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You can survive Surviving Christmas. I thought the television version was a bit edited way down. I like Ben Afleck. He plays Drew Johnson, a family-less adult, who is willing to pay complete strangers. The Valcos starring James Gandolfini and Catherine O'Hara as the parents and Christina Applegate as Lisa Valco, the daughter. Drew is lonely around the holidays because he doesn't have a family of his own so he rents out a family in the Chicago suburbs for a quarter million dollars. Bill Macy who I best remember for playing Maude's husband Arthur is hired to play Duda, the grandfather. When the whole situation comes crashing down, the truth can be painful. The Valcos household is crumbling apart from the Drew situation. Drew's rich girlfriend and her parents make a surprising visit. You can't buy what you wish for! The acting and writing is mediocre but the first rate cast pulls it through to the final scene.


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Come on people. This movie is better than 4. I can see this happening...wealthy people have done crazier things than this. And it was funny.
I watch a comedy to be entertained, escape from the pressures of the world for a short while, and not to have to take anything too seriously. This movie fully suits that purpose. I judge a movie on its own merits and am not about to compare Surviving Christmas to Blazing Saddles. I watched totally dysfunctional people grow into caring, likable individuals who could easily live down the street from my home. It will remain on my list of "favorite.....must watch for the holiday season". If you just want to have a fun 90 minutes, watch this one.


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What's with all the negative comments? After having seen this film for the first time tonight, I can only say that this is a good holiday comedy that is sure to brighten up any lonely person's day. When I saw that Drew (Ben Affleck) might end up spending the holidays alone, I wanted to cry. You'll have to see the movie if you want to know why. Also, even though I liked Tom (James Gandolfini) and Alicia (Christina Applegate) after awhile, if you ask me, they were real snobs. However, this film did make me smile and feel good inside. Before I wrap this up, I'd like to say that Mike Mitchell has scored a pure holiday hit. Now, in conclusion, I highly recommend this good holiday comedy that is sure to brighten up any lonely person's day to any Ben Affleck or Christina Applegate fan who hasn't seen it.


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This is one of those little Christmas movies for everyone. Our Scrooge is Ben Affleck, who decides money is not enough, so he rents the family who lives where he thought HIS family did. OK? This is a great little high school soap, PG-13, but the small sex references are comedy, so if your kid can't handle them, they can't live in the real world, either.
Now, Affleck is a hunk, and as usual walks through this fun, OMG, remember when we did..., ensemble piece as if he were at the end stages of some neuroinfectious disease. But that's OK, because even this old Oracle keeps hoping that if Ben's that well proportioned all over, well, there's hope for us ladies yet. Luckily, the rest of the ensemble--Catharine O'Hara, James Gandolfini, Christina Applegate, Udo Kier and Josh Zuckerman--fill in and keep this shadow-side-Ozzie-and-Harriet Christmas alternately hilarious, comfortable and warm.
This movie is the kind you can jump up and get popcorn, and when you get back, everyone wants to back it up to show you what you missed.
This is a happy film, after all, and it leaves you feeling good about life, love, family, Christmas and Chanel. There really IS something for everyone.


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A horror movie is being shot and things aren't going well. It's about a masked killer. The director tells off the killer in front of the cast and crew. He goes crazy and kills two people. He's killed himself and the film is never finished. Twelve years later a bunch of film students decide to try and finish it--but there's a curse. People who try and finish it are killed themselves. The students ignore that. Guess what happens next?
The plot is old hat but this isn't bad...for what it is (a low budget slasher film). It's well-made with a young and fairly talented young cast. No one is great but no one is terrible either. It also avoids the obligatory (and needless) female nude scenes. It moves quickly, the gore is nice and bloody and the script doesn't insult your intelligence. Also Molly Ringwald is in this having the time of her life playing a bitchy faded actress.
No great shakes but not bad at all. I give it a 7.


