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Might contain spoilers.
This is just a good movie. Lots of good silly stuff to laugh at. However, do not watch the TV version, they cut to much out. Dom Deluise is rather awesome as the mafia Don who is hired to kill Robin. All I can say about his ten minutes: it's a long drive from Jersey. Also you gotta love them checking the script to make sure Robin gets another shot. Also: 12th Century Fox.
Any bad stuff? The rappers at the beginning and the end seem rather out dated. The songs were rather lame. One time while watching this movie, I could think out a few more times when they could have thrown in another joke or 2.
On the whole, however, an enjoyable movie experience. A must watch for comedy fans.


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I don't think I have ever seen a better movie parody. Mel Brooks is insane. EVERY time I watch it I find something new and it makes it even more funny than the time before. Cary Elwes is perfect for the role of Robin Hood. It has a great and unexpected ending that leaves you cracking up. Every character is great from Little John and Will to Maid Marian and Broomhilde. I laughed the whole way through and will never get tired of it. Watch it!!
If you liked Cary Elwes in this Movie, you must definitely see The Princess Bride.


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If you don't like Mel Brooks, you won't like this film. That's a given. Why anyone wouldn't like his films is unknown to me, but for those who can't see the light, just avoid it.
Everyone else: This is a classic. The entire cast is perfect: Carey Elwes is a dashing, clever, BRITISH Robin Hood, Amy Yasbeck overacts appropriately as Marion, Richard Lewis is his usual distracted, annoyed self, Roger Rees is a brilliant combination of fluster and violence as "Mervyn" the Sheriff of Rottingham, and Dave Chapelle, Eric Allan Kramer, Mark Blankfield, and the sadly underused Matthew Poretta are the perfect Merry Men.
There are similarities to Spaceballs, Blazing Saddles...and every other Mel Brooks movie. But why would you want him to change his style when it works so damn well? The pop culture references in this movie are old enough to be funny again...from the view of a 16 year old, at least. It's complete and utter parody, every second a play for a laugh. Some of them don't work, but most do, and well. I discovered new jokes the fifth and sixth time I watched the film!
Of course, if being barraged by constant visual and verbal gags isn't your style, you wouldn't like this. This isn't an Academy Award winner, it's Mel Brooks. You know what it is when you're getting into it. If you want nonstop laughter, surprisingly well-developed characters, and catchphrases to last a lifetime, watch this.


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There won't be one moment in this film where you aren't laughing. This is Mel Brooks at one of his high points, and Cary Elwes carries off the part of Robin with convincing humour. Every time you watch this film you will discover a new joke, but the ones you have noticed before will never grow old. Highly recomended!


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"Side Show" is one of the weirdest Horror movies ever made from Full Moon Pictures. Very gory in some places, but not as shocking as the Trailer makes it out to be (The Trailer for this movies shows all the gory parts). Also, the acting and visual effects are well done. I would recommend this movie to horror fans everywhere.
8 out of 10
Fans of Horror Movies like this should Check out Puppet Master, Skinned Alive, Slumber Party Massacre, Sleep Away Camp, and other Full Moon Pictures flicks. For other recommendations, check out the other comments I have sent in by clicking on my name above this comment section.


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I can't help but notice the negative reviews this movie has gotten. To be honest, I saw the preview for this movie, and the premise looked intrigued me. Yes, I rented it after reading others' comments. They are correct in that some of the acting leaves a lot to be desired. They are also correct that one of the best performances of this movie was that of Dr. Graves.
Also interesting is Scott Clark, who plays Grant, the kid in the wheelchair. I identify with the character he played, perhaps because I am in a wheelchair.
This movie is certainly worth your looking at.


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This is a great horror movie. Great Plot. And a person with a fear of midgets will definately love the evil midget! This is a must see for any horror fan. Finally a lower budget movie with decent effects and a great cast! Highly recommended.


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I feel very strongly that this film was just like Waiting to Exhale with white females in the 1950's. As in Waiting to Exhale, all of the female characters got mixed up with men who were either married or no good. The only difference, besides the obvious, was that there wasn't much humor in this film. I would even say that it was tragic. Only one of the male characters seemed to be kind and sincere (Hope Lange's guy), but even then there was conflict in this relationship.
The story was about three young women who shared an apartment together and who had hopes and dreams of success. Unfortunately for them, romance didn't seem to come easy although they were young, intelligent and attractive. This movie could be called a tearjerker with the saddest part involving Suzy Parker's character whose obsession of an ex-boyfriend leads to tragedy.
This is a must see.


