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I liked it... just that... i liked it, not like the animated series... i love it!!!. The fact that this make less appealing is that we all try to compare and not to appreciate, but this cartoon was awesome, but it really didn't like it that much. There's too much people talking about Bruce being so cold, but if this is around 5 years later, anybody in a crime-fighting gang would get this angry and darker attitude, so to me it isn't a flaw. Batgirl was awesome she really fit there, as there isn't more Dick Grayson as a robin, batman needed a good teammate, not like the new robin, he is just a child and you cant rely that much on a child. But heres what didn't work: The new artwork... it isn't horrible but... to me it does'nt work in a series like batman. This is a dark character, with a maniac killer like the joker, so you cant put this kind of artwork in this cartoon, The joker isn't a bad design but i still like the past joker (but to me the BEST joker ever was the one who appeared in batman beyond:return of the joker) , so this joker isn't near as good. The good thing about the joker is that it still mark Hamil voice. My favorite character: Harley Quinn (im in love for her) They put an awesome episode for her: Mad love (to me the best episode of this series). Here we finally know how she turned Harley Quinn, and how the joker twisted her mind, and it feel that atmosphere that you feel in the animated series, darker, no happy ending, brutal fight with the joker (but too short), this is how it was to be ALL the series. BUT in general i didn't like how she made Harley in this series... in almost every episode they put funny but in a ridiculous way, she get punched, she say nonsenses, she make flaws... c'mon she is funny in a way you can laugh with her, not from her... and here they put ridiculous (like i said the only episode where i don't think that its in mad love and beware of the creeper) So in general its a good series, it has it upsides and downs, the drawn could be better ( MY GOOD!!! KILL THAT CATWOMAN!!!!) nice sound effects, nice music, nice voices and nice episodes: my favorites, Mad love, Jokers millions, Old Wounds, Sins of the father, and Cold comfort. If you enjoyed Batman:TAS you can watch this but don't spec too much, in the other hand if you didn't watched TAS, watch this first and then watch TAS in that way you're really gonna love TAS :D


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This is so to say a sequel to batman the animated and it is pretty much as good as it to and for all the same reasons it has lots of action in it the storyline to it is good the voice over actors are really good such as Kevin Conroy as batman, Mark Hamil as the Joker, etc. The villains are really good such as The Joker, Two-face, Catwoman, Clayface, etc. So i am sure you will not be disappointed with the new adventures of batman because it is really good. So make sure that you watch it on TV or rent or buy the collectors edition because it is really good.
Overall score: ********* out of **********
**** out of *****


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Two years passed and mostly everyone looks different, some for good and some for worse. I still enjoyed as much as I did the original though.
Some flaws they had though like changing the Joker he now has no red lips and looks like more blackish hair and black pupils, hes still voiced by Mark Hamill which is a plus I guess. They made Poison Ivy more white hinting that she is becoming more like a plant and Catwomen looks much different and not as "attractive" as she was in the original.
Though costumes like Batman, Batgirl, Killer Croc and Scarecrow look badass, especially Scarecrow.
The show isn't as dark as the original because Batman doesn't work as alone as he used to. Most of the time working with Batgirl and the new Robin, Tim Drake. While NightWing(Dick Grayson) comes to the rescue often. Batman gave up the yellow logo and with the black wing on his suit and seems like he got a bit bigger but still kicking tons of ass.
The show isn't as good as the original mostly because of some of the revamped characters but the stories are as exciting as ever and the dialogue is still elite. "Over the Edge" might be one of the greatest Batman episodes ever so make sure you check that out.
Overall 8-9/10


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If this film strikes you (as it did us and, apparently, others departing the theater) as disappointingly thin, it may be because the subject herself is mildly disappointing. The film faithfully presents us Bettie Page as she probably was: a playful almost-innocent from the rural South whose career as "the pinup queen of the universe" was for her just goofy, natural fun. Her eventual moral qualms, religious conversion and sudden departure from nude and bondage modeling are biographically accurate, yet hard to understand given how untroubled she seemed by her livelihood.
There are many reasons to see this film even so, not least of which are the amazing b&w noir cinematography of W. Mott Hopfel III (complete with old fashioned wipes and dissolves), the 1950's-faithful acting of the cast under the direction of Mary Harron, pitch-perfect performances by some of our most underrated supporting actors (including Chris Bauer, Lili Taylor, Sarah Paulson, Austin Pendleton, Dallas Roberts and Victor Slezak), not to mention the Oscar-worthy and technically difficult lead performance of Gretchen Mol.
Ms. Mol does several scenes fully naked and most others in amazing period lingerie and "specialty" costumes (gloriously assembled by costume designer John A. Dunn), yet she astonishingly maintains Bettie Page's unstudied pleasure in her lush body. To watch Ms. Mol as Ms. Page, an aspiring actress, progressing through degrees of progressively less "bad" auditions and student acting scenes is to see a truly fine actress in complete control of her craft.
The script does effectively bring us into 1950's America, where childhood sexual abuse, lawless abduction and rape, and the legal suppression of brands of pornography which today seem laughably tame, is a reality. 50's New York is evoked with seamlessly-inter cut news reel footage. 50's Miami comes alive in super-saturated, 16mm-style color. The real Bettie Page seems to scamper, smile and pose before us, and yet the effect is curiously lightweight, barely lewd and not at all dangerous.
How odd that bondage's greatest icon should be so lacking in venom, and that this technically excellent biopic should have so little sting.


