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Alain Resnais films are uncanny in the way that they aren't really edited for continuity, but instead the shot seems to finish right where a memory has edited. Love unto Death is at times a quiet existential drama and a roundly creative magical realist movie, and either way treats the audience to a whole new aspect of the Eros/Thanatos relationship... or perhaps creates a new relationship, that of Agape/Thanatos.
The beginning is like a bizarre surrealist horror movie. A woman desperately runs around the house while a man lays dying in his bed--did she kill him, or what happened? Soon that tension is dissolved as a doctor arrives and pronounces him dead, but from there a newer, stranger drama begins: the man wakes up, and after being dead the woman and man fall in love to actually quite tragic consequences. Meanwhile, their friends, who are both priests, watch on and submit their own debate into the nature of love, faith, and devotion.
Resnais always seems to have some device to make these sorts of narratives work, and what's so amazing about his films is that those devices always work. In this case, Resnais intercuts the scenes with shots of snow falling to an arousing orchestral score, which fades off and bleeds into the subsequent shots that continue the story. Trapped in this elegiac aside periodically, the film develops a rhythm not too unlike an epic poem, and I got strange flashbacks to Dante's Divine Comedy from this one, despite the lack of direct reference within the movie. Resnais is known as a very poetic filmmaker but this extends past just the cinepoem structure to something that forces a degree of introspection in the viewer, which has the possibility to bring to surface some odd recollections. Memory-narrative, Resnais creates.
--PolarisDiB


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Perfect cast for a few-person drama. Simon is dead but somehow resurrects from outside. What he had seen there is displayed in form of blank spots orchestrated to a magnificent score by German avant-garde composer Werner Henze. Simon is haunted by his death, comforted by support of death people he'd seen on the other side. His girlfriend tries to hold him to life but failing to, decides to follow him after his finally occurring death. Very touchy and moving, deeply psychological, but a bit slow and somewhere even boring.


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A very high-standard Columbo story which was actually the first filmed episode of the long-running series but was originally transmitted second (after "Murder By The Book").
Robert Culp makes his first of three appearances as the guest murderer in the series and plays the owner of a private detective agency, who blackmails the wife (Patricia Crowley) of a rich, highly influential businessman (played very sympathetically by Ray Milland) after he falsifies a report, in her favour, after it is discovered she was having an affair. The wife later rebels against the blackmail scheme but is killed in a fit of rage....
A very satisfying episode in many respects, particularly as the plot is so strongly set-up and subsequently developed and also because of the rare Columbo ingredient that the crime is an unpremeditated killing. The whole thing is further enhanced when the widowed husband uses the murderer to assist Columbo in his investigations: a feature that facilitates numerous good quality scenes, particularly in the first sequence when the three central characters meet and Columbo's crucially deceptive qualities are wonderfully in evidence.
Directed with flair by Bernard L. Kowalski and acted to an appropriately high level, this really set the tone for whole series (since "Murder By the Book" was let down by a poor ending). The script by Columbo creators Richard Levinson and William Link is precise, well-structured and well-thought-out and is underpinned by a steady, productive pace and meaningful sequences which really exhibit the unpredictability of the story. Ultimately, the finale fittingly epitomises that Columbo has always been one step ahead of the murderer.
Overall, this is a very fine piece of detective work for Columbo, and strongly suggests that the production team had worked positively and constructively to render a polished Columbo story.


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This was the second entry in the regular Columbo series, and it holds up well today. As I am able to look at it closely now on DVD and see how it is constructed, I am very impressed with the direction of Bernard L. Kowalski (who directed the fine MACHO CALLAHAN as well as countless TV episodes)--watch how the post-murder actions of the killer are shown on a split-screen effect on his two eyeglasses, watch how the murder itself is shown in montage fashion, watch the point-of-view shot from the perspective of the corpse. Also, the wild but impressive avant-garde musical score from noted jazzman Gil Melle was incredible and helped so much to create atmosphere. And the supporting performance of Brett Halsey as the golf pro was wonderful--such subtlety and complexity in a role that nine out of ten times would be a one-dimensional cutout. The "formula" had not yet been set when this episode was filmed, so there are still some surprises in Columbo's methods. Of course, Falk, Robert Culp, and Ray Milland are the highest-quality actors and it's a pleasure to see them work--all men are familiar from many other roles yet lose themselves in their characters here. In all, this entry in the Columbo series--and MANY of the others--are as well-crafted as a very good feature film.