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I first saw this film in 1959 at the Hoyts Double Bay cinema in Sydney when fifteen years old. I loved it then and still do. The ensemble cast is great - in those days the actors acted "naturally" and you "felt" for them in the respective roles. A "glossy" film of the period -the relationships therein still relevant to today's world but now the sexes are on the same level, women would not or should not allow the type of treatment displayed in the past. The soundtrack music is wonderful and it is a delight that Film Score Monthly released the CD in January, 2005. Pity scenes were cut prior to release - even at two hours you want more! I have registered with Amazon for the DVD (they do now have a special page). To view this film in CinemaScope after forty six years of pan and scan will be great. Twentieth Century Fox, please look further into your catalogers of fifties CinemaScope productions for DVD - there IS a large market out there. I await arrival from US of March, 2004 Vanity Fair Special article on the film, which is said to be fifteen pages with many photos on set. Cheers.


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This working girls go to hell soap is a time capsule candidate, courtesy of its immaculate physical production, 50s costuming (look at all those bows and pearls), creamy Johnny Mathis theme song and oh-so daring (for its time) sexual attitudes. Rona Jaffe's novel, on which the film was based, keeps on being republished, and just a few years ago Vanity Fair actually devoted an article to this delectable bon bon of a movie. Take a look at the new DVD transfer and you'll know why.
The three leads - Hope Lange, Diane Baker and Suzy Parker - echo the girls from "How to Marry A Millonaire" or Carrie Bradshaw and her friends from "Sex and the City." "Gentlewomen songsters off on a spree..." Their romantic adventures and sexual entanglements are the stuff of paperback passion: empty caramel corn calories, devoid of nutrition, impossible to resist snacking on. Lange is genuinely touching in her neo-Grace Kelly way, Baker is properly dim and idealistic as a timid virgin who gets (gasp) knocked up by a (hiss) cad. It helps that the cad is played by Robert Evans, the throaty voiced, coke snorting film mogul who surely has lead many an innocent young lamb to the slaughter in his Beverly Hills bedroom.
Suzy Parker is fascinating in the first half of the film, all blithe self assurance and knowing remarks. She struts her stuff with the panache of the fashion icon she was in the 50s. Alas, she's not up to where the film sends her: into madness and obsession. But she exudes glamour and savior faire and her acting is at least adequate. One wonders why the critics loathed her, virtually driving her out of movies a few years later. Perhaps an aloof attitude on the part of a good looking woman is just too much to bear. It sank Ali McGraw's career a generation later, and, when you think of it, Ali McGraw and Suzy Parker were basically the same actress.
The film's only major flaw is a weak ending. It pretty much collapses into a romantic swoon at the end, rather than rising to a wham bang melodramatic finish, like the other famous soap opera from producer Jerry Wald, "Peyton Place," which had Lana Turner weeping and gnashing her teeth during a rape trial. Here, Hope Lange wanders out onto the New York sidewalk, spots burly, eternally hung over (but now, of course, sober) Stephen Boyd and they simply walk off together...into the sunset, one presumes. Otherwise, this is pretty much the definition of a guilty pleasure.
Oh Yes...there's also Joan Crawford, breathing fire at all the young girls and smoking cigarettes while she hisses to her married lover over the phone. And the titles are done in hot pink, with ribbon lettering that recalls the department store ads of the late 50s. Don't miss!


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A classic late 50's film. The superannuated headliners (Joan Crawford and Louis Jordan) are not at their best, but the direction, cinematography, and acting of the younger cast are compelling. In a 50's sense (which I love).
The look and feel of the artsy (over-artsy?) contemporary film "Far from heaven" reflects exactly this sort of film (and I suspect this film may be one of the models). A silly plot, of course (hey, it's 1959!), but as a film-- glorious! As a reflection of the society, extremely interesting. And as witness to how Hollywood breaks away from the idealistic portrayal of American sexual mores, fascinating.


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If this is not my favorite movie of all time, it definitely is in the top five. I love this. Everything about this is perfect--the clothes, the set, the lines--yes, they're not how normal people talk, but... Right down to the small scenes, especially at the beginning of the office girls changing their shoes, picking a wedgie, watering the office ivy plant, putting lunch in the fridge... Identical to what us office girls do today in the year 2005. I think all the minor characters are wonderful. If someone like Joan Crawford is over the top, it's all part of the package. If you pick out many things in the movie, it is very evident that this was the beginning of the sixties as women were starting to not "take it lying down," at least not if they didn't want to. As far as characters being contradictory, for instance, Suzy Parker's character acting like she's all for flings, but then getting too attached to Louis Jourdan's character, isn't that what many people are like--contradictory? They mix in real stuff with scenes like Diane Baker's character finding the love of her life after miscarrying her illegitimate baby in an accident--lying in the hospital with a big old bandage around her head. This is part of the package too, it's charm--glossy escapism. I like the mix of real stories pertinent today (the stereotypical career woman who only has affairs with married men, therefore doesn't have a family when she is older) with ones that make you wish, "ah, if only I could fall in love with a doctor and he'll love me even though he knows my sordid past, and saw me all messed up after the scandalous accident!!" Also, I just got the DVD, widescreen, it's yet even more beautiful than full screen... Yay!