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When I think of the cheesiest guilty pleasure-type movies, the first thing I think of are '80s slasher flicks. Really bad slasher flicks. The formulaic type of film, where all a script needed was 2 parts blood and several parts nudity to get made.
Flash forward to the late '90s/early '00s. The slasher flick has been revitalized with the success of 1996's "Scream". Like in the '80s, these films were formulaic, masking a lack of inspiration by labelling themselves as "hip, tongue-in-cheek parodies" of the original slasher flicks. Of this recent blend of "hip parody" neo-slasher flicks, the only one worth seeing is the low-budget, direct-to-video "Cut".
Like most of the other "new" slasher flicks, "Cut" relies on the production of a slasher flick, in this case a fictional 1985 film "Hot Blooded", to make its commentary on the genre. "Hot Blooded" never finished production, because of killings by someone wearing the mask of the film's killer, Scarman, a bald figure with its mouth stitched close and dark, pupil-less eyes. Now, 12 years later, a group of film students, whose professor was involved in the production, have decided to go into the vaults, tap the original surviving actress, and finish the film. But every time the film is screened or a scene is shot, "Scarman" returns and someone dies. To quote the tagline, will they finish the film before it finishes them?
This all sounds really bad, and to a degree it is (really, is there such a thing as a good slasher flick?). There is no character development (the "new" director is revealed to be the daughter of "Hot Blooded"'s original director, whose life was apparently ruined after the production was cancelled; this would've been a perfect detail to be worked into the plot, yet it's never mentioned again) and, like in all other slasher flicks, there are just too many bodies to care about. The actors aren't great, even by direct-to-video standards, but most are having fun with their characters (and for those who aren't, it's inadvertent character acting, since none of their characters in the film wanted to work on "Hot Blooded"), particularly whoever was lucky enough to play Scarman. "Cut"'s climax has no big "who dunnit" unmasking of the killer like in the "Scream" films. It doesn't have the gimmick killings of the "Urban Legend" films. What it does have is an original and interesting concept that is diluted by a "this way we can write a sequel if it sells well" ending. But that's par for the course.
By any sensible viewing standards, this is a horrible movie that should be avoided, but this "quality" is what makes it true to its roots in the slasher genre, and this is what makes it more enjoyable than any of the other neo-slasher flicks.


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Twelve years ago, production stopped on the slasher flick "Hot Blooded" since almost everyone on the set started dying. Now, a couple of film students have decided to finish the film, despite the fact that there's a rumor that the film is cursed. Well, they're about to find out that some curses are real.
When Scream was released, every country seemed to want to cash in on its success, even Australia. The concept, which today has been done to death (a slasher film within a slasher film) was at the time relatively cool and original. This movie was released right before Urban Legends: Final Cut and Scream 3 (well not in the US but in Australia) so it felt like the first movie with this concept. When Urban Legends 2 was released, most of us had all ready grown sick of the concept and since the movie wasn't even good, the movie flopped disastrously. Now, Cut is not the best slasher flick ever, and nor does it try to be. It knows that it's a rip-off, and they even cast a girl who looks like a blonde version of Neve Campbell in the starring role. But instead of trying to add some new and original twists to the story, they've decided to rip-off some 80s slasher flicks like "Nightmare on Elm Street" as well and surprisingly enough, this actually works. The killer is very creepy and that mask is just killer! And instead of trying to scare the audience to death, they've created a very good and creepy atmosphere which keeps us in suspense through most of the movie. There are a couple of plot holes in the movie though that I wasn't able to fully ignore, the ending being the biggest plot hole in the movie. Spoiler ahead; I mean, they burnt the only copy of the movie so where the hell did they find the print that they show in the final scene? It makes no sense I tell you. End of spoilers. All in all, Cut is a pretty creepy slasher flick with a silly story but I consider this to be one of the better Scream rip-offs that never made it big. I'm surprised that this one never got a sequel, but I guess it simply came out too late.
Suspenseful Australian slasher flick with very few scares. Cut is still a pretty neat slasher movie and I will have to recommend this one even though I consider the story to be quite silly since it's completely ludicrous.


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for a slasher flick,this movie is actually better than a lot in the genre.yes it is predictable-resident nut job goes on killing spree,people die,yada yada yada.however there are some good positives in this film.first off,i really liked the mask the nut job wore.it is definitely creepy to say the least and possibly unique(although i haven't watched every single slasher film ever made)also,the genesis of the bad due is something i haven't seen before,and he way he finally meets his end is a novel concept,as far as i know.i also really liked the weapon of choice employed by Mr sicko,for most of the murders.the murders themselves are not as graphic as most in the genre,but that'a small concern.the movie does not take itself seriously,which is something most slashers suffer from.oddly enough,while watching the movie,i was reminded of the early "Friday the 13th films,which did take themselves seriously.there are a few concerns about this movie.in several scenes,the killer suddenly bears a strong resemblance to one of our horror icons.by this,i mean his movements and his reactions upon being shot,and also the way he walked.of bigger concern,however is a scene very close to the end,where Mr crazy bears a more than striking resemblance(actually a complete rip off)of another famous horror titan.and in the very last scenes,we have our scumbag,once again,looking exactly like the 1st horror icon i mentioned.in fact that last scene is almost a complete rip-off from another icon in the slasher genre. these scenes were weak and unoriginal(obviously).by the way,the movie is set in Australia,so if you're a sucker for a chick with an Aussie accent(like me)you'll be in heaven.if you not,than it just might grate on you.one other great thing about this movie:beautiful Kylie Minogoue(just don't get too attached to her)there is one non Aussie accent,courtesy of Molly Ringwald.overall,there are more reasons to watch than not.i enjoyed it and had some fun.so,i have to give "Cut" 8/10,which may seem too high to some people.