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More a snapshot of the most popular pinup of all time than your typical dragged out biopic, this fun and fabulous film has the look and feel of the era with an excellent soundtrack and everything you would want in an indie-type film. I think the tendency would be to portray Bettie Page as some sort of sex vixen, like a Jayne Mansfield. But if you've truly looked carefully at Bettie's poses, she always looked happy. Not a "you wish you could get with me" haughty look, nor the "I'm just doing this because my acting career didn't work out" look of a porn star. And so, the ladies involved with this film (three female producers, a female writer/ director, female co-writer and the lovely Gretchen Mol, who I'm sure helped shape this role with her own sugary influence) really captured the idea of a sweet, somewhat naive, southern girl who really enjoyed having her photo taken and hoped that good ol' JC wouldn't be too upset with her.
Gretchen Mol turns out a career high performance (she may just have the most perfect breasts ever), which I am happy about, because she did have the curse. Several years ago, she made the cover of Vanity Fair when no one really knew who she was, touting her as the next It-girl. And let's be frank, that was a bit presumptuous. I mean unfortunately she has never made it to Gwyneth status, though not for lack of talent. Making a few poor film choices when you are a pretty blonde in fickle Hollywood renders you forgettable I'm afraid. If this doesn't put her back on the A-list, well I'll be a monkey's uncle.
Intensely private, Bettie herself has not seen the film yet. Bettie left the pinup party on a high note and fell in love with her old flame, Jesus. Whatever floats your boat honey. You were one helluva woman. I hope you're happy wherever you are.
Congratulations Mary Harron, you've done our cult idol justice.


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Canadian filmmaker Mary Harron is a cultural gadfly whose previous films laid bare some the artistic excess of the Sixties and the hollow avaricious Eighties. With "The Notorious Bettie Page" she points her unswerving eye at Fifties America, an era cloaked in the moral righteousness of Joe McCarthy, while experiencing the beginnings of a sexual awakening that would result in the free love of the next decade. Harron and her co-writer Guinevere Turner, are clearly not interested in the standard biopic of a sex symbol. This is a film about the underground icon of an era and how her pure unashamed sexuality revealed both the predatory instincts and impure thoughts of a culture untouched by the beauty of a nude body. If the details of Bettie's life were all the film was concerned about, then why end it before her most tragic period was about to begin. Clearly, Harron is more interested in America's attitudes towards sexual imagery then and now. Together with a fearless lead performance by Gretchen Mol and the stunningly atmospheric cinematography of W.Mott Hupfel III, she accomplishes this goal admirably, holding up a mirror to the past while making the audience examine their own "enlightened" 21st Century attitudes towards so-called pornography. As America suffocates under a new conservatism, this is a film needed more than ever.


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Bettie Page was a icon of the repressed 1950s, when she represented the sexual freedom that was still a decade away, but high in the hopes and dreams of many teenagers and young adults. Gretchen Mol does a superb job of portraying the scandalous Bettie, who was a small town girl with acting ambitions and a great body. Her acting career went nowhere, but her body brought her to the peak of fame in an admittedly fringe field. Photogrsphed in black and white with color interludes when she gets out of the world of exploitation in New York, this made-for-TV (HBO) film has good production values and a very believable supporting cast. The problem is, it's emotionally rather flat. It's difficult to form an attachment to the character, since Bettie is portrayed as someone quite shallow and naive given the business she was in. The self-serving government investigations are given a lot of screen time, which slows down the film towards the end. But it's definitely worth watching for the history of the time, and to see the heavy-handed government repression that was a characteristic of the fifties. 7/10


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For a film that's ostensibly about sex and leather, it doesn't have any right to be as oddly sweet as it is. The story of Bettie Page, a good Christian girl from the South who's momma wouldn't let her date until she married, who moved to New York and ended up becoming the most successful pin-up of her age, is driven by an outstanding performance from Gretchen Moll. Her Page can't quite reconcile the pictures that she takes (nobody's allowed to touch, it's all fun and respectful) with the pornography trials and supposed ill-effects that her images have on the world around her.
Page has been an inspiration to every burlesque artist since, not just because she had a figure to die for, but because she invested every picture with an innocent sense of fun that was uniquely sexy and simple at the same time. Rather like this film, in fact. Filmde in both black and white and glorious technicolour, it's a lovely way to spend a couple of hours.