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The second official episode of the "Columbo" series ("Murder by the Book," filmed later, hit the airwaves first). Robert Culp, who would match wits with Peter Falk's detective in several future installments, is terrific as the short-tempered head of a sophisticated private detective agency who murders a client's wife when she refuses to cave-in to his blackmail schemes. The two stars are well-matched in this clever cat and mouse exercise that is one of the best in the series.


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This was the first regular filmed Columbo movie episode but yet it aired as the second, after Steven Spielberg's "Columbo: Murder by the Book". It's also at the same time among one of the better ones!
Bernard L. Kowalski was one great creative director! No wonder that they later asked him to direct three more Columbo movies. The movie has some real creative and innovative shot sequences and the movie as a whole is also clearly made with style, passion and eye for detail. Every shot connects and is a reason why this movie is better and also better looking just any other average made for TV movie. It's definitely one of the better directed Columbo movies.
It's a quit original Columbo entry for a couple of reasons. The murder is more or less an accident and was an impulsive act. So the killer this time doesn't have any time to plan out the 'perfect murder' in advance and his to clean up any of the traces afterward and has to dispose the body. The killer in this movie is not only being handled as the man who committed the crime but more as the man who helps out Lieutenant Columbo to solve the murder. It makes the character a more interesting and layered one as well and also helps to make the way Columbo solves the whole crime seem way more interesting as well because of that. Of course Columbo starts to suspect him pretty early on and as always he comes to solution by making himself vulnerable and look more stupid than he of course truly is and by gaining the killer's trust. This is obviously no spoiler since this is the way every Columbo movie gets set-up. I liked the story of the movie and how it progressed.
It also helps the movie that it has such a fine cast. At the time of this movie Peter Falk had really made the Columbo character his own and the character at this was already fully developed. Robert Culp is truly great as the short tempered Brimmer. Funny thing is that he would later star in three different Columbo movies again and one "Mrs. Columbo" episode, only in totally different roles. He even played the murderer in a couple of those movies as well again. He by the way was not the only actor that did this in other later Columbo movies. Also the great Ray Milland makes an appearance in this movie, as the husband of the victim.
All in all, a real great early Columbo movie and among the better ones out of the long running series of movies.
9/10


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This is one of the first and best Columbos, starring Robert Culp and Ray Milland. Robert Culp appeared on another Columbo, as did several other villains, including Patrick McGoohan, William Shatner, and Jack Cassidy. Ray Milland also made a later appearance.
In this one, Ray Milland is convinced his beautiful wife, played by Patricia Crowley, is having an affair, so he hires Culp to investigate. Culp has a blackmailing business on the side, so he gives Milland a fake report and threatens Crowley with the real one if she doesn't pay up. They get into a huge fight in Culp's home, and she winds up murdered. Enter Columbo.
Culp does everything he can to get Columbo off the case, including offering him a job, but Columbo is on to him from the beginning.
Excellent episode.


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"Death Lends A Hand" is one of the pivotal early episodes of "Columbo" that helped define the show for the next thirty years. It marks the first of Robert Culp's four appearances (three as a murderer), playing much the same role in each show.
In this case Culp plays Brimmer, the head of a large private detective company who is asked to investigate whether the wife of a wealthy newspaper magnate, Mr Kennicut, is having an affair. Although she is, Brimmer decides not to tell Kennicut, in the hope that he can blackmail his wife in return for snippets of information about her husband's business associates. She reacts badly to this suggestion, an argument ensues which rapidly turns violent as Brimmer whacks her across the face. Because he is wearing a large ring, the blow knocks her to the ground and kills her.
There are some really priceless moments in this episode. One of my favourite scenes is where Columbo pretends to be into palm-reading, although this is in fact a ruse to discover the shape and size of Brimmer's ring without admitting that he knows the killer wore a ring. Columbo being Columbo, he only reveals what he really knows when the time is exactly right to turn the screws a little. So initially he goofily plays the part of a rather simple-minded man who gets excited by the "lifeline going over the mound of the moon", or some equally ridiculous palm-reading mumbo-jumbo.
Another great scene is when Brimmer tries to offer Columbo a job for his firm, effectively bribing him to stop poking his nose around. Again, Columbo doesn't reveal that he knows what's going on, he pretends to be honoured and excited by this job offer.
And there's another where Columbo says to Kennicut, in front of Brimmer, that he wishes the murderer could hear their conversation. He wants to hint to Brimmer that he is onto him, without directly accusing him, so he rather cruelly (but understandable in the circumstances) decides to play mindgames on Brimmer in order to spook him into panicking and doing something stupid. Which of course he does! All the while, the grieving Kennicut is unaware of the subtext of this conversation. It's only near the end that Columbo explains all to Kennicut (not shown on screen).
I won't reveal how Columbo finally nails the killer bang to rights, but let's just say there's a potato involved...
A really really good episode, possibly the very best of the first series. If you liked this then you'll like "Double Exposure" too, also featuring Robert Culp.