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This is surprisingly above average slasher, that's enjoyable and well made, with some decent gore!. All the characters are decent, and the story is quite fun, plus Molly Ringwald played the annoying bitch extremely well. I bought this at a pawn shop for a 1$, and it was surprisingly worth it, and the special effects were pretty damn good for the budget, plus I loved the mask the killer wore as it was actually somewhat creepy. The finale was really cool, as I loved how they defeated the killer, and the ending while predictable was very amusing as well, plus all the characters except for Ringwald were surprisingly pretty likable!. It's decently made and written, and I thought it was quite creative and original at times as well, plus some of the death scenes were very impressive. This killer didn't mess around, and I loved it, and Slasher fans(like myself) should really enjoy this film, plus The opening was really wicked too, with them filming the movie!. This is a surprisingly above average slasher, that's enjoyable,and well made, with some decent gore, and I say it's well worth the watch!. The Direction is good. Kimble Rendall does a good! job here with solid camera work, using a creepy setting, good angles and keeping the film at a fast moving pace. The acting is solid!. Molly Ringwald plays the bitch extremely well,and I had troubles feeling sorry for her, after all she was supposed to be the heroine, she turned out better towards the end, but not by much, I'm surprised she decided to do this film, nonetheless she did an excellent job!. Frank Roberts is fantastic as the killer, he is menacing, creepy and had one hell of a mask, and this guy didn't mess around, he was fantastic!. Kylie Minogue plays a bitch very well in her small role. Jessica Napier is cute and does fine as the other heroine. Rest of the cast are fine. Overall well worth the watch!. *** out of 5


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This is not a bad movie. It follows the new conventions of modern horror, that is the movie within a movie, the well known actress running for her life in the first scene. This movie takes the old convention of a psycho killer on he loose, and manage to do something new, and interesting with it. It is also always nice to see Molly Ringwald back for the attack.
So this might be an example of what the genre has become. Cut hits all the marks, and is actually scary in some parts. I liked it I gave it an eight.


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"Cut" is a full-tilt spoof of the slasher genre and in the main it achieves what it sets out to do. Most of the standard slasher cliches are there; the old creepy house, the woods, the anonymous indestructible serial killer, buckets of gore, and of course the couple interrupted by the killer while they're having sex (that's hardly a spoiler).
The set-up is simplicity itself: film-school nerds set out to complete an unfinished slasher "masterpiece", unfinished because of the murders of a couple of the cast. This also neatly - okay, messily - disposes of Kylie Minogue in the first reel. They are joined by one of the survivors of the original film, played by Molly Ringwald who absolutely steals the film because she gets all the best lines. The rest of the cast fit their roles well, especially the lovely Jessica Napier, who plays it straight while the mayhem and gore erupt around her.
There are plenty of red herrings and fake suspenseful moments, and there is very little time to try to work out who the killer is because the film moves at such a fast pace. It also has an appropriate low budget look, including some clumsy editing which is probably deliberate. Good soundtrack, too. If there is a difficulty with this film it is deciding whether it is a send-up of or a homage to the slasher genre. Probably a bit of both.


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It isn't the worst film ever made, the actors aren't apalling and the script and director are not completely inept.
It isn't the best film ever made, the actors aren't excellent and the script and director are not completely brilliant.
It falls somewhere in the middle. A fun somewhere. An enjoyable, well constructed somewhere.
No need to say "don't take it seriously" or "so bad its good" or "it wasn't scary". None of these comments are relevant.
Cut has atmosphere. It's that atmosphere which is actually very unique, and the one really original aspect of the movie, which personally is what makes the film, for me.


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What makes Midnight Cowboy into a successful movie is the way in which Joe Buck becomes bonded to Ratso Rizzo through a series of hardships that affect them both. There really aren't many glimpses of hope in this film for either character, but the hard realities that beset them both give the film its own type of optimism that these men can at least find humanity within each other.
This film features Jon Voight's finest performance and probably Dustin Hoffman's as well. The rest of the cast is made up of unknowns, though it is rounded out by a fine series of character actors, including the cowpoke on the bus at the start of the film. Also, for those interested, Andy Warhol's apprentice Paul Morrissey shows up briefly during the party scene.
If you haven't seen this movie, it is essential. Check it out.