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I saw this movie at the 2006 Palm Springs International Film Festival and it is a movie and not a film since it apparently was shot by HBO to be shown on their cable network sometime this year. This movie presents Page as a bondage and discipline fetish pinup and B&D stag film actress who had enough talent to become a real actress. Page was a little more than that and the film touches on some of her other roles in modeling but not enough to balance out the career of the 50's pinup icon. This film is supposedly based on the book "The Real Bettie Page" by Richard Foster. It's shot in black and white for that 1950's nostalgia feel. I have the book called "Bettie Page The Life of a Pinup Legend" that has a lot of great photos chronicling the career of Page and I must say that this movie reproduces on film, with Gretchen Mol as Page, many of those famous photo's very accurately. Mol herself with the Bettie Page black wig and brown contact lenses is Bettie Page. Not only does she have the Bettie Page look but she has the smile and characteristics of her personality that came through the camera down perfect. And her body is as close to a replica of Page's as possible. Terrific casting. The story is kind of thin and tabloidesque and certainly could have been a lot better. But this is a pretty good TV movie. I would rate it a 7.0 of a scale of 10 and recommend it's viewing when it comes on TV.


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I had a vague idea of who Bettie Page was, partly due to her appearance in the very wee days of Playboy (apparently, when she got her photo taken of her and her Santa hat, just that, she didn't know what the mag was). The movie, co-written and directed by American Psycho's Mary Harron, fleshes out the key parts of her life well enough. A southern belle of a church goer has some bad experiences and leaves them behind to seek better times in New York City, where she gets into modeling, and from there a lot more. Soon, she becomes the underground pin-up sensation, with bondage the obvious (and "notorious" of the title) trait attributed to her. The actress Gretchen Moll portrays her, and gets down the spirit of this woman about as well as she could, which is really a lot of the success of the film. She's not a simplistic character, even if at times her ideas of morality are questionable ("well, Adam and Eve were naked, weren't they?" she comments a couple of times). Apparently, the filmmakers leave out the later years of Page's life and leave off with her in a kind of redemptive period, leaving behind the photo shoots for Jesus.
In all, the Notrious Bettie Page is not much more than a kind of usual bio-pic presented by HBO films, albeit this time with the stamina for a feature-film release. The best scenes that Harron captures are Page in her "questionable" positions, getting photos of her in over-the-top poses and starring in ridiculous films of whips and chains and leather uniforms. This adds a much needed comic relief to the film's otherwise usual nature. It's not that the story behind it is uninteresting, which involves the government's investigation into the 'smut' that came out of such photos and underground magazines. But there isn't much time given to explore more of what is merely hinted at, with Page and her complexities or her relationships or to sex and the fifties. It's all given a really neat black and white look and sometimes it seemed as if Harron was progressing some of the black and white photos to be tinted more as it went along. It's a watchable view if you're not too knowledgeable of Bette Page, and probably for fans too.


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Beautifully made with a wonderful performance from Gretchen Moll capturing such a stainless plain happiness in her work, and the recreations of the little movies and the photographs are perfectly made and often hilarious. According to Harron they used film stock that is no longer produced and fifties style studio lighting even for the outside locations to give the colour portions its distinctive look. Bettie Page saw the movie at Hugh Heffner's house (she is now eighty-three) with the producers there, but not the director, in case it got awkward if she didn't like it. She apparently did like it up until the official inquiry, which she found unsettling. Some great costumes too. The idea for the movie started in 1993, but this was worth the wait. The portrait of her never seems to ring false in reference to all those images and snippets of (dreadful) movies that many of us will have already seen. It would make an interesting companion piece with Goodnight and Goodluck, but much more pleasant viewing!