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I am sad to say that I disagree with other people on this Columbo episode. Death Lends a Hand is frankly kind of a boring Columbo to me. After a few times, I get bored and changed the channel. I still love Robert Culp and Patricia Crowley and Ray Milland in their roles but the story was weaker in this episode than in the others. First, Robert Culp plays an investigator for Ray Milland's character. He hires him to investigate his young pretty wife played by Patricia Crowley to see if she is having an affair. In return, Culp's character blackmails the cheating wife who plans to expose his scheme to her husband ruining his career. Out of anger, Culp kills her by striking her in the face and setting the up the body elsewhere. I don't know. Maybe I just didn't care for this one at all. Of course, Columbo gets him in the end. It's just the question of how.


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This cartoon is short on plot, but is a visually stunning piece of work. There will be very, very minor spoilers:
This short has a "story" that's incredibly slight-gnomes underground are responsible for the return of spring each year, yet must contend with a winter not yet ready to withdraw. Both the gnomes and the storm have their own songs. That's pretty much the plot, such as it is. But this cartoon isn't about the plot-it's about the color and animation. The visuals are exceptional. Back in 1936, such bright color was still something of a novelty and there's some incredibly inspired work here.
My favorite moments of the short surround the movement of the liquefied colors through pipes. At more than one point, there are a series of pipes aligned in a row, from the shortest to the tallest and the colors move through the pipes and the musical track makes it seem as though the row is a pipe organ.
The visuals of the battle between the emerging greenery and the winter storm which refuses to leave quietly are exceedingly well executed. These types of shorts were things which Hugh Harman and Rudolf Ising are noted for, but they probably also helped lead to their ultimate departure from MGM, because this cartoon probably went over budget and MGM finally decided that they could control costs better if the animation department were managed by someone a little more conscious of cost than Harman and Ising were.
This is truly a beautiful cartoon and is well worth seeing. It's available on the DVD Attack of the '30s Characters. Recommended, particularly if you like good animation.


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Metro-Goldwyn-Mayer is a very lost player in the short cartoon market. This market is essentially dominated by the Looney Tunes and the Merry Melodies shorts, coming from Warner Bros. But MGM is also able of releasing hidden gems, like "To Spring", an astonishing story about the most beautiful season of the year.
In the environment depicted here, spring isn't caused by natural cycles, but is fabricated. And by who? By little male elves who live below ground. Each spring, when the snow begins to melt, they start working. They begin by felling rainbow rock columns, then reducing them to rubble and using this rubble to turn it into color fluids, which will be moved up to the ground and bearing grass, flowers... In other words, spring! The first half of the cartoon depicts spring's fabrication, but the second part is a little bit different. Old Man Winter comes back and he tries to extend winter by destroying the elves' work. So from this point, we assist to a battle between the elves and Old Man Winter.
The music heard here is deliciously wonderful. The melodic parts stick in the head like an ink spot on a paper sheet. The second part melodies are thrilling and they perfectly fit with the action. This is just fantastico, Giorgio! The animation sequences are also a delight. The colors are well mixed and every little detail is shown into a massive, epic environment. The concept itself is brilliant. The elves are attracting characters, so is Old Man Winter, who effectively portrays the cold and ruthless feelings of the white season.
There's also a strong message included here. The battle seems lost for the elves at the end, until a single late arriving elf jump into the action and it leads to the elves' victory over winter. So the point is: only one single person can make the difference.
In conclusion, "To Spring" is a remarkable lost classic from short cartoon era. What is even more remarkable is that this cartoon's director made his debut here. And who is "To Spring"'s director? It's a certain William Hanna...


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If you are a fan, then you will probably enjoy this. If you don't know who Misty Mundae, Darian Caine, Ruby LaRocca, or Seduction Cinema are, this is not the movie to start out with. It's very cute, silly, the girls are hot, and it's fun to watch. There's no sex whatsoever until the very end of the 45 minute film, but the score is cheesy-trippy and the plot's not a total bore. Misty Mundae's makeup is bad in this movie and her hair is in awkward braids, so she's not as hot in this as she has been in others. But her panties in this are quite cute (you'll just have to see the movie for that to not sound really weird). If you do like this one, you will probably enjoy "That 70's Girl", "Vampire Vixens", or "Erotic Survivor" (which is a bit more sexually graphic). If you prefer watching Misty or Esmerelda in less sexual, more horror/exploitation-based (but lower budget) movies, check out the Factory 2000 website.


