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user\nI honestly found Wicked Little Things to be a very cool and fun horror film.My friend had given this to me, and I really saw it as nothing but a crappy low class gory horror film.Then after I watched this I was wrong it was very cool and very good and while Ill say it seemed a bit unnecessary at times, and while it may not be the best horror film ever its still good.I thought the acting was very good especially from the girl who plays the mother(she seemed very believable and to me very likable).And while it is a little cliché'e and over the top its good.Overall I gotta say if the Afterdark Horror Fest films are not your style then you should have no business watching this, but if you like horror films, or a wicked little time than check out Wicked Little Things. 8.0 out of 10 stars
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user\nThis has no relationship to Virtual Encounters 1, so it's not really a sequel. The two videos just share the general concept of people having simulated sex through a virtual reality machine. So if you were really blown away by the story and dialog in VC 1 (yeah, right), and expecting a continuation in VC 2, just be warned. All the actors and actresses are new, but it has the same excellent director, Sybil Richards.
But like VC 1, you get lots of beautiful women and a lot of great sex scenes that push the envelope of soft core just about as far as it can go.
If you have VC 1 and you liked it, you'll like VC 2. If you don't have either, but like really good softcore sex, get both.
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user\nSeldom is seen a film sequel that surpasses or even equalls the greatness of it's original predecessor. Such a film is VIrtual Encounters 2.
It's about a couple guys in college who sell virtual sex to the entire campus. If you like seeing naked chicks, this one delivers. Six-foot tall Chrissy Styler is an amazing specimen and you will be dreaming about her for days if you ever have the good fortune to catch the unrated version. She wears just the right amount of body glitter in her multiple nude scenes and her giant cans appear to be real. ( = Giddyup!!
W/the exception of James Cameron's \"Aliens,\" Francis For Coppola's \"The Godfather Part II\" and - of course - the Zuckers' \"Airplane 2,\" this is the only sequel in movie history that takes a classic film and improves upon it.
It's criminal the way this film was ignored by the academy. Nikki Fritz and that broad who gets tied up in the beginning (as well as the brunette who gets a rubdown towards the end) all deserved Best Supporting Actress nods.
Shame on you, Hollywood!!!
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user\nThis film is really, really full of sex. Hot sex. I watched it (of course) on Cinemax; and I liked it of course; those virtual fantasies are played out so much in great style, and I kind of enjoyed the story line. But one must know that when a soft porn film director sets out to make another soft porn film; all he/she wants to do is film good sex scenes. And I got nice sex scenes, full of skin. Yet another reason some people call soft porn Cinemax films \"Skinemax.\"
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user\nWhat often threatens to turn into a soppy and soft-headed drama about misunderstood middle-class youth ends up a surprisingly shaded and subdued movie by John Frankenheimer (his first, though he had started in television, directing among other things an earlier version of this script).
We are still in those semi-mythic 50s when teenagers drove jalopies and jeans were still dungarees. James MacArthur (adoptive son of playwright Charles and actress Helen Hayes, and later to enter pop culture as Hawaii 5-0's Danno) gets involved in a minor incident in a movie theater which escalates to his throwing a punch at the manager (Whit Bissell) and being booked down at the police station. His dad (James Daly), a big-shot movie producer gets the call, doesn't listen to his son's version of the story, and pulls strings to get him off.
But MacArthur keeps carrying a chip on his shoulder, which even his sympathetic mom (Kim Hunter) can't knock off. Things worsen in the Coldwater Canyon homestead until MacArthur, trying to vindicate himself, stages a reprise of the original incident....
The movie doesn't quite avoid the attitudes  and cliches  of its time, but presents them with considerable nuance: Every character gets an honorable hearing; every point of view has its merits (and reactions to the movie will depend on what viewers bring to it). There are flaws (the word `crummy,' a standard rebellious euphemism of the era, is used about 30 times too often) but they're outweighed by strengths. The movie benefits from a strong cast (most notable among them the excellent character actor James Gregory, as a police detective) and a resolutely non-exploitative way of telling its story. From a vantage point in the new millennium, the hot water MacArthur finds himself in may seem a little tepid, but The Young Stranger remains honest and honorable.

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user\nRiding high on the success of \"Rebel Without a Cause\", came a tidal wave of 'teen' movies. Arguably this is one of the best. A very young McArthur excels here as the not really too troubled teen. The story concentrates more on perceptions of delinquency, than any traumatic occurrence. The supporting cast is memorable, Frankenheimer directs like an old pro. Just a story of a young man that finds others take his actions much too seriously.
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user\nThe world is going to miss John Frankenheimer. This was his first feature film and it was four years before he directed his second, but don't let that dissuade you from seeking it out. Frankenheimer's direction is assured, and he gets some compelling performances out of his cast.
Someone else has already pointed them out, but I also want to talk up James Gregory and Whit Bissell in two key supporting roles. Both would work for Frankenheimer again -- Gregory most notably as the bumbling senator in \"The Manchurian Candidate\" -- and they do good work for him here.
If the whole thing seems too simple in the end, that's merely because Frankenheimer and writer Robert Dozier chose to tell a simple story, and they do it well. Keep a lookout for it -- Turner Classic Movies just might show it again.
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user\nThis eloquent, simple film makes a remarkably clear statement about a teenager and his father. Though a theatrical release, it has a \"made-for-TV\" quality. We can attribute this to the director, John Frankenheimer, who learned his craft in the early days of live television in New York City. Indeed, he directed the teleplay on which the film is based, \"Deal a Blow,\" on the CBS drama series \"Climax.\" \"Young Stranger\" represents his Hollywood debut. After a hiatus of four years, during which he would do more television, he returned to direct \"The Young Savages\" with Burt Lancaster and, a year after that, \"All Fall Down\" with Warren Beatty and Angela Lansbury.