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Although The Notorious Bettie Page is well acted and shot, is is, at best, a Cliffs Notes version of Bettie's biography. The film mainly centers on her work with Irving and Paula Klaw, the brother and sister team who produced the bulk of her most famous photos. It does not detail her life after posing, aside from her religious rebirth. It cites "The Real Bettie Page", by Richard Foster as a source, but it ignores Bettie's later years of mental illness and incarceration in a mental hospital. The narrow focus of the biography can be debated, but the majority of Bettie's fans and the "civilians" would probably be more interested in her modeling career, which is what they get.
The film is well acted, with Gretchen Mol faithfully reproducing the look of Bettie, as well as conveying the sweetness that her photos exuded. The character is played as rather naive, a probable byproduct of interviews given by Bettie in recent years. It is more likely that Bettie was aware of the nature of her photos but rationalized it as acting and costumes.
The supporting cast is also outstanding, with Chris Bauer and Lili Taylor playing Irving and Paula Klaw, and David Strathairn as Estes Kefauver. The film errs with the character of John Willie, played by Jared Harris. John Willie never met Bettie Page and was not involved in photo shoots with the Klaws. Harris plays Willie a bit like Peter O'Toole, in his more debauched state.
Despite the quality of acting, the film is a bit of a disappointment in terms of depth. The story is rather cursory and we never feel that we truly get to know Bettie. Much like her photos, it's just an image. It does tend to exaggerate Bettie's notoriety. Her photos were mainly seen in and around New York, in a very narrow market of underground and cultish publications. Her real fame came after her photos were reprinted in the late 70's and 80's, and the Cult of Betty Page (as her name was usually spelled) grew. Bettie's greatest exposure (pardon the pun) was in Playboy, appearing in the January 1955 issue (the Christmas photo, which is staged in reverse in the film).
The film is well done, if rather shallow. It is able to sustain interest until the end and showcases many fine performances. It hits the high points of Bettie's life, but ignores many details which would have given it far greater depth. The ending is rather a let down. It feels rather abrupt. Still, the movie is definitely worth viewing by anyone interested in Bettie, or even the time period. The soundtrack is great, really pulling the viewer into the 1950's. If nothing else, the film stands as a showcase for America's burgeoning sexuality and the clash with its Puritan past. It's also a peek at an icon for both men and women.


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The first two-thirds of this biopic of fetish model Betty Page are very interesting. Betty, as portrayed with enormous sincerity by Gretchen Mol, comes across as a pleasant, girl-next-door type, who saw nothing wrong with what she did (and there certainly wasn't anything "wrong" with it). Director Mary Harron, who also made "I Shot Andy Warhol" and "American Psycho", recreates Betty's America by mixing old black and white stock footage with new, degraded, black and white footage. Once Betty lands in Florida and starts working with Bunny Yeager, color is introduced. Betty's notoriety was mostly the result of her work with Paula and Irving Klaw (Lili Taylor, in a great performance, and Chris Bauer), as well as John Willie (Jared Harris). The scenes where Harron recreates Betty's bondage photography sessions are fascinating and adroitly executed. The early purveyors of fetish material are not portrayed too condescendingly and we get a sense that these folks were part of a tight "community". Betty never had too much of a problem with her notoriety, although we get the impression that her reputation prevented her from gaining legitimacy in the straight acting world. Because the film's third act is virtually non-existent, we are left with the impression that we have been watching a feature length documentary on Betty Page rather than a structured drama. Flaws aside, it's a film well worth catching and represents yet another fine feather in the cap of producer Christine Vachon.


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I've known about Bettie Page for many a year now. The soft-core porn images of her from the 1950's have since become iconographic and still have a strong draw even today. The "Bettie Page" look is also still hugely popular within the hetero fetish world and remains as distinctive today as it did then. So I watched this film with quite a bit of familiarity to begin with. The result did not disappoint.
Among other things, it was hugely entertaining to see the movie's recreation of actual figures like Irving Klaw, John Willie, and Bunny Yeager  all consider trailblazers today. Mary Harron did an excellent job creating the desired ambiance of sexual repression and hypocrisy in 1950's America along with a sexuality that, by today's standards, was innocent in the extreme. I particularly liked the use of monochrome versus color as a visual shorthand for the emotional and spiritual climate Bettie found herself in.
I think that Gretchen Mol did an excellent job of presenting the character of Bettie in all her innocent sexuality and all her utter naiveté. Bettie loved to look pretty, loved the attention, saw nothing wrong with nudity, and enjoyed dressing up in "silly outfits" for the camera. The underlying sexuality and deeply fetishistic desires all that evoked were completely lost on her. To this day she still doesn't understand "what all the fuss was about" when it comes to her pictures or the S&M content of them.
This isn't to say she's uneducated or too simple to understand it's just that she simply doesn't "get it" about fetishism and never will. No harm there. Bettie Page is simply being who she is. The film captured this quite nicely.
The social atmosphere of the 1950's depicted by Ms. Harron and written by her along with Guinevere Turner makes me truly glad I live in the day and age that I do. The hypocrisy and repression combined with the massive ignorance about our sexuality all combined to a frighteningly stifling world. The film well captures this and brings to cheering as Bettie endures it all with her unshakeable faith and her unchangeable naiveté.
This film was a bit slow at times but hit all the points Ms. Harron attempted and hit them well. I'd recommend this film even for those folks with little to no knowledge of who Bettie Page was and what effect she had on American culture. For those with such interests, then this film is a must see.