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Butch the peacemaker? Evidently. After the violent beginning with Spike, Tom and Jerry all swinging away at each other, Butch calls a halt and wants to know why. It's a good question.
"Cats can get along with dogs, can't they?" he asks Tom, who nods his head in agreement. "Mice can get along with cats, right?" Jerry nods "no," and then sees that isn't the right answer.
They go inside and Butch draws up a "Peace Treaty" (complete with professional artwork!). Most of the rest, and the bulk of the cartoon, is the three of them being extremely nice to one another What a refreshing change-of-pace. I found it fun to watch. I can a million of these cartoons in which every beats each other over the head.
Anyway, you knew the peace wasn't going to last. A big piece of steak spells the death of the "peace treaty" but en route it was nice change and still had some of usual Tom & Jerry clever humor.


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This film seems to be well remembered as the time Tom & Jerry signed a peace treaty. Things are idyllic for a time but, predictably, it goes sour. Probably the most memorable moment was the endless fight involving a pipe, a frying pan, and a baseball bat that the two plus Butch the dog engage in at the beginning and end of the short. I enjoyed one a bunch and you should try to catch it on Cartoon Network.


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Tom the cat, Jerry the mouse, and Spike the Dog (here called Butch, his third name, his second being 'Killer') decide to sign a peace treaty to all love each other. It's weird and a bit unnatural seeing them all buddy buddy like this and their friend's seem to think so too. But by the end thanks to a disagreement over a steak, everything is back to normal and all is how it should be. This short is the second one of three on the new Spotlight DVD to be edited and I have no clue why this one was. This cartoon can be found on disc one of the Spotlight collection DVD of "Tom & Jerry"
My Grade: B


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Without being one of my favorites, this is good for being a change of pace... even if only for a few minutes.
It all starts with a big fight between Tom, Jerry and Spike (who is renamed "Butch" here). They're all beating each other, but suddenly Spike makes a heroic and admirable decision: he stops the fight and suggests that they all should be friends. So, all of them sign a peace treaty and become friends... which isn't going to last for long.
Meanwhile, the three become affectionate, patient and kind to each other. They even save each other when one of them is in danger of life. The relationship goes nothing but excellent, until a very big steak appears and they all become greedy. The three are guilty to return to their usual fights and rivalries.
But still... to see Tom, Jerry and Spike as friends is truly a delightful and grateful experience, even if only for a while.
Oh, by the way, as a curious fact, two songs from "The Wizard of Oz" are played here in instrumental versions: "We're off to see the Wizard" and "Somewhere over the rainbow".


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Tis is a farly typical Tom and Jerry short-a situation is designed, conflict arises and mayhem ensues. The characters behave in appropriate ways, the natural tensions between various characters leads to general chaos. The best (and funniest) part is when the peace treaty is in force and respected-all sorts of strange wonders appear before your eyes. A word of warning-it is most unwise to allow Tom to help you perform your morning cleansing routine! Highly recommended.


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WWE's last PPV of 2006, proved to be a hit with the fans, but for one reason only, the ladder match which was only scheduled to be Paul London and Brian Kendrick against William Regal and Dave Taylor. But with the recent crap PPV being December to Dismember, WWE knew that it had to do something to get the fans talking again, this proved useful when it introduced MNM and The Hardy Boyz to the mix and announced that the match was going to be a ladder match.
The match was brutal and one of the best ladder matches I have ever seen, but Joey Mercury's face was a total mess. Johnny Nitro didn't even check on his partner, they just carried on like nothing happened, and Taylor and Regal did nothing during the match except hit people with a few ladder shots. In the end London and Kendrick retained the titles.
Elsewhere on the show Kane defeated MVP in a decent inferno match when he set MVP's stupid costume on fire. Chris Benoit downed Chavo Guerrero in a decent match, Gregory Helms defeated Jimmy Wang Yang to retain the WWE Cruiserweight Title in a solid effort.
But the main event was a total mess, King Booker teamed with Finlay to take on John Cena and Batista. The action was shoddy and no one cared who Batista picked for his partner.
Overall Results: Kane defeated MVP in an inferno match.
Paul London and Brian Kendrick retained the WWE Tag team titles against The Hardy Boyz, MNM and David Taylor and William Regal in a ladder match.
Chris Benoit defeated Chavo Guerrero to retain the US title in a decent match.
Gregory Helms defeated Jimmy Wang Yang to retain the Cruiserweight Championship.
The Boogeyman beat The Miz in a terrible match.
The Undertaker defeated Mr Kennedy in a last ride match.
John Cena and Batista defeated King Booker and Finlay in an abysmal match.
Overall Grade - B