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I was going through a list of Oscar winners and was surprised to see that this film beat Butch Cassidy and the Sundance Kid for best picture in 1969. After actually seeing it, however, I'm not surprised anymore. It was way ahead of its time in regards to its style, cinematography, and use of flashback to help develop Joe Buck's character.
The most amazing thing to me is the depth of Joe Buck's character in such a short movie. I think Voight captured the naivete and the viciousness-when-provoked. The two scenes that really caught me were after he gets the blowjob in the theater and when the older man solicits him. I think when he looks in the mirror he's trying to see if it's really him that has done- or is about to do- something terrible.
I think it was a brilliant decision by Hoffman to take this role. Otherwise he may have been typecast after the Graduate. Anyway, this considered an all-time great for a reason.


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Jon Voight is brilliant in Midnight Cowboy, but Hoffman's performance, though reminiscent of his later turn in Rainman, is the kind of performance that keeps me watching movies. As a portrayal of a New York character, only Daniel Day Lewis' portrayal of Bill Butcher in Gangs of New York comes to mind as comparable, and Day doesn't give his character the emotional depth that Hoffman gives Ratso.
It's typical of Hoffman's way of acting that the actor we tend to identify most with Midnight Cowboy is Voight. I think Hoffman is one of the 4 or 5 best actors in the history of film at playing off the people around him in such a way that he raises their performances far above their normal levels.
Voight's Buck is so naive that he would float out of the film altogether, except that Ratso pulls him down - pulls him down, but also teaches him, a lot about how to survive and, more importantly, how to live.
Midnight Cowboy is a movie about escape that turns into a movie about finding yourself. I think that, as gritty a movie as it is, it has a very beautiful message, that no matter how much a loser you might be (Ratso clearly defines "loser"), if you can find a way to be true to yourself, you are in possession of the secret of life, and you might even be able to share that insight with someone else.
I can't help but compare Midnight Cowboy to Klute, from a few years later, which I think is more like a movie about finding yourself that turns into a movie about escape.


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I didn't at all think of it this way, but my friend said the first thing he thought when he heard the title "Midnight Cowboy" was a gay porno. At that point, all I had known of it was the reference made to it in that "Seinfeld" episode with Jerry trying to get Kramer to Florida on that bus and Kramer's all sick and with a nosebleed.
The movie was great, and surprisingly upbeat and not all pissy pretentious pessimistic like some movies I can't even remember because they're all crap.
The plot basically consisted of a naive young cowboy Joe Buck going to New York trying to be a hustler (a male prostitute, basically), thinking it'll be easy pickings, only to hit the brick wall hard when a woman ends up hustling HIM, charging him for their sexual encounter.
Then he meets Enrico Salvatore Rizzo, called "Ratso" by everyone and the cute gay guys who make fun of him all the time. You think of him as a scoundrel, but a lovable one (like Han Solo or Lando Calrissian) and surprisingly he and Joe become friends, and the movie is so sweet and heartwarming watching them being friendlier and such and such. Rizzo reveals himself to actually be a sad, pitiable man who's very sick, and very depressed and self-conscious, hates being called "Ratso" and wants to go to Florida, where he thinks life will be much better and all his problems resolved, and he'll learn to be a cook and be famous there.
It's heartwarming watching Joe do all that he does to get them both down to Florida, along with many hilarious moments (like Ratso trying to steal food at that hippie party, and getting caught by the woman who says "Gee, well, you know, it's free. You don't have to steal it." and he says "Well if it's free then I ain't stealin' it", and that classic moment completely unscripted and unscheduled where Hoffman almost gets hit by that Taxi, and screams "Hey, I'm walkin' here! I'm walkin' here!"), and the acting is so believable, you'd never believe Joe Buck would grow up to be the distinguished and respected actor Jon Voight, and Ratso Rizzo would grow up to be the legendary and beloved Dustin Hoffman. It's not the first time they've worked together in lead roles, but the chemistry is so thick and intense.
Then there's the sad part that I believe is quite an overstatement to call it "depressing". Ratso Rizzo is falling apart all throughout the movie, can barely walk, barely eat, coughs a lot, is sick, and reaches a head-point on the bus on its way to Florida. He's hurting badly, and only miles away from Miami, he finally dies on the bus. The bus driver reassures everyone that nothing's wrong, and continues on. Sad, but not in the kind of way that'd make you go home and cry and mope around miserably as though you've just lost your dog of 13 years.
All in all, great movie. And the soundtrack pretty much consists just of "Everybody's Talking'" played all throughout the movie at appropriate times. An odd move, but a great one, as the song is good and fits in with the tone of the movie perfectly. Go see it, it's great, go buy it