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Firstly, I have heard great things about this film, not least among the retro/vintage scene and the stockings lovers who absolutely love Bettie Page and it did not disappoint. Shot in very clean black and white with colour added for key scenes, the film gives a documentary feel to the early life and career of Bettie Page.
There are many things I did not know about Page. Firstly, there was the gang rape, later on, there is her early attempts at developing an acting career and then glamour pictures, firstly with a camera club peopled with men who can't get enough of her and later with the Klaws, Paula and Irving, who despite their taking of bondage and fetish photos, come across as extremely pleasant and friendly people. If only modern pornography producers were like that, perhaps better porn would be a consequence! For the most part, the film is neither a diatribe against the evils of pornography but an attempt to show the kind of environment that existed in the 1950s for those producing fetish and nude pictures of women. This environment was extremely repressive, perhaps in a good way because it meant that there was none of the 'saturation' effect that we have today, when it comes to pornography. It also appeared to be much less harsh. Page comes across as someone who enjoys her work and doesn't appear to be degraded by it. In many of her photos she is seen tied up and gagged (and trying to hold a conversation), brandishing a whip with a flourish, thus exciting the photographers taking her pictures and seen in 'initiation style' girlie bondage movies which look quite tame compared with the hardcore stuff we have now.
Page never became an actress and instead deserted pinup when she was in her thirties for 'Jesus Christ'. Her belief in God and Jesus never goes away, even when bound and gagged she still insists that she has been given a 'gift' by God to do 'this thing'. Seeing this film, I am more knowledgeable about Page and in awe at her modesty, beliefs and demeanour. She is one of a kind, compared with the identi-kit clone blondes we have today and someone who can actually say 'There is life after porn'.


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THE NOTORIOUS BETTIE PAGE Written by Mary Harron & Guinevere Turner Directed by Mary Harron
How do you define a person who has always been between two worlds, one of presumed sin and one of supposed redemption? Especially when that person eventually succumbed to a split personality disorder in her latter years as if to demonstrate her own point. If you're director Mary Harron, you don't shy away from showing the push/pull nature of THE NOTORIOUS BETTIE PAGE. You allow the character to drift back and forth between the healing forgiveness of the power of God and the church and the seductive illusion of control and dominance afforded to Page during her years as a pinup model. By doing so, audiences are offered a complex character that is propelled forward by a desire to leave her difficult past with a naive enjoyment in others' lust for her and a struggle to reconcile her image in the eyes of God. Come the right time, it will no longer matter how many eyes are on her because there is only one pair that counts.
Shot mostly in black and white (with some unnecessary bursts of color), THE NOTORIOUS BETTIE PAGE is at times a light, humorous comedy, making the film an enjoyable experience and also one that pokes fun at how seriously people believe in the corruption of pornography. But the delicate hand of the director is more palpably felt during Page's times of despair. Harron is a sensitive, considerate director who does not throw Page's numerous and devastating blows of abuse in the face of her viewer. Instead, she allows the surprisingly effective Gretchen Moll, who plays the title role, the chance to hammer the pain of her character into the viewer with fear in her eyes, exhaustion is her cries and shame on her skin. Whereas most directors, perhaps most male directors, would find it essential to show the heroine in painful positions in order to draw a link between the kinds of atrocities that were put upon her and where her life took her, Harron has too much compassion for her character, her actress and her audience. From fragility, Page learns to trust people again and as more and more photographers fall in love with her image, the more she falls in love with their admiration and the control she has over the gaze. By the time her poses cross over into the realm of soft-core S&M, she has found a way to combine her need to be respected with the objectification she has been accustomed to her whole life.
Mary Harron's Bettie Page is a woman who yearns for control over her life and destiny, yet ultimately is always being told where to stand, how to smile and what to wear. When she finally realizes that none of her choices have been her own, she chooses to embrace God and preach his word to those who will listen. The true sadness behind this most important decision is that she is still letting someone else guide her blindly; she just has more faith that this direction will be better for her soul.