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If, unlike some of the commenters here, you are not staging a class war and don't mind seeing the lives of other people who are fairly successful, extroverted, bohemian (gasp) and not being terribly English at a party and getting into all sorts of trouble as a result this is not a bad film, closer to Euro cinema rather than an imitation of the usual slick American crap... I believe the minimal sound design and cheap camera is a conscious decision rather than bad film making, I'd defend this, the film isn't any worse as a result, and it puts the spotlight on the cast, some of whom are really good (Kate Hardie- think that's her name, as the sarcastic drunk is spot-on) the one exception being David Baddiel, who should never be allowed to appear in serious stuff!! It's light, and we don't go for this kind of anatomising-of-relationship crap in this country, but if you don't have any real friends to go to a party with than you could do worse than to sit in and watch this.


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Although I'm grateful this obscure gem of 70's Italian exploitation cinema features in the recently released "Grindhouse Experience" box set, and although it's also available on disc under the misleading and stupid alternate title "Escape from Death Row", I honestly think it deserves a proper and luxurious DVD edition, completely in its originally spoken languages with subtitle options (the dubbing is truly horrible), restored picture quality and a truckload of special bonus features! Heck, I don't even need the restored picture quality and bonus features if only we could watch the film in its original language. "Mean Frank and Crazy Tony" is a cheerfully fast-paced mafia/crime flick with a lot of violence, comedy (which, admittedly, doesn't always work), feminine beauty and two witty main characters. Tony Lo Bianco is terrific as the small thug pretending to be the city's biggest Don. When the real crime lord Frankie Dio (Lee Van Cleef) arrives in town, he sees an opportunity to climb up the ladder by offering his services. Frankie initially ignores the little crook, but they do eventually form an unlikely team when Frankie's entire criminal empire turns against him and a new French criminal mastermind even assassinates Frankie's innocent brother. Tony helps Frankie to escape from prison and together they head for Marseille to extract Frankie's revenge. The script of this sadly neglected crime gem funnily alters gritty action & suspense with light-headed bits of comedy, like the grotesque car chase through the narrow French mountain roads for example. The build up towards the typical mafia execution sequences (guided by an excellent Riz Ortolani score) are extremely tense and the actual killings are sadistic and merciless, which is probably why the film is considered to be somewhat of a grindhouse classic. The film lacks a strong female lead, as the lovely and amazingly voluptuous beauty Edwige Fenech sadly just appears in a couple of scenes, and then still in the background. On of the men behind the camera, responsible for the superb cinematography, was no less then Joe D'Amato. Great film, highly recommended to fans of Italian exploitation, and I hope to watch it again soon in its original version.


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Frankie Dio (Lee VanCleef) is a high-ranking mobster who turns himself in to the police or illegal gambling (for reasons that seem unclear to me). Tony (Tony Lo Bianco) is a low-level thug who frequents a pool hall and spends his free time envying Frankie. By being in the right place at the right time, Tony gets arrested with Frankie and is sent to jail... where they form a bond that may not quite be friendship, but it will do for now.
This film came to me under the title of "Frank and Tony", which is disappointing because I see an alternate name is "Mean Frank and Crazy Tony", which would have helped sell the film more effectively. I presume that's an homage to "Dirty Mary, Crazy Larry" but what do I know? I watched it shortly after another Italian crime film, "Violent Professionals", and I must say the two complement each other very well.
Italians have always lagged behind Americans in their budgets and production values, which is a real shame with this film. It is considered a "grindhouse" film, which unfairly demotes it to a b-movie (or worse). With a cleaner sound and picture, this could have been a Hollywood hit, I suspect. I found the story very interesting, the characters (and actors) better than average and unlike "Violent Professionals" the plot is fairly clear -- not too many secondary characters.
If you like Mafia movies or crime films you should give this one a try. A film about the mob that's actually from Italy (how much more authentic do you want?) is as much as you can ask. Sure, it's not "The Godfather", but it's not supposed to be. This isn't a drama, it's a light comedy, heavy action buddy film... like "Die Hard With a Vengeance" from the point of view of the bad guys. Well, okay, not really.
If nothing else, this film made me want to check out other films from the director and the principle cast. Films besides "Escape From New York" (where VanCleef plays "Hauk") and the usual cult movies. What's more fun than discovering a lost classic?