The casting is competent with James Daly and Kim Hunter (particularly good) playing the parents of the title character performed by James MacArthur (his first theatrical film) who played the same role in the television version which was his first appearance on the small screen. Look for James Gregory and Whit Bissell in supporting roles.
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user\nThe late Director John Frankenheimer directed his first feature film, The Young Stranger, after starting out directing live television dramas in New York City. This film came on the heels of the success of Rebel Without A Cause in 1955. James MacArthur made his feature film debut as a troubled teen with a movie producer father, played by James Daly, who doesn't establish enough of a relationship with his son. Kim Hunter plays the mother, who tries to bridge the gap between her husband and her son. The film uses the popular juvenile delinquent angle of the time to tell its story. MacArthur gets in trouble at a movie theater with an overzealous theater manager played by Whit Bissell. MacArthur, in turn, has to deal with a police sergeant, James Gregory, bent on teaching him a lesson. The material could easily have turned exploitative, laughable, and sensational, like any number of others of the period did. However, under the sure-handed direction of Frankenheimer, the film is a sensitive portrayal of teenage and parental dynamics. The dialog is realistic and most of the scenes hold up surprisingly well. Some of the scenes with Bissell, as the theater manager, and Gregory, as the police sergeant, are a bit heavy-handed and dated. The performances are uniformly good though, which is necessary for a film of this nature and about this topic to succeed. This is an impressive feature film debut both for MacArthur and Frankenheimer. *** of 4 stars.
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user\nNot high art, not even exceptionally innovative, but a thoroughly enjoyable movie. Funny, fresh, intelligent - there are still people out there who don't need millions of dollars to hide that they're out of ideas.
When you compare this to your average Hollywood action flick, you're comparing a homemade meal with a big mac.
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user\nIf you're familiar with the work of auteur Johnny To and his band of filmmaking cronies over at Milky Way, you know what to expect with this latest production. All the familiar elements are in place: the strong camaraderie between two characters: usually a cop and a baddie, the coincidences and chances that turn on a dime and pay off handsomely in the end, and the humor that arises even in the most dire of situations.
Andy Lau plays a man who has 72 hours to live and decides to rob an insurance company. Lau Ching-Wan (also brilliant in other Milky Way films like \"Longest Nite,\" \"A Hero Never Dies,\" and \"Where A Good Man Goes\") portrays a hostage negotiator/cop who is on the robber's tail, even as the robber sets up a series of tricks and clues that he must follow in order to get his man.
Funny, poignant, and cool while being subtle, \"Running\" is actually one of the most entertaining Milky Way films to date. Don't miss the performances by the two leads, esp. Andy Lau, usually considered an average actor who has rarely been this natural and fun to watch. This film is one to go out of your way to see.
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user\nI've recently seen An zhan. Not because it was a Hong Kong film, but because I was looking for a change from the films being produced here in the US. In my humble opinion, I believe the film could easily compete against the action thrillers being produced here, except for the traditional idiocyncracies of Hong Kong film. The one that still bothers me was the chief inspector character. I still don't understand why there has to be a complete-idiot-comic-relief-type character even in the serious films that come out of Hong Kong, but I can live with it when the movie is this good. The characters are believable even if the situations they are in are not. The story is fast paced and really sucks you in to it. The real cincher scenes for me were the two bus rides that the thief character takes. Overall, a really solid film.
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user\nThis film is a refreshing change of pace from the mindless Hong Kong triad movies I have grown so tired of. There are no spectacular gun fights. No car chases. And practically minimal action to speak of. The audience is kept in suspense for the most part, though certain aspects of the so called \"ploy\" by Andy Lau are quite obvious.
The film has been hailed as a departure from the genre of violent triad films, and as an \"intelligent\" crime film. To an extent, it is. But, to some extent, it still fails the \"believability\" test. One can hardly picture any triad member to be dumb enough to not see through the female disguise of Andy Lau in a second. It also seemed to have fallen for the \"if someone was seriously ill, the said someone will be coughing up copious amounts of blood regularly\" thing Chinese films seem to go for all the time.
The subtle relationship between the two lead characters is a refreshing change.
All in all an enjoyable film, even though the concept is not new and there are few surprises. >
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user\nI just purchased An Zhan (Running out of time) on DVD and it was an excellent film I must say. Not really action-packed, in terms of gun play, but definitely exciting and witty. I do not think I have seen Andy Lau in better form. And the editing on this film was very well executed. Go watch this now if you are a fan of Lau or HK thiller/action film!
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user\nRunning Out of Time rests somewhere in the middle of Johnny To's cannon, in the \"solid good\" category. As a crime thriller it's not terribly original or overwhelming and the action scenes will not blow you away but it has something else going for it. It's a Johnny To film after all, it has to.
Andy Lau has 72 hours to live. He decides to play a strange cat-and-mouse game with a hostage negotiator of the HK police, played by Lau Ching Wan. That's the plot in a nutshell. On top of that To piles layers of twists and turns that keep proceedings interesting throughout. It occasionally becomes too convoluted for its own sake but never lets it get the best of it. However, just as Johnny To is about to hand over a slick and well-made crime flick (which, let's face it, are dime-a-dozen), he slips in bits and pieces that bring Running Out of Time alive as a full emotional experience, providing the soul and heart to the well-oiled skeleton.
The concepts of synchronism and minimalism (staples in his work) are explored in great effect here. Always