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Great acting on the part of Gretchen Mol. This film is one of the best biopics to hit the screen in some time. While it does cover the majority of Bettie's young life, it also manages to stay on a mostly focused path which is something most biographical films seem to lack. There is some lovely and alarmingly funny subtext in the dialogue and acting. This film is an excellent break from the Dir. of "American Psycho," and I think this will show through as her best work to date. Oh, and as a cinematography buff, I give this film 100% in the cine dept. It was amazing how well they pulled off a 50s look with modern film stocks. Accolades to the D.O.P. All around very enjoyable. I recommend any interested to see it: 8/10.


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Greetings again from the darkness. Mary Heron is amassing quite the list of films which provide a glimpse into their specific era. Her previous "I Shot Andy Warhol" and "American Psycho" were at their best when commenting on the quirkiness of society during that period. Although "The Notorious Bettie Page" is obviously about Ms. Page, it is every bit as much a peak behind the curtain at the world of kinky photo shoots in the 50's.
The film is fun to watch both from the perspective of the story and the technical aspect of the way it was filmed and put together. The grainy B&W film and photos capture the time and the introduction of color in Miami Beach through the photos of Bunny Yeager is very well done.
The supporting cast is strong with David Strathairn (fresh off his Edward R. Murrow role), Chris Bauer (as Irving Klaw) and Lili Taylor. The star of the film is the wonderfully talented and underrated and underworked Gretchen Mol. Ms. Mol always brings an edge and spirit to her roles. She was absolutely mesmerizing in the little seen, Jason Alexander directed "Just Looking" in 2000. Here she is the notorious Bettie Page. Her smile is captivating and her body is flawless. She really seems to enjoy this role and helps us understand how the girl next door from Tennessee could become the underworld Pin-up queen.
As one would expect, the soundtrack from the era is terrific. Patsy Cline and Peggy Lee are just two of the featured performers. Although the film hints at providing a history into this industry, the final third kinda falls flat preventing pure movie magic. But the magic of Gretchen Mol and Bettie Page make this a fun movie to watch and one that will yield endless showings on HBO in the near future. Now will someone please turn Ms. Mol into the star she should be?


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If there's one genre that I've never been a fan of, it's the biopic. Always misleading, filled with false information, over-dramatized scenes, and trickery all around, biopics are almost never done right. Even in the hands of the truly talented directors like Martin Scorsese (The Aviator) and Ron Howard (A Beautiful Mind), they often do a great disservice to the people they are trying to capture on screen. Skeptiscism takes the place of hype with the majority of biopics that make their way to the big screen and the Notorious Bettie Page was no different. Some critics and moviegoers objected to Gretchen Mol given the role of Bettie Page, saying she was no longer a celebrity and didn't have the chops for the part. I never doubted Mol could handle the part since, but I never expected to as blown as away by her performance as I was upon just viewing the film hours ago. Mol delivers a knockout Oscar worthy performance as the iconic 1950's pin-up girl, who, after an early life of abuse (depicted subtlety and tastefully done, something few directors would probably do) inadvertently becomes one of the most talked about models of all time. The picture covers a lot of ground in its 90 minute running time yet despite no less than three subplots, there is still a feeling that there may be a small portion missing from the story. Director/co-writer Marry Harron and Guinevere Turner's fantastic script is only marred by a too abrupt and not as clear as it should be ending. Still, credit must be given to the two ladies for creating a nearly flawless biopic that manages to pay tribute to both its subject and the decade it emulates masterfully. Come Oscar time, Mol, Turner, and Harron should be receiving nominations. Doubt it will happen, though there certainly are no three women more deserving of them. 9/10


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Hey guys I'm actually in this movie! I didn't even know it was on this site until i looked a few years ago and i was so surprised! I played Pete, the main characters son. It was a great experience and i loved every minute of it. While filming they needed me to be in two places at once, so they used my twin sister as a body double! The finger that pushes the radio button in the car is hers not mine. I still act and do some TV, but not as much. Oh and if you want proof my name is the first one at the top of the scroll.
Review: I thought the movie was okay but if i wasn't in it, it wouldn't be one of my favorites. I thought the acting was really good, but the story line was only so-so.