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I scooped up this title by accident with the Grindhouse Vol. 1 collection of pure Euro-trash movies. But this movie has a nice stamp of approval and should deserve a better transfer than what is out there. Stupednous it is not... satisfying it is! Watching this movie I couldn't help to wonder... how come Sergio Martino didn't make this flick? This has his signature all over it and punctuated by Edwedge Fenech (alas not as well known as she should be but she did get a nice cameo in Hostel II). Double-crosses and triple-crosses underly and cement this film from beginning to end with Lee Van Cleef oozing coolness under pressure from the 1st second. Did this guy have to go to Italy to finally reach his potential or did the studio system let this guy slip through? Besides Lee's more recognizable films, film-goers should try this on for size and see how if Sergio Leone would've lowered his epic scale down on Once Upon a Time in America to half the running time (and 1/4 of the budget) this is what it would've turned out to be like. So refreshing, it should be taken in during the day at home and make it for an couch matinée


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Steely, powerful gangster supreme Frankie Diomede (the always terrific Lee Van Cleef in fine rugged form) has himself arrested and sent to prison so he can rub out a traitorous partner sans detection. Fawning goofball small-time hood and wiseguy wannabe Tony Breda (an amiable portrayal by Tony Lo Bianco) gets busted as well. Frank and Tony form an unlikely friendship behind bars. Tony helps Frank break out of the joint and assists him on his quest to exact revenge on a rival group of mobsters lead by the ruthless Louis Annunziata (smoothly played by Jean Rochefort). Director Michele Lupo, working from an absorbing script by Sergio Donati and Luciano Vincenzoni, relates the neat story at a constant brisk pace, sustains a suitably gritty, but occasionally lighthearted tone throughout, and stages the rousing action set pieces with considerable rip-snorting brio (a rough'n'tumble jailhouse shower brawl and a protracted mondo destructo car chase rate as the definite thrilling highlights). Van Cleef and Lo Bianco display a nice, loose and engaging on-screen chemistry; the relationship between their characters is alternately funny and touching. The ravishing Edwige Fenech alas isn't given much to do as Tony's whiny girlfriend Orchidea, but at least gets to bare her insanely gorgeous and voluptuous body in a much-appreciated gratuitous nude shower scene. Riz Ortolani's groovy, pulsating, syncopated funk/jazz score certainly hits the soulfully swingin' spot. The polished cinematography by Joe D'Amato and Aldo Tonti is likewise impressive. A really nifty and entertaining little winner.


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"Rich in Love" is a slice-of-life film which takes the viewer into the goings on of a somewhat quirky Charleston, SC family. Highly romanticized, beautifully shot, well written and acted, "RIL" washes over you like a summer breeze as its plotless meandering breathes life into the characters such that at film's end you'll feel like an old friend of the family.
A wonderfully crafted character-driven film from the director of "Driving Miss Daisy", "RIL" is a somewhat obscure little "sleeper" which will appeal most to mature audiences.


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I liked this a lot. In fact, if I see it again(and I plan to) I just may love it. I'll echo other reviewers in saying that this movie really does grow on you as you watch. It starts kind of slowly but the way in enfolds is very natural and has a mood to it. You just get into it.
I really liked the summery atmosphere to the movie and thought the movie was very touching as a whole. The characters have a strong element of realism and the movie very slowly and gently weaves a spell as you get involved in the various interactions between them all and want to know how it will ultimately turn out and what paths the characters will choose to take.
I am very surprised that there are less then a dozen comments on this-there are obscure TV movies that have more comments then Rich In Love.
One thing that I will say is I missed the ending which is driving me crazy and I HAVE to watch it again to see that. This is a movie that may not be for everybody but that I feel is strongly underrated(even some of my most film buff purist friends who have seen almost every movie there is haven't seen this) and it doesn't even seem to have much of a message board but I liked it a lot and to all those who like family dramas that are warm on scenery, atmosphere and an unhurried languid pace should probably take a look at this. Especially note worthy is that it takes place in South Carolina so for those (like me) who love the south, and movies that take place there, this is a gem. I'll add my vote to the woefully few comments and recommend this little known flick.


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I have enjoyed Criminal Intent series of Law and Order for a long time. Kathryn Erbe, Det. Alexandra Eames, the female detective is rather hard and seems a bit bitter in the Criminal Intent Series. See her other side in this movie.
This movie shows the marvelous soft side of this talented actresses and if you are a Criminal Intent fan this movie is a revelry in her acting and you get a pretty darn good yarn of family hardships in the South.
I did not like Albert Finneys role in this movie because he did such a convincing acting job of the older Southern fellow that is hard headed and intolerant and unaccepting of change. He reminds me of so many men from my youth and the portrayal is divine, but you will likely find him hard to like in this movie.
Katryn Erbe is easy to like in this movie and why I recommend it as a 10 star for Criminal Intent, law and order fans.