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The Best of Everything is a high gloss large screen soap opera which follows the careers of four career women, Hope Lange, Suzy Parker, Diane Baker, and Martha Hyer at a New York publishing firm. What's the best for some women is not necessarily the best for all.
Presiding over this group of young fillies is wise old mare Joan Crawford who's been around the track a few times on screen and in real life. She looks right at home as the boss lady as well she should have at this point.
Around the time she was making The Best of Everything Joan Crawford became a widow when her fourth husband, Alfred Steele died. It was a particularly traumatic event for her, she woke up one morning and found him dead in bed next to her. She inherited all of his stock in Pepsi Cola where he was the board chairman and during the same period as The Best of Everything was being made, she wound up the queen bee at Pepsi Cola. Life does sometimes imitate art. So that authority as she barks out dictation and coffee orders to Hope Lange rings real true.
In fact all the women here with the exception of Lange are in for some rough sledding. It's rough for Lange too, but she literally makes the best of everything.
What a collection of stinkers the men are in this film. The best of them, Stephen Boyd, is a heavy drinker. The others Louis Jourdan, Robert Evans, and Brett Halsey, are as slimy a collection of rodents as ever gathered for one film.
I can't forget Brian Aherne either who's the fanny pinching head of this publishing firm. Half that office would have sexual harassment suits going today.
Some nice location shots of New York in the fifties make the film a real treat. Catch it by all means.


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This is a film that is far more enjoyable than its rating of 7 would suggest. In many ways, it's like a 50s version of VALLEY OF THE DOLLS--with much of the excesses and sleaziness of VALLEY polished up a bit for the audiences of 1959. Like this later film, both are about three young ladies who are on the fast-track to success--though this time it's in the publishing world instead of the entertainment industry (though one of the ladies in THE BEST OF EVERYTHING does have aspirations of Broadway).
The film begins with Hope Lange coming into the company for her first day of work. She's assigned to tough-as-nails boss, Joan Crawford, who is appearing in her first supporting role in decades. Despite how nasty Crawford seems, Lange is determined not to give in--to make it in this job. And, over time, she quickly moves up the ranks from secretary to editor. At the same time, her two new roommates also try to move up the ranks--one through the stage and one through a relationship with a rich playboy. Like VALLEY OF THE DOLLS, all of them have their ups and downs (mostly downs) but by the end of the film there is some hope that at least some of them will make it--battered and bruised, nevertheless.
In this film, men are mostly pigs. The only guy who seems decent is played by Stephen Boyd, so naturally Hope Lange neglects him for a ne'er do well ex-boyfriend. As for the guys played by veteran character actor Brian Ahern and the rest, they are sexist scum and eventually you understand how Crawford became so bitter and nasty.
This film has it all--adultery, premarital sex, abortion, etc. and is certainly NOT an artistic triumph. However, thanks to excellent production values and a juicy script, this one is a joy to watch. Just don't expect Shakespeare!!


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I watched the first few moments on TCM a few years ago but stopped after about 15 minutes. I saw it listed on the schedule at the Stanford Theatre in Palo Alto, and I vowed I would make the 40 minute drive. The Stanford is an old fashioned movie house that starts each movie with the curtains still shut Yes, they have curtains. They opened as the Fox logo fanfare began to play. When "The Best of Everything" appeared in huge pink letters spread against the New York City skyline, I knew I was right for waiting.
I lapped this movie up. There were so many little moments that added to the look and feel of the movie: When Hope Lange walks into the publishing office for the first time, the titles of the magazines published there are etched on the glass (The Teenager and Elegance); Joan Crawford's swanky apron that she wore so she could serve her guests at her party without mussing her outfit; the way the camera tilted to indicate how crazy Suzy Parker was becoming (it was almost sideways at one point); how Hope Lange kept living at that dumpy flat she shared with the others even though she obviously was making a lot more money than at the beginning of the film (guess it was too scandalous for a single gal to live alone).
Hope Lange was so beautiful; so was Suzy Parker. And how about Mark Goddard in a non-speaking role. I fell in love with him when I was a kid watching Lost in Space.
Seeing this gem on the big screen prompted me to plan another trek down to the Stanford to see The Old Dark House. Incidentally, I bought a small soda and popcorn at the concession stand, and I was taken aback when the worker asked me for two bucks.