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The film was okay, quite entertaining. The cast was pretty good, and I'll second what the comment before me mentioned - Glenn Quinn was outstanding and he alone is reason enough to watch this movie. He played the selfish "evil" friend and manager of the band brilliantly!
There are a lot of songs performed by "Beyond Gravity" in this film, but this doesn't really come as a surprise considering the film is a VH1 production. However, if the soft rock/ pop music isn't to someone's liking one might as well flash forward those scenes.
The plot of a band trying to make it to the top in L.A. but having to overcome many obstacles on the way isn't too original, but quite entertaining, with some surprising plot turns here and there.


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Though I really didn't feel anything for Lance's character, and felt his wife could have done much better with anyone else. It could have been a much stronger movie if they had spent more time on character development, perhaps with Lance- I would have liked it better.
However, I have to completely agree with DoyleLuver, when they said "And to quote Glenn Quinn's character Ben: 'I'm the star here in it, that's right I'm the talented one!'" If you watch the movie, just watch him, even when he's in the background... just his facial expressions, all in the eyes, you KNOW for sure what motivates Ben, exactly how he feels about comments, even if it's a quick look behind a character's back. Great acting in a fair film.


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When I started to watch this movie on VH-1 I cringed. The MTV movies were all bad so I wasnt expecting much. But this movie was really good. I liked it a lot. And it even had a twist at the end. See this movie because it shows that Made For TV movies that are good exist.


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If you think "Weird Al" Yankovic is hilarious, you won't be disappointed by THE COMPLEAT AL. Not only does this rare mockumentary feature many of Yankovic's more memorable videos ("Like A Surgeon" and "I Love Rocky Road" among them), but they are inter-spliced with funny vignettes supposedly highlighting the parodist's rise to fame. Yankovic is not for all tastes, but his humor is harmless and imaginative enough that even non-fans will at least be lightly amused. Die-hard fans will love it not only for its content, but also for its relatively early look into Yankovic's now nearly three decade career. Suitable for all ages, kiddies will no doubt love the funny visuals.


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But it is kinda hilarious, at least if you grew up on Weird Al, like I did. It's a mockumentary about his life and career, beginning with superstardom and going back to trace the origins. It's uneven in places, but some of the segments are still very funny, particularly when he goes to Japan. Although it's not quite as emotionally textured as Lost in Translation, and he doesn't find love however fleeting, he does capture in a bottle the absolutely bizarre cultural melange that is Tokyo street life.
Perhaps Weird Al isn't recognized as the insightful cultural commentator that he is; perhaps a rose by any other name would smell just as sweet. Still, this is a funny movie.


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This is a bizzare look at Al's "life", back when he still a hyper 20-something. The (real) home videos of Al as a kid are great, and the commentary from his (real life) parents gives a nice glimpse of just how Weird Al wound up as screwed up as he is. This video is a must own for any devoted Al-coholic.


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I will never forget when I saw this title in the video store way back when. I was always a big Weird Al fan and when I saw this video I rented and watched it. I was too young to appreciate all of Al's subtle humor and satire at the time but I remember it much later when I was old enough to understand what I was watching. If you are an "Al" fan, especially of his earlier work, you will thoroughly enjoy this film. It is done in the MTV-esque "Rockumentary" style and tells a true (but sometimes exaggerated) tale of how Al got to be where he was in 1985. You will love it if you like his brand of humor and, more importantly, his music.


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I take issue with the other reviewer's comments for the simple reason that this is a MYSTERY FILM, not a supernatural one! It is not the only film to have a seemingly "supernatural" explanation ("vampires"), but turns out to be a very mundance one.
Other films that come to mind are Edgar Wallace's "Before Dawn" and the (more famous) "Mark of the Vampire".
The film does a WONDERFUL job in creating a very "spooky atmosphere", similar DRACULA, when Renfield meets the Count on the staircase of his castle, or in MARK OF THE VAMPIRE, when the two people look thru the windows of the castle ruins and see a "corpse" playing an organ, while Luna descends using wings! VERY surreal!
If one likes these (often silent) atmospheric touches, THIS film is a MUST!
Norm Vogel


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Dwight Frye steals the show in this one as a foolish young man(who seems to be mentally handicapped) who gets himself blamed for vampire-like murders especially after he reveals his love for bats which he likes to stroke and give to unsuspecting friends as 'gifts'!. Besides all of that, there's an entertaining mystery tale involving the above mentioned murders. Underrated.