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This is a racist movie, but worthy of study and enjoyment. First time through it the natural inclination is to focus on Erbe & Dad. They have a relaxed, peaceful thing going, what with her still at home about to graduate from high school, and him retired and kicking back waiting for inspiration to do something. Second time through you realize how horribly the sister's husband is dissed by her friends in the backwoods blues bar. He takes it, it's the thing to do these days, and the critical moment passes as if they were chatting about the weather. In that same scene the sister's blues song is a real tear-jerker if you're the least bit sensitive and like that kind of music. Her performance feels like the climax of the story; a blues story with the good guys being "people of color" in their element in backwoods, SC. Meanwhile, all the white folk in the movie lead what appears to be shallow meaningless lives fit only for making babies. That's cool, long as you recognize it as fiction.


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In a way, this film reminded me of "Jumping Jack Flash". Remember Whoopi Goldberg at the shredding machine? Whoopi zonked out tranquilizers? Whoopi as Blind Lemon and imitating Mick Jagger? Great moments captured on film for sure but the movie still kind of sucks, right? That's how I feel about "Rich In Love". A man hears his wife sing for the first time. Post-coital teenagers talk about the nature of love. Albert Finney eats ice cream out of bucket and, in another scene, has a lovely waking moment regarding his absent wife. Alfre Woodard adds another colorful character to her acting wardrobe. But there's only the whisper of a plot here and you can't wait for it to Get Moving. Only when ex-Go-Gos' Charlotte Caffey's The Graces revs up a great pop song does the picture wake up...and then it's over!
This picture is the equivalent of a lazy summer's day in the deep American South.


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It's a road movie, with a killer on-board. Brian Kessler (David Duchovny), a sophisticated, urbane writer, wants to conduct field research on American serial killers. But, neither he, nor his girlfriend, Carrie (Michelle Forbes), has the money for a cross-country tour of murder sites, so they advertise for someone to share travel expenses. Who they end up with is a young couple, Early Grayce (Brad Pitt) and his girlfriend, Adele (Juliette Lewis), two better examples of "poor white trash" you will never find in all of cinema.
Indeed, Early and Adele are what make this film so entertaining, as they babble, cackle, confide, muse, speculate, drool, and otherwise behave in ways I haven't seen since reruns of "The Beverly Hillbillies". Early's idea of California: "People think faster out there, on account of all that warm weather; cold weather makes people stupid". That's enough to convince Adele: "I guess that explains why there are so many stupid people around here". To which Early responds proudly: "It sure does". Early continues to instruct Adele about California: "You never have to buy no fruit, on account it's all on the trees ... and they ain't got no speed limits, and I hear your first month's rent is free, state law".
But poor Early has some, well, mental problems, which become ever more obvious to Brian and Carrie as the four travelers proceed west across the U.S. As they enter the desert Southwest, with its beautifully stark landscape, "Kalifornia" starts to look more and more like "The Hitcher" (1986), and Early starts to act more and more like John Ryder, everyone's maniacal hitchhiker, whose terror seemed so unstoppable.
In "Kalifornia", the acting is uneven. Duchovny's performance is flat. Brad Pitt is surprisingly effective, despite his overacting at times. Michelle Forbes is great as the avant-garde, photographic artist. But my choice for best performance goes to Juliette Lewis. With her nasal voice and heavy-duty Southern accent, she is stunning, as the naive, highly animated, child-like Adele.
Toward the end, the film takes on a Twilight Zone feel to it, as our travelers enter a Nevada nuclear test site with a dilapidated old house full of test mannequins. The plot dissolves rather messily into unnecessary and preposterous violence, an ending that was somewhat disappointing.
Overall, however, "Kalifornia" is an entertaining film, thanks to a clever concept, great scenery, especially in the second half, good cinematography, great dialogue, and that wonderful performance by Juliette Lewis.