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Having grown up in the typing pool era and dealing with office politics and men who were apt to make a banquet of beauties into a delightful meal day to day, this movie hits the mark. Good afternoon fare. I understand that Louis Jordan wanted to work in this movie to play opposite the quintessential GORGEOUS Suzy Parker. Everyone wanted to be in and I believe it has done well and held up over time. Best on screen kiss between Hope Lange and the late Stephen Boyd.
It may not appear that anything of this is plausible but actually it was and probably still is even given the scare of sexual harassment. I thought the movie was well cast except the awful acting of Evans. What a grease ball but he found his niche someplace else. Other than that, all stepped up to the plate.


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This 1959 soap opera film takes us into the lives and loves of three young women in the publishing world as secretaries. This follows the same idea as THREE COINS IN A FOUNTAIN a few years before. This takes place in New York while COINS takes place in Rome, Italy. Our three beauties are Hope Lange, in her first starring role, Suzy Parker and Diane Baker. Lange does well and holds her own opposite some strong veterans in the business, namely Joan Crawford. Suzy plays an obsessive woman who has a hard time losing her beau. Hard to believe that anyone could reject this beauty for any reason, but Louis Jourdan, her heart throb, does just this. Sort of takes you back to Paul Neuman rejecting the gorgeous Elizabth Taylor in CAT ON A HOT TIN ROOF, doesn't it? Diane Baker, the third damsel in distress, meets and dates Robert Evans, before he became the producer, and husband to Ali MacGraw, he is known for. Hope's boyfriend from home, played by newcomer Brett Halsey, is promising to marry her. She also meets Stephen Boyd, a fellow worker, who has interests in our Hope. All three ladies have their drama ahead of them. Crawford almost steals the film. Her presence and her usual strong bitchy self is fun to watch. Veteran actor Brian Aherne plays one of the bosses with a yen for pinching our leading ladies' back side. He's delightfully charming. Also in the cast is Martha Hyer, wasted in a thankless role never really explored. Too bad as I like this actress who never seems to get that one role to distinguish her abilities. She has a crush on a married man in the office played by Donald Harron, whom I had the pleasure to work with in a couple of Shakespeare plays in NYC. He is a distinguished actor that is wasted in this film also.
All in all it's great fun, in Technicolor and cinemascope, directed by Jean Negulesco.


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Although dated, this film is definitely worth a watch. I saw it about eight times as a teenager when it opened and it changed my life...I just HAD to live in New York. It has great opening shots of the Manhattan skyline with Johnny Mathis crooning "Romance is still...the best of everything..." that rival those of West Side Story. There is a rather stilted performance by the world's REAL first Supermodel, Suzy Parker (sorry about that, Janice D.), but it's great eye-candy! It also offers a bit of insight into late 1950's American mores--our obsession with (and repression of) sex (in the workplace, no less!), romance, and marriage before women's lib. It represents an era in which New York was at it's finest and a super-bitchy performance by Joan Crawford is just the icing on the cake.


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That's a bad, raunchy, predictable, tacky, salacious soap opera? "The Best of Everything" is just such a guilty pleasure for me, something along the lines of "Valley of the Dolls". I mean, "Best" has everything. Somebody gets pregnant out of wedlock (when's the last time you heard THAT phrase?), there are affairs everywhere, drinking, backstabbing, jealousy, and even a tragic but not altogether unexpected death.
Caroline Bender (Hope Lange) and Mike Rice (the delicious Stephen Boyd) are the centerpieces of the goings-on. Their chemistry is immediate and is the glue that keeps this film from becoming too fragmented.
Suzy Parker, the off-the-chart gorgeous ex-fashion model, appears as Gregg Adams, an aspiring stage actress, a role that, according to any biography I've ever read about her, was apparently not much of a stretch. But Parker does a surprisingly credible job here, more than holding her own in a couple of scenes opposite Louis Jourdan who plays David Savage. Jourdan probably took this role for the money and the special screen credit because he was clearly headed down the aging star/has-been road.
Diane Baker is fine as naive, gullible April Morrison, Martha Hyer as Barbara Lemont has a particularly juicy storyline, and film legend Joan Crawford chews her usual serving of scenery as Amanda Farrow, another role, like Jourdan's Savage, that Crawford likely took for the paycheck.
There is some obviously dated dialog and plot devices (this IS 1959), and the predictability of the soap opera genre. But if you like a good soap as I do, "The Best of Everything" will more than satisfy you.