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First I would like to say how great this. It is astounding and sometimes shocking. And to say the least I'm 11 years old and this is my favorite movie, I can definitely stand a boring film, but this is anything but boring. It is like a trip through humanity. Its stark realism shows through this monumental masterpiece. It is a heart wrenching tale of two down and outers (VOIGHT AND Hoffman) who build a mutual friendship. Joe Buck (VOIGHT) a naive Texan stud comes to New York to make it rich by entertaining women. Soon he meets Rico 'RATSO' Rizzo (HOFFMAN), who is a poor man barely being able to pay rent. Ratso becomes Joe's 'manager' but soon both men can't find Joe a job which results in stealing food. As they try and survive on the streets of New York we realize how tough it is. They can't get Joe a girl until they meet a lady at a party. Joe makes some money and soon Joe takes Ratso on a Ratso's dream spot, Florida. The final five minutes are heart breaking yet some of the greatest moments in the film. From MIDNIGHT COWBOY we get a stark and sometimes disturbing urban view on life.


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The Sopranos is arguably the greatest show in Dramatic Television history.
Its hard to think of another series that boasts so much intelligence, sublime writing or first rate performances.
Across its epic scope it produces fresh and iconic characters and a constant level of high quality. Centering around the life of one Tony Soprano, a man who lives in two families. One is the conventional wife and two kids nuclear family the other a huge New Jersey Mafia group, of which he is the boss of both. Played by James Gandolfini, of True Romance and The Mexican fame, Tony is a fascinating, scary but also likable guy. Full praise must be given to Gandolfini for making a womanising and horrifically aggressive brute a genuinely identifiable and perfect leading man. Contemporay American drama has never had such an arresting and iconic figure as Tony.
The cast of hundreds never boasts a flat performance and such stand out characters like Paulie Walnuts and Ralph Cifaretto will stick in your memory for ever.
The true genius of this tale however, is the creator and writers bravery and revolutionary take on a conventional drama series. Twenty minute long dream sequences, powerful and original use of symbolism and metaphorical imagery and truly shocking scenes of violence. Yet all this style is met by truly touching themes of love, honour and respect for family. The series never becomes cold hearted or gratuitous.
With TV now competitive and often poor The Sopranos stands tall above the rest as America's most original and compelling drama. Forget Family Redifined. This is Television Redifined.


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What can you possibly say about a show of this magnitude? "The Sopranos" has literally redefined television as we know it. It has broken all rules, and set new standards for television excellence. Everything is flawless, the writing, directing, and for me, most of all, the acting. Watching this show you'll find yourself realizing that these characters are NOT real. The acting tricks you into thinking there is a real Tony Soprano, or any character. This show is also very versatile. Some people don't watch the show because it's violent, it's not all about the violence, it's about business, family, and many deeper things that all depend on what you, as a fan see. For me, I don't like when people refer to the show, a show about the Mafia. For me, it's a show about family. A family who, through generations, happen to be apart of the mob. Overall this is a masterpiece of a show. This is what television should be. Right here. Complex characters from stunning acting, magnificent story lines from brilliant writing, and what do you get when you mix these ingredients together? A show that defines excellence, and dares to be different.


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THE SOPRANOS (1999-2007)
Number 1 - Television Show of all Time
Everyone thought this would be a stupid thing that wouldn't go past a pilot episode. The Sopranos has become a cultural phenomenon and universally agreed as one of the greatest television shows of all time.
James Gandolfini plays the enigmatic New Jersey crime boss, Tony Soprano, accompanied by a stellar cast. Edie Falco is superb as the worrying, loving upper-middle class mother; Tony Sirico is tremendous as a superstitious, greying consiglieri who is often very funny.
While the show has often been criticised for the negative stereotype of Italian-Americans as mafiosi, and to an extent this is undeniable, I can see so many positives from the show. The portrayal of strong family values, friendships, love and compassion; could this be present in a coarse television show about gangsters? Yes. Furthermore, other burning issues are discussed such as terrorism, social inequality and injustice, homosexuality, drugs etc. This is no shallow, dull show about tough guys and violence. It has so much more. Many of the issues we see on the show are very real.
The writing which has been pretty much great has infused so successfully current issues and managed to imbred them within the characters' lives, which makes the whole thing more interesting.
Credit must go to David Chase who has created an excellent television treasure and to James Gandolfini, for envisioning, television's most complex and enigmatic character.
Simply exceptional.
10/10