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it's amazing that so many people that i know haven't seen this little gem. everybody i have turned on to it have come back with the same reaction: WHAT A GREAT MOVIE!!
i've never much cared for Brad Pitt (though his turns in 12 monkeys and Fight Club show improvement) but his performance in this film as a psycho is unnerving, dark and right on target.
everyone else in the film gives excellent performances and the movie's slow and deliberate pacing greatly enhance the proceedings. the sense of dread for the characters keeps increasing as they come to realize what has been really happening.
the only thing that keeps this from a 10 in my book, is that compared to what came before it, the ending is a bit too long and overblown. but that's the only flaw i could find in this cult classic.
if you check this film out, try to get the letterboxed unrated director's cut for the best viewing option.
rating:9


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"Kalifornia" is one of my all-time favourite movies, and it easily could be labeled as one of the best psychological thrillers of the 90`s. The film has a very stylish surface to it, but behind that are a lot of disturbing and honest depictions of homicidal maniacs and the terrifyng violence they inflict upon others. One of the film`s strongest aspects is it`s performances, Brad Pitt is startlingly great as a trailer-trash psycho named Early. Pitt potrays his frightening character almost flawlessly. Juliette Lewis is equally as good playing his naive girlfriend, her innocence is almost heart-breaking. "Kalifornia" has a very simple plot to it, that goes steadily and slowly forward for about an hour, but it suddenly plunges into a harrowing spree of murder, as Pitt unleashes his psychotic personality. There are alot of shocking scenes, and it all mounts to a power-house climax that will haunt you for days. "Kalifonia" is a film that should really be watched for it`s intense look at how monstrous a human being can be, and not only for it`s violence and gore.


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I just got done watching "Kalifornia" on Showtime for the fourth time since I first saw it back in July of 2001. You would think that with the recent wave of serial killer films, that "Kalifornia" would be amongst some of the earlier films worthy of mention but hasn't. Perhaps if this film had been released sometime between like 1996-1999, maybe it might have been more successful. In my opinion, "Kalifornia" is much different from most serial killer films released during the late 1990s. It has an almost completely different atmosphere from most of today's serial killer films like "Seven" or "The Bone Collector". Many serial killer films have shown a killer but that person is always behind a mask or we never see enough of them to actually learn anything about them. "Kalifornia" is a film that actually tries to break through that barrier and actually understand the criminal mind. It tries to answer questions like "why do they do the things they do? Is it because of something that happened in their past? Does it make them feel superior or powerful? Or do they do it because they like the thrill of the kill?" These are some of the things that "Kalifornia" tries to answer but also leaves room for us to try and figure things out for ourselves. Brad Pitt makes an everlasting impression as Early Grayce. When we first meet Early in the beginning of the film, we see that he is obviously one disturbed individual. When we first see him, it's late at night. Early is possibly drunk. We then see him pick up a rock, throw it off a bridge, and it later lands on the windshield of a passing car. Pitt is fierce in this film. It is always good to see him when he plays psychos or really bad people. It's funny that this would later lead him play a true loon like in "12 Monkeys" and that he would be on the other end of the spectrum in David Fincher's "Seven".


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I had seen 'Kalifornia' before (must be about 10 years ago) and I still remember to be very impressed by it. That's why I wanted to see it again and all I can say is that it still hasn't lost its power, even though I'm used to a lot more when it comes to movies than that I was ten years ago.
'Kalifornia' tells the tale of the writer Brian Kessler and his girlfriend Carrie Laughlin, a photographer, who want to move to California. But instead of stepping on a plain and flying right to the state where they say it never rains, they choose to make a trip by car. He wants to write a book about America's most famous serial killers and she will make the matching pictures. But because their car uses an enormous amount of petrol, they decide to take another couple with them, so they can spread the costs of the trip. Only one couple has answered the add, so they will automatically be the lucky ones. But they haven't met each other yet and when seeing the other couple for the first time, when their trip has already started, Carrie is shocked. Without wanting to be prejudiced, she can only conclude that Early Grayce and Adele Corners are poor white trailer park trash. She definitely doesn't want them in her car, but Brian doesn't really mind to take them with them and decides to stop and pick them up anyway. At first the couple doesn't seem to be that bad after all, but gradually Early Grayce changes from a trashy hillbilly into a remorseless murderer...
Not only is the story very impressive, so is the acting from our four leads. Brad Pitt is incredible as Early Grayce. His performance in this movie may well be his best ever. The same for Juliette Lewis. She plays the childish and naive girlfriend that doesn't want to hear a bad word about her Early and does that really very well. But David Duchovny and Michelle Forbes are a surprise as well. They both did a very good job and I really wonder why we never heard anything from Forbes again since this movie, because she really proves to have a lot of talent.
Overall this is a very good and impressive psychological thriller with a very powerful story, but because of the graphic violence, I can imagine that it may not be to everybody's taste (although I don't really see another way how to portray a serial killer in a believable way). Personally I really liked this movie a lot and the violence never bothered me (it's a part of the story that's too important to be left out). I reward this movie with an 8/10.


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