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Mysterious murders in a European village seem the result of THE VAMPIRE BAT horde plaguing the terrified community.
This surprisingly effective little thriller was created by Majestic Pictures, one of Hollywood's Poverty Row studios. The sparse production values and rough editing actually add to its eerie atmosphere and lend it an almost expressionistic quality. Overall, it leaves the viewer the feeling of being caught up in a bad dream, which is appropriate for a thriller of this sort.
Even though the eventual explanation for the hideous crimes is quite ludicrous and is not given proper plot development, the film can boast of a good cast. Grave Lionel Atwill gives another one of his typically fine performances, this time as a doctor doing scientific research in an old castle. Beautiful Fay Wray plays his assistant in a role which requires her to do little more than look lovely & alarmed. Dour Melvyn Douglas appears as the perplexed police inspector who also happens to be, conveniently, Miss Wray's boyfriend.
Maude Eburne, who could be extremely funny given the right situation, steals most of her scenes as Miss Wray's hypochondriac aunt. Elderly Lionel Belmore plays the village's terrified burgermeister. And little Dwight Frye, who will always be remembered for his weird roles in the FRANKENSTEIN and Dracula films, here is most effective as a bat-loving lunatic.


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In an attempt to cash in on the success of Universal's horror films Majestic Pictures hired several popular actors from the current genre and put them in this effort that (realistically speaking) is nowhere near as good. With that, this is still worth everyone's time and it's a heck of a lot of fun to view and in my opinion it's better than most of what is supposed to pass nowadays as horror! Story takes place in the small German town of Klineschloss where the bodies have been piling up completely drained of blood and with suspicious puncture marks. Burgermister Gustave Schoen (Lionel Belmore) shouts "It's Vampires" but the local police chief Karl Brettschneider (Melvyn Douglas) thinks it's a madman who's responsible and he vows to catch him.
*****SPOILER ALERT***** The Burgermeister and most of the towns folk think that the local kook Herman Glieb (Dwight Frye) who loves bats and frequently talks to them is the one they are looking for and they chase him until he falls to his death in a cave. The one who is responsible for the killings is Dr. Otto von Niemann (Lionel Atwill) who has created a new form of tissue mass that feeds on blood and he accomplishes this by having some sort of mind control over his servant Emil (Robert Frazer) who goes out at night to collect the blood. Dr. Otto has a pretty assistant named Ruth Bertin (Fay Wray) and an annoying aunt named Gussie (Maude Eburne) but they have no clue what he's up to but Karl eventually become suspicious when one of the murders takes place after Herman's death.
Frank R. Strayer was never confused with being James Whale but he was a pretty competent director who ended up directing most of the "Blondie" films in that series and with this film he uses the same sets from "The Old Dark House" which was also filmed at Universal. I'm the first to admit that this film is downright clumsy at times but it's practically impossible to resist a film that has a cast like this including Frye who is pretty much doing his Renfield role only this time he befriends bats and strokes them and keeps them in his pocket for safe keeping! One thing that just doesn't make sense is the mind control that Dr. Otto has over Emil as the film never explains this and I had a strong sense that this was some sort of nod to "The Cabinet of Dr. Caligari" but on the other hand it's probably just the weakest part of the script. There are a few other tidbits that I noticed including the chase of Frye to the big caves which is obviously an early shot of the infamous Bronson Canyon where numerous other films have been made and also Wray's brown hair which is her true color. True horror film fans will appreciate this more than others but I think this is a fun film to view for everyone and with a cast as attractive as this it's well worth a look.


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Though not a horror film in the traditional sense, this creepy little film delivers the goods. It seems a vampire is loose in a small German town draining its victims of their blood. Police Inspector Karl Brettschneider, Melvyn Douglas in one of his early roles, is skeptical believing a crazed killer not a vampire is running amok. The only one who believes him is Ruth Bertin (Faye Wray) the inspector's girlfriend and lab assistant to Dr. Otto von Niemann (Lionel Atwill) who though apparently an eminent scientist goes along with the vampire theory. The townspeople suspect the weirdo Herman Gleib, played with his usual frenzy by Dwight Frye who seems to be having a lot of fun with his role. The film contains quite a bit of humor which helps relieve some of the intensity involved with all the murders being committed. One funny part has Gussie Schnappmann (Maude Eburne), Ruth Bertin's aunt, thinking weird Herman has turned not into a bat but into a dog. Maude Eburne and Dwight Frye make a good comedy team.
This budget movie brings in elements from "The Cabinet of Dr. Caligari" with Dr. Niemann using the power of suggestion to make a somnambulist carry out his orders, from "Frankenstein" by using the human blood to help create life in the laboratory, and "Dracula" since the murders are believed by everyone except the inspector and his girl to be the work of a bloodsucker. Thses elements are mixed well by director Frank R. Strayer with a little comedy thrown in for good measure. The concoction works. The restored version I viewed used tinting to increase the spooky atmosphere. So try to see the this version if possible.


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