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Greetings from this Portuguese guy :)
I believe The Sopranos are one of the best production ever, it has reality and fiction mixed in such a way, that it's hard to see the difference. It has the same quality as GodFather! James Gandolfini fits at the paper as a glove! I would love The Sopranos would never finish at all. It's perfect! It should be a subject in school :) I saw Sopranos when I was a kid, but I was too young to stay waked until the episode ends, so now I bought the all Episodes in DVD format and I am watching all episodes at home before and after dinner and I am getting addicted, like I did with Prison Break. In my opinion Prison Break and The Sopranos are the best-ever series made for television. The argument of both are splendid and the actors are perfect. Congratulations for such a work.
Sorry about my English. Thanks for reading.


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When we started watching this series on cable, I had no idea how addictive it would be. Even when you hate a character, you hold back because they are so beautifully developed, you can almost understand why they react to frustration, fear, greed or temptation the way they do. It's almost as if the viewer is experiencing one of Christopher's learning curves.
I can't understand why Adriana would put up with Christopher's abuse of her, verbally, physically and emotionally, but I just have to read the newspaper to see how many women can and do tolerate such behavior. Carmella has a dream house, endless supply of expensive things, but I'm sure she would give it up for a loving and faithful husband - or maybe not. That's why I watch.
It doesn't matter how many times you watch an episode, you can find something you missed the first five times. We even watch episodes out of sequence (watch season 1 on late night with commercials but all the language, A&E with language censored, reruns on the Movie Network) - whenever they're on, we're there. We've been totally spoiled now.
I also love the Malaprop's. "An albacore around my neck" is my favorite of Johnny Boy. When these jewels have entered our family vocabulary, it is a sign that I should get a life. I will when the series ends, and I have collected all the DVD's, and put the collection in my will.


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As a guy who has seen all the seasons, I can say that JG constantly surprises me. I mean, after you saw him shifting from laughter to paranoia instantly throughout the seasons and after every little gesture of his made u believe he is a gangster, u thought to yourself: OK he is a good actor and he can get into a gangster's skin. But after seeing him opening his eyes and struggling for his life, I mean I could almost feel the pain he "made" us believe he was going through. I was so touched by his performance that I immediately thought at Robert De Niro, Marlon Brando and Al Pacino. These guys were definitely the best of their generations and even more. But nowadays they are either old or dead (Brando) and it's OK that they make less movies and their performances are "lighter" than they used to be. I can't wait to see Gandolfini in other movies where he delivers a totally different role. Can u recommend me some of his older movies where he gives a memorable performance?


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Wow. I LOVED the whole series, and am shocked at comments by people who thought it ended badly. Perhaps it waffled a bit in seasons 4 & 5, while remaining better than anything else on television. But 6 and particularly 6b were beautiful permutations on the themes developed in the more muscular first three seasons.
6B started with such a sombre mood and Janice's always keen insight into the family angst - that doom-filled line about knowing Tony's penchant for sitting and staring. Anyone who missed the implications of that for the rest of the series does not know Tony. Melfi's discomfort over the psychiatric study and its references to the sociopath's self-deluding sentimentality for pets and animals goes back to the first episodes of the series, say, with Tony's panic attack over the ducks leaving his pool and resonates with Phil's "wave bye-bye" line to his grandchildren before the coup de grace of the final episode (not to get into Chase's dark humour).
I could go on and on, but I'll just add that I thought the final show - starting with the opening strains of Vanilla Fudge to supply the ironic foreshadow ("You Keep Me Hangin' On") to the terminal moments where Tony fades back into complacency with his family in tow or blasts apart like AJ's SUV or Phil's head were, utterly, utterly PERFECT. The best TV ever.
Pretty good in a dying medium pathologically supplying the "jack-off fantasies" AJ derides (and then into which he promptly subsides). A tip of the pork pie to Mr. Chase.


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There are so many reasons as to why I rate the sopranos so highly, one of its biggest triumphs being the cast and character building. Each character unfolds more and more each series. Also each series has an array of different 'small time characters' as well as the main. A good example of a character (who was only in three episodes) who you can feel for is David the compulsive gambler played brilliantly by Robert Patrick. Every little detail builds the perfect TV series. The show revolves round mob boss Tony Soprano (James Gandolfini) who attempts to balance his life of crime with his role as father of two. The show is not afraid to be bold and powerful with its dialogue and imagery and this is what makes it so believable. Whilst Tony runs things with capos Paulie (Tony Sirico) and Silvio (Steve Van Zant) his nephew Christopher (Michael imperioli) looks for a promotion. Every episode also features Tony's other family in some way which includes his children and wife carmela soprano (Edie Falco). On top of these problems is his uncle Junior soprano (Dominic Chianese) is trying to get what he can out of Tony's businesses despite being under house arrest. All the acting is powerful and characters complex, but the two who stand out the most are; James Gandolfini who 'is' Tony Soprano. Also Michael Imperioli who plays Christopher, representing the younger (20-30) generation in crime. If David Chase had not created this masterpiece modern TV dramas of such caliber may not have existed, such as The Wire and Dexter. So the Sopranos is definitely the Godfather, Goodfellas and Pulp fiction of TV