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It's interesting to watch how late 1950's society is depicted in this film. Men are lecherous, chain-smoking boozers with one thing on their minds (time hasn't changed men all that much, but "sexual harassment" has) & women are in the workplace only passing time until they find a husband & settle down. Some of the dialog is cringe-worthy but yet it's charming in an innocent, passé way. I love the opening credits that show a romantic, exciting view of Manhattan with Johnny Mathis singing "The Best Of Everything" on the soundtrack. I want to jump right into some scenes, filmed on N.Y. streets, circa 1959 & experience a time I've only seen on film & in photographs. Some scenes in this movie reminded me of Melanie Griffith's "Working Girl". Especially when Hope Lange (who's a cross between Grace Kelly & Dolores Hart) gets bombed in handsome Stephen Boyd's apartment, he tucks her in & just watches her sleep (like Melanie, she wants to know if "anything" happened between them the following day). Joan Crawford is definitely comparable to Sigourney Weaver's horrible female boss except she was outwardly nasty (with a soft core), but Sigourney's character was sweet on the outside & horrible on the inside. I found it distressing how the Suzy Parker character (Gregg) started out as an independent woman with career goals to be an actress, who supposedly didn't need a man to complete her, ended up. She becomes a stalker/lunatic/nut-job when she lets the man she falls in love with drive her bananas after he's done with her. I loved the character Mary Agnes, the office gossip, with her thick New Yawk accent. If you enjoy films like "Valley Of The Dolls" you'll like this one too.


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Enjoyable film that gives you romance, women-on-the-verge psychodrama, work place sexual harassment, adultery, and fashion. It's all there. Typical characters found in corporate America. Joan Crawford is the usual long time employee bitch executive who feels the need to be such because she's with the big boys. Hope Lange is the entry level ambitious employee whose determined to get to the top by using her mind and not her body. Their personal lives is the subplot.
Wardrobe for the film is great but someone forgot to tell Stephen Boyd's hairstylist that "a little dab will do ya!" The amount of Brylcream in Stephen Boyd's hair is distracting at times. His character's relationship with Lange's character was never fully developed which I found disappointing. Overall the movie is enjoyable.
Rating: 8/10


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A hugely enjoyable screen version of Rona Jaffe's best-selling pot-boiler about the trials and tribulations, (and, naturally, the loves), of a group of women involved in one way or another in the New York publishing business. Directed by Jean Negulesco, fairly fresh from the success of "Three Coins in a Fountain", and the prototype for the likes of "Sex and the City", except that here the sex all takes place off-screen.
The bright young female talents of the day, (Hope Lange, Diane Baker, Suzy Parker, Martha Hyer), are all nicely cast while Joan Crawford pops up as a Queen Bitch of an editor who could probably eat Meryl Streep's Miranda Priestly and spit her out; with absolutely no effort at all she steals the movie. The men include Stephen Boyd, Louis Jourdan, (if it wasn't Rossano Brazzi it had to be Louis Jourdan), Robert Evans, (before he decided, wisely, to go behind the camera) and Brian Aherne. There are more suds on display than you will find in your average launderette but if, like me, you enjoy "Desperate Housewives", not to mention Carrie Bradshaw and company then you will probably love this. A very guilty pleasure.


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You can't take this movie seriously.....the plot is predictable and trite, the acting often over the top, the dialog laughable; but it all adds up to great fun! Three "career girls" in the late 1950's find their way to the BIG city and all the evils and temptations their mothers probably warned them about: married men, alcohol, premarital sex, abortion, etc.
Then there's Amanda Farrell (Joan Crawford) who did succeed professionally, but whose personal life has been sacrificed for an office with her name on the door.
This movie may have been believable 50 years ago, but now it's just great campy fun! Rent/buy it and enjoy.


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Great period piece that shows how attitudes have changed in 40 years. Great production design, appealing stars, great lines ("Miss Bender, I don't care if you beat it out on a native drum!", says Joan Crawford's Amanda Farrow to Hope Lange when Lange incredulously asks how she is expected to read a summarize a large amount of manuscripts in a very short time). If you've seen this movie panned and scanned on TV and not in the letterboxed version on pay-TV or AMC (American Movie Classics) you haven't really seen it. Hopefully, this guilty pleasure of a film will be made available soon on DVD in a letterboxed version and with it's original 4-track stereophonic soundtrack. Great opening title sequence that really catches the mood of 1959 New York while Johnny Mathis sings the "Best of Everything" theme song in an echo chamber surrounded by a chorus of violins and another chorus of background screamers. Miscarriages! Insanity! Office romance! Bitchy cold-hearted bosses! Thwarted love! It's all here to enjoy.


