Arnold, at least, has the right attitude, but Stockwell, doing his worst Dan Hedaya imitation, is atrocious. The rest of the acting is equally out of synch, but not nearly as bad as the dialogue. Do not waste your time on this adolescent trash.

The acting is better than the inconsistent writing here. And, Wendy Kroy would be used only by someone trying to get caught or of limited intelligence. Ms. Fiorentino is marvelous and helps us have fun with this, and the always reliable Bill Pullman is terrific. Peter Berg is okay as the dumb hick but the character consumes too much film time for what it contributes. And, the script left me feeling cheated at the end. You could do worse than watch this, and you can do a lot better.

They made two theatrical movies with the cast of the original series with one notable exception -- this one didn't have McHale and thus surrounds Binghamton and Parker -- with the usual shtick. There are three funny scenes and the rest of it rambles on interminably. If you like the series, you will find this bearable but are better off renting a tape with episodes from the actual series. Still, this is better than the hideous 1997 remake.

This turn-of-the-century period piece defines a genre all its own: screwball pathos. Jackie is larger-than-life, outrageous, sings the Academy-award-winning Best Song ("Call Me Irresponsible") in self-deprecatory pathos, and is generally an irresponsible but frustratingly lovable alcoholic of a husband to Glynis Johns. Johns is marvelous as the wife at the end of her rope who really doesn't want to let go, but feels like she must for the good of her children. The result is not entirely successful, and elicits some consternation from me as a modern woman, but I know that's the wrong perspective. It's certainly memorable, and moves reasonably well, so it's worth a look if you haven't seen it.

This and Cabaret are my two favorite Broadway musicals of all time. But, whereas the movie Cabaret creatively took the play to a new level, this is content to be a filmed stage play -- and without Ethel Merman. Rosalind Russell is a terrific actress who tries hard but she is forced to resort to shtick when playing Jewish mothers (see the awful -- A Majority of One) and Mama Rose is most certainly the ultimate Jewish stage mother. Russell tries hard and certainly does not ruin the film, but her casting along with unimaginative direction turns an extraordinary show into just a good movie.

Joel McCrea is very likable in carrying this breezy "B" western with a winning sense of humor and just the right amount of action. John Russell does his usual professional supporting job and Wanda Hendrix is delightfully offbeat as the love interest. Joel McCrea's talent for whistling gets a nice showcase. Not outstanding, but quite enjoyable.

The repartee between Beery and Main is great, and between Beery and Naish, it's even better. Wallace is in top late-career form in this silly, but not too silly, and frantic comedy. His character will make you laugh for weeks after you see it. Tom Weeks has a nice supporting bit, and Marjorie Main is marvelous.

7-plus out of 10??? Did the other respondents see the same old tired stew that i did with every ethnic stereotype and cliche in the book? Yes, it has a fine cast, but it is totally wasted. You can see the disgust on Joan Chen's face as she nails in her performance. And Dennis Haysbert is trapped in the worst character of his career. My rating: 2.

This movie is so deep I've watched it four times, and each time found something new. I've also now watched Apted's companion documentary "Murder at Oglala" which tells the factual story upon which this film is mostly based. Val Kilmer is terrific as the FBI agent with a trace of native American heritage who is assigned to the murder investigation in the Black Hills as a PR ploy. Graham Greene is even better as the tribal Police Officer who helps him re-examine his values; something Greene's character unexpectedly finds himself doing as well. Thunderheart is an excellent movie.

Gillian Armstrong's valentine to Miles Franklin's classic novel is one of the most beautiful movies ever made, and my personal favorite to watch over and over again. The photography is brilliant and Judy Davis delivers and unforgettable performance. She really takes you inside the head and soul of a very complex character who is alienated, fascinated, and bemused by the role she has been given to play in life. Every mother should show this movie to her teenage daughter. It may be the last chance you have to laugh together.

This is very well-conceived and well-acted. But, just when you think you are watching an unsung classic, just when you are scratching your head to come up with a resolution, you realize that the film makers do not have one and instead leave us with the ultimate cop-out ending. Too bad.

The quintessential cool Steve McQueen performance is matched well by Faye Dunaway's sharp investigator named Vicki Anderson. Both characters are extremely well created, and the Michel LeGrande score is unforgettable. An excellent supporting cast helps to contribute to a top-notch caper movie.

Unbelievable suspense and magnificent acting is the hallmark of this all-time classic of the genre. Alan Arkin gives a tour-de-force performance as a brutally sadistic psychopathic killer. Audrey Hepburn is superb as Susie, the movie's heroine, who learns that she can take care of herself when she has to. And, Richard Crenna demonstrates why he has been a staple of the entertainment industry for sixty years. The man is as professional as he is handsome.

Poitier and Steiger are amazing in Jewison's carefully laid-out tale. But, that's only part of this enduring classic's greatness. The brittle yet resonant dialogue is magnificent. The supporting cast members, especially Warren Oates, Scott Wilson, Beah Richards, and William Prince, are brilliant. The photography is mesmerizing. The score is perfectly selected and synchronized with the action. In fact, every detail is flawlessly arranged in this American masterpiece.

Get ready to see an unexpected side of Jimmy Stewart. He is cynical, unethical, cowardly, and ruthless. Richard Widmark gets the thankless role of his by-the-book sidekick. Willis Bouchey, John Qualen, Shirley Jones, Woody Strode, and Ken Curtis are all excellent in unforgettable supporting roles. And, Linda Cristal nearly steals the film with a dynamic performance. This is a character study of the highest order.

Executive Webb is picking a successor to himself as CEO from among Heflin, McMurray, and Wilde. He believes that one of the most important things about an executive is the wife behind them, so he invites all of them and their wives for an outing at his estate. The wives are scrutinized backwards and forwards, inside and out. Women's driving, parking, shopping, and talking habits are savaged in the process. It is all very well done, and makes me even angrier at the Man's World this really is every time I see it.

This Billy Wilder movie is considered an all-time classic. As a kid, I found it scary but confusing. Now 55 years later, it almost seems farcical. It has not aged well. Ray Milland's over-the-top hallucinations seem laughable now. I love Billy Wilder films, and many consider this one of his best, but I think it is merely an overly praised failed experiment. Please see it for yourself, again, and let me know what you think.

Ray Milland is brilliant in this story of a man whose troubles just begin when he is released from an asylum. The suspense is so thick it can be cut with a knife and the supporting cast is excellent in this innocent-man-caught-up-in-espionage classic. The photographic shadings are also just right. And remember, the cake is made with real eggs.

Billy Wilder's directorial debut is one of the American cinema's classic screwball comedies. Ginger Rogers is electric as the blue-collar gal whose adventures begin when she dresses herself up as a youngster so she can afford to ride home on the train (she only has half-fare). Robert Benchley heads a magnificent supporting cast, and Ray Milland acts his role to a "tee." If you've never seen this, you are in for a treat.