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The "gangster" genre is now a worn subject one that is too often subjected to parody. In retrospect the series is a culmination of previous clichés that have been utilized in it's genre, thankfully the writers have advanced upon this flaw by creating a realism which has been applied to it. The Sopranos is an epic crime saga that illustrates it's content with psychological depth that is characterized with subtle nuance, humor and unvarnished violence. The key protagonist Tony Soprano is perceived as a perilous general bereft of fear and moral values by his crew ,however, Tony is of two persona's one which is bestial while the other is conflicted with guilt and resent. With out any inhibitions or contradictions I still adamantly believe that The Sopranos has the finest ensemble cast of recent memory. All things considered I could make an elaborate statement on the series, but I won't. If ever there is a visual dictionary in global consumerism search for these definitions vital, ambiguous, unrelenting, epic, uncompromising and the sopranos shattered visage will be smiling right back at you.


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Not only do the storylines in "The Sopranos" engage audiences from all over, but I think (for me at least) what brings the viewers back is the acting. (Not even you, Gary, can dispute that claim) James Gandolfini, who plays the lead-man, Tony Soprano, has become (in this viewer's opinion) one of the "Hollywood Elites" as far as acting in a television series goes. I wouldn't go ahead and compare him with Robert DeNiro or Al Pacino, or at least, not just yet. He, however, does do a hell of a job playing the part of Tony Soprano. In the years since 1999, Gandolfini has risen so much so as an actor (mainly thanks to his role in The Sopranos) that today he is considered to be among the best in the business. And it's not just him. "The Sopranos" fields a great supporting cast including that of Lorraine Bracco, Edie Falco, Michael Imperioli, Dominic Chianese, and the late Nancy Marchand who played Tony's dreadful mother. At this point in the show's existence, it's being considered a cult-classic and rightfully so. The first two seasons were extraordinary. Violent and quite gruesome in a pretty frequent manner, but without a doubt, extraordinarily done. The third season was great, but didn't quite live up to the hype of seasons 1 and 2. Season 4, which wrapped up right before new-years, was the weakest season yet (or at least, in my opinion it was). Despite a dry-spell, I still found it (season 4 of "The Sopranos") to be more entertaining than most of its competition and that's saying a lot because lately I've been noticing a trend in good new television shows. Examples of this: Six Feet Under, The Shield, Curb Your Enthusiasm, and OZ (which is not technically a new show but ended with an unforgettable final season this year). To get back to my point though, to consider a show better than all the competition during a particularly bad year, no less, is quite an accomplishment on the part of the writers. "The Sopranos" ranks above and beyond all other television shows in its era and its writers deserve a lot of credit. To close, I'd like to say, "The Sopranos" is the real deal folks. For the average mature viewer (17 and above) who enjoys drama and doesn't mind a mixing of a little violence and profanity, you might want to check out "The Sopranos" if you get the chance. Trust me in that it will be well worth the time.


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"The Godfather", "Citizen Kane", "Star Wars", "Goodfellas" None of the above compare to the complex brilliance of "The Sopranos". Each and every character has layers upon layers of absolute verity, completely and utterly three dimensional. We care about Tony Soprano wholeheartedly, despite the fact that in the simplest model of good vs. evil, he is evil. Soprano is the most provocative, intricate, and fascinating protagonist ever created to this point in history. If you're in the mood to be overtly challenged as a viewer, and to be forever altered on your feelings toward entertainment, watch "The Sopranos". I defy anybody to sit down and watch the very first episode of Season 1, and not want to continue with the series. Each season is completely brilliant in its own way. DVDs are essential to anybody's collection **** of out 4