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This is an engrossing woman's drama that men can enjoy. The plot follows a young woman (Hope Lange) who goes to work for a publisher after college. We can forgive her jump in position from secretary to editor (hey, it's Hollywood) and a few other flaws. Here is one of the few films in which once big time producer Robert Evans (here, beautifully depicting a rat with women) appears. It also features a mature Joan Crawford and terrific supporting cast. Check it out.


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Fun bad movie which should amuse. One of Joan Crawford's last performances as the driven successful editor vs. all those young beautiful eager beavers fresh out of the elite Seven Sister Colleges. Great '50's ambiance of New York. Wonderful period costumes and hairdos. Terrific art direction. Trite story, but rousting tearjerker. Interesting cameo by Robert Evans as a rich cad.


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The best of everything. Just what is the best of everything? It is different for everyone but for most of us it is love. But alas not everyone knows where or who to look to for real love. This story goes the whole gambit of looking for love. Sometimes in all the wrong places and for all the wrong reasons. But as the saying goes,"we are the captains of our own ships", and so it goes for our lives. We are responsible for the choices that we make in our lives. Once we make those choices then we must live with them. As we watch this story and as we see these women making choices that most likely change their lives forever, we wonder, would we make the same choices as these women or would we be wiser? Who knows?


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A sincere tribute to Suzy Parker, who's just passed away. Not only is TBoE one of the cheesiest movies ever made, but Miss Parker's performance is, in this cheesy-movie-lover's opinion, among the worst performances of all time. Her last scene is especially overplayed. I loved it!


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Watching this hilariously retro but very entertaining career girl tale, I was floored by Joan Crawford's first appearance. All I could think initially was, "My God, it's the same face as Michael Jackson in his notorious booking photo!"
About 34 minutes into the movie, Diane Baker and Hope Lange get out of a cab in Greenwich Village. As they walk down the street, you can see part of a sign in back of them for the Stonewall Bar -- scene of the epochal "riots" that are considered the trigger for the modern gay rights movement.
Speaking of Baker and taxis, I had to laugh when she gets into one and tells the cabbie, "56th and Sutton Place, please -- and be careful of the bumps." Can you imagine the reaction to that from a driver in today's Manhattan?! She says that, of course, because she's pregnant and doesn't want to hurt the fetus. But that doesn't stop her from JUMPING OUT OF A MOVING CAR when she finds out Bob Evans wants her to have an abortion! Well, they had to find a way for her to lose the baby (1959 and all).
Sue Carson is delightful as Mary Agnes. Why was this her only movie? There is no biographical information on her in IMDb.


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I just saw this wonderfully filmed movie that captures the essence of
high-brow NYC, or any big city of mid-century America. The colors, the
cars, the clothes and the coming of the Womens Movement. It reflects the
comf-cozy attitudes of relationships between men and women in the
corporate world. In some ways, things gave changed and in others, they
haven't changed at all. Women still want what men have today, but they
now have all sorts of laws and equality mandates to get it for them. In
my opinion, beautiful women will still THROW themselves at men in
pursuit of thier goals! The laws we have now against harrassment and
all, were passed by unattractive women who wanted an equal chance to
compete with prettier women who might be getting the positions soley
based on thier looks and puting out! The real competition isn't between
men and women, but women and women! I liked the look and feel of the movie but the world hasn't changed as
far as what real


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"Boy Next Door" is a hilarious romp through male neurosis. In just over fifteen minutes, the film takes us on a journey that most full-length features can't even match. Great performances, excellent camera work and editing---this short is a classic from start to finish. Kudos to Travis Davis for pulling double duty as both director and star. He's the funniest nebbish since Woody Allen. And what a treat to see Richard Moll back again. If you thought all he could do was play "Bull" the bailiff on "Night Court", think again. This gem of a film showcases the brilliantly funny writing of Stephen Garvey. Remember that name. Forget Charlie Kaufman, Steve Garvey is the true current king of quirky comedy.


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Had the pleasure to see this film at the Big Bear Film Festival where it won the Audience Award. And I have to say, it was well deserved because Boy Next Door is a very funny short film! The script is well written and keeps things escalating. It also has a great current of suspense coursing through it. You don't know what's going to happen next as the main character tries to deal with the realization that his new neighbor might not be the most ideal person to be living across from him. The jokes are quick and unexpected. The plot keeps us guessing. The dialog feels very real. I thought the direction was first-rate and the director Travis Davis shows a lot of potential for making it big in the world of studio comedies. Not small praise considering he also is the lead actor of the film, so he had to do triple duty on this, writing, directing and starring. If you get a chance to see this film on iTunes, it's worth the download. It'll make you laugh out loud a few times. And that's more than most shorts offer these days.