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I believe that The Sopranos is an awesome show because of all the supporting characters in it. i have bought every video so far and am waiting for the rest to be released. In all 42 episodes so far, the best one is definitely episode #3, Denial, Anger, Acceptance. This episode deals with my most favorite character of all time in The Sopranos. His name was Brendan Filone. He was killed for hijacking the wrong truck and accidentally killing a truck driver. Brendan was awesome because he was actually one of the few characters who actually stood against Tony and his gang. In the end, he ended up getting shot through the eye while taking a bath, and that's my most favorite scene ever in the history of The Sopranos. Brendan Filone is # 1 for me. And my # 2 most favorite character ever was Matthew Bevilaqua, who was killed after attempting to murder Christopher Moltisanti. Tony and Pussy shoot him in Hucklebarney park after they catch and torture him. My # 3 most favorite character is Sean Gismonte, who was killed right after shooting Christopher. And finally, my # 4 most favorite character is Chucky Signore, one of Uncle Junior's henchmen. He was killed on a boat by Tony. All the awesome characters are dead. That's the only bad thing about the Sopranos. All the cool guys always get killed. You know what would be great to change about the Sopranos? They should have a whole episode where they show all the dead supporting characters in hell and they are all trying to torture Chris, Tony, Uncle Junior, Silvio, and Paulie, because they need to get their revenge. Brendan Filone shall strike back!!!!!!!!!1


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It probably isn't fair that I have got to see the majority of all the interesting reviews on the Sopranos and then get to add what people have forgotten, but oh well.......
From a standpoint of acting, how could any actor fail with these characters? Each one mesmerizing and intense in their pursuits of life. Tony Soprano-while a mob "Capo" and suffering from mental illness, still sees his life in front of him and knows what has to be done to survive. Each of his men, you see their lives virtually from the inside like the truest form of voyerism. It definitely brings out a sort "nosey" side in each and every viewer, and I include myself in this!
While some above don't care for Bracco, I have to say this is the freshest role she has had in years since Good Fellas. She is the side of Tony that makes him listen to reason, that makes him decent, that offers him respite when dealing with his human emotions that he has failed to feel for so long, if ever. She is simply put, his savior. (Not speaking in religious tones)
But the knockout performance here is without doubt, Edie Falco. To see her prison guard role in the other acclaimed HBO series, "Oz" and then see her as Livia is the ultimate compliment for any actor or actress. She has transcended the boundries of a recognizable actress, something only actresses like Merle Streep can get away with. A sort of chameleon quality to transcend roles. But as I have mentioned before, with a characters a strong as these, how can any actor fail?
Livia's strength is in her daily affirmation of faith in herself. She is a survivor, as she hopes her husband and family will be survivors. She is prepared for the worst because she knows the hazards of her husband's business, yet knows the lifestyle she has is more then most women from Jersey. She is wise if not wiser and more street savvy then Tony himself.
All in all, the biggest crime from the Soprano Family is that we the viewer have to wait until January 2000 to see the next season. This in my opinion is the worst thing about the HBO series. It was what brought The Larry Sanders Show, Sex and the City, Dream On, and others back down to earth in popularity and eventually killed them. Too much space in between seasons and very sporadic. Until then, I will watch the reruns with the hope that this gap in programming is filled.


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I've only watched the first series on DVD, but would summarise The Sopranos as a Shakespearean plot with a Tarantino-like script. The series is as good as Goodfellas and Casino, and almost as good as The Godfather (hence not a "10"), and far better than any of Guy Ritchie's efforts. Although there's plenty of action, some of it pretty bloody, the story is character driven. Even some of the minor characters contribute to great story lines; e.g. the priest's relationship (or lack of) with Carmilla and the restaurateur's wife, and Christopher and his dimwit friend (who didn't last very long (a Darwin Award nominee?))
Apart from the plot, the script and the acting, the other reasons I liked it;
1. It made me want to visit New Jersey and eat pasta with a tomatoey sauce. 2. The music. 3. It shows that literally anyone can suffer from mental health problems.


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Take a pinch of GOODFELLAS, mix it with THE GODFATHER, add some Roman mythology and plenty of lowbrow comedy, and you have THE SOPRANOS, about a mob clan operating out of northern New Jersey. It's almost as entertaining as pro wrestling. I am not the biggest fan of this show, but I do admire James Gandolfini's very complicated Tony Soprano, a psychopath with an occasional glimmer of conscience. I also have come to admire te contributions of folks like gravel-voiced Dom Chianese as the bewildered but murderous Uncle Junior, silver-haired Tony Sirico as the perpetually perplexed Paulie and the very beautiful Edie Falco as the duplicitous, tough-as-nails Carmela Soprano. The violence is sudden and graphic, the body count steadily climbs each season, but it is often the small moments that matter most here. Watch Paulie and Tony's nephew Christopher (Michael Imperioli late of LAW & ORDER) as they get lost in the Pine Barrens and sit out a bitter cold night in an abandoned trruck, both convinced they've had it.


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