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When I watch a short like Boy-Next-Door, I find myself with a kind of bittersweet feeling. On the one hand, I'm happy. I'm watching something that has been well thought out, seamlessly executed and just daring enough to be interesting. On the other hand I find myself lamenting the level of comedy generally produced. TV and films are so consistently packed with easy, condescending crap that we find ourselves judging excellence within a scale of mediocrity. Then you see someone like Davis, who, without the "benefit" of studio notes or substantial budget; can create a really cool little comic gem. Producers and network suits need to turn to the Travis Davis' out there for material and stop awarding deals to people simply because their resume or agent may demand they should. Boy-Next-Door has, hopefully, gained the attention of the right people to facilitate more work from Davis. It's really fun and very well done!


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This twisted comedy is well acted and directed. Very funny and the production quality is outstanding. It is easy to see why this short film has been accepted into so many festivals and won awards.
Everyone can identify with Calvin having a bad day, bad week, bad life. Travis Davis plays the role superbly! Richard Moll as Tim brings darkness and foreboding that gives this film just the right twistedness. The old man adds to the humor of the story. And who wouldn't love the suicidal goldfish!
This short will bring lots of laughs. And don't miss the credits as they are playing at the end!


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"Challenge to be Free" was one of the first films I saw as a child. It was also one of the first VHS tapes that I owned. I hadn't seen the movie in years, so yesterday I decided to stick the tape in and watch it. Wow. The story is as powerful now as it was the first time I saw it. I think now that I am older I can better apreciate the values that are implanted in the movie. (Self-reliance, The value of Freedom, and the love of nature) It is a "B" movie, to be sure, but it's one that you'll remember for years, especially if you see it as a child.


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Director: Tay Garnett, Ford Beebe, Cast: Mike Mazurki, Vic Christy, Fritz Ford, Tay Garnett.
Based on the number of comments I see on IMDb, this seems to be a forgotten movie. This seems rather ironic to me because it is actually one of the first movies that I remember. My mom took me and my little brother to see this film at The Garland theater in Spokane when it first came out in the mid 1970's and I still remember it.
I am going by memory here but I believe this move is about a trapper who was accused of a crime which he did not commit and the law goes after him. I believe it to be set in 1800's Alaska. A narrator tells the story of the trapper played by Mike Mazurki. Really, this is a very good film with a great setting. It could be compared to the 1981 film Death Hunt with Charles Bronson. The two films have a very similar story line. The main difference between the two is Death Hunt is an adult orientated film whereas Challenge is a family friendly film.
Mike Mazurki and Tay Garnett were both rather old when this movie was made which I find rather impressive when one considers that this movie was filmed on location in the wilds of Alaska. This was the last film made by Tay Garnett before he died which was just a few years later. They both had been around since the silent era.


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This story has held a special place in my heart for the last thirty-one years. As a boy, I enjoyed stories of mountain men and the wilderness. Books like "Call of the Wild", "White Fang", "The Frontiersman" and "My Side Of the Mountain", influenced me tremendously. I wanted so much to live like a mountain man, but nothing inspired me more to do so, than when I saw this movie on television in 1975. I wanted to be just like "Trapper". However, as I got older I found I was just too domesticated to live like that. Nonetheless, I still romanticize about living that kind of life. I agree with some other reviews of this movie that the storyline has the simplicity that is quite prevalent in "Disneyisque" type movies, but if you can look past the mechanics in which it was made and see the heart of the story, the true themes, then I think you find yourself pleasantly touched. I make it a point to watch this movie once a year. After thirty-one years, I still get a chill running through me when I see torrent of snow rushing down the mountainside and hear the echoing, haunting laugh of the Trapper.
-Good luck old-timer and stay free-
PS If you want to read more about the true story, I found this link on the Mad Trapper of Rat River:
http://www.mysteriesofcanada.com/NWT/madtrapper.htm


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This was on odd film. I liked the adventure of it though it seems to be aimed at children. (SPOILER AHEAD) Ironically, the main character murders a federal official. Then he's a fugitive on the run. They later blow up his house and then he finally commits suicide. Seems like they should have just made it a film for a more mature audience or made it more family friendly.
This was on odd film. I liked the adventure of it though it seems to be aimed at children. (SPOILER AHEAD) Ironically, the main character murders a federal official. Then he's a fugitive on the run. They later blow up his house and then he finally commits suicide. Seems like they should have just made it a film for a more mature audience or made it more family friendly.


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The most enjoyable pet movie since Scooby Doo and Garfield. The story revolves around a 23 year old inventor named Brian Foster whose systems at his boss's company seems to keep failing, Brian is also dating the boss's daughter named Casey. But Brian secretly invented a robotic dog named CHOMPS, modeled after his own dog Rascal. But CHOMPS is no ordinarily dog, he is as fast as a cheetah, he has x-ray vision, can leap about 6 feet, and has a strength of 20 men. The new invention impresses his boss, and makes his business a success. But when the company rivals hear about CHOMPS, they try to find a way to capture him. Can CHOMPS outwit them before its too late. This movie is a classic for all ages.


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Brian (Wesley Eure) works for a security firm owned by Mr. Norton (Conrad Bain). The Norton firm is in financial trouble for, unknown to the owner, he has an employee who is selling secrets to a rival firm's owner (Jim Bacchus). It's not Brian, as he is a loyal and faithful employee and a good inventor. But, Mr. Norton has no patience with Brian, in part because Norton's beautiful daughter, Casey (Valerie Bertinelli) has a thing for Brian and Norton questions Brian's motives for wooing her. However, Brian does come up with a great security device. It's called CHOMPS, which stands for canine home security system. The device, which looks like a dog, is actually a computer controlled animal with the ability to knock down walls and emit siren sounds to capture burglars. The rival owner sends two bungling spies (one is Red Buttons) to learn the details of the new invention. Will CHOMPS save Norton security? This is a fun family flick from the old school of good, clean entertainment. CHOMPS is, of course, a real dog, played by the adorable and talented Benji. In fact, Benji has a duel role, as Brian has a "real" dog named Rascal, too. Just watching this little dog in action is pure joy, as he is able to scale walls, "pull" trucks, and operate machine buttons to capture the bad guys. The human cast is also quite nice, with everyone giving upbeat performances that are infectious. Costumes, scenery, and production values are good, too. Although you may have trouble locating the film, it would be well worth the effort to secure a view for your closest loved ones. CHOMPS is a wonderful, wholesome diversion from the world's woes.


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I saw Chomps during the - approximately - 2 days of its theatrical release. It is a delightfully cute and funny movie in the spirit of 'Benji' though much improved and focused more on the actors than the dogs. The simple portrayal of life difficulties in a humorous way, followed by the bullies and villains getting their just deserts, is both sympathetic and heartwarming. It is also thought provoking. With deft subtleness this movie affects ones awareness of cruelty, personal behavior, and bullying. Movies have different genera's and different purposes. This movie, which is delightful to all ages, offers an interesting humorous look into our own experiences. Everyone will recognize personality and behaviors types of themselves and others. Everyone will see the humor. The humor makes the move enjoyable and brings understanding of life situations to a new level.
For lighthearted laughter and a 'feel good' movie Chomps is an excellent choice. Memorable.


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Eager electronics whiz Brian Foster (a likable performance by Wesley Eure of TV's "Land of the Lost") creates a computerized watchdog called C.H.O.M.P.S. (an acronym for Canine Home Protection System) for his boss Mr. Ralph Norton (nicely played by Conrad Baain), whose home security business is floundering. A rival company hires a pair of inept criminals to get their grubby hands on C.H.O.M.P.S.; said task proves to be easier said than done. Director Don Chaffey relates the endearingly dopey story at a constant brisk pace, maintains an amiably silly and lighthearted tone throughout, and stages the goofy slapstick gags with considerable flair. Moreover, the game cast mug it up with infectious aplomb: the adorable Valerie Bertinelli as Brian's sweet fiancé Casey Norton, Chuck McCann as klutzy crook Brooks, Red Buttons as McCann's equally bumbling partner Bracken, Jim Backus as evil CEO Mr. Gibbs, Hermoine Baddeley as nice old biddy Ms. Foster, and 60's AIP exploitation feature regular Larry Bishop as smarmy, duplicitous suit Ken Sharp. Best of all, the titular pooch is a cuddly delight: C.H.O.M.P.S. jumps through fences, walls and windows with amazing agility, performs acts of exceptional strength, runs faster than a deer, and even does a few nifty martial arts moves. A subplot about a hulking neighborhood hound named Monster supplies a few extra belly laughs (Monster is voiced by some uncredited guy with an appropriately deep, growly voice). The groovy animated opening credits sequence, Charles F. Wheeler's glossy cinematography, and Hoyt Curtin's funky, pulsating disco score are all solid as well. A cute little kiddie flick.


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This movie is a nice, cute family oriented film. If you don't like violence, this is the movie to watch. Only thing annoying about this movie is the tune (but it's a catchy tune) repeats whenever c.h.o.m.p.s. leaps in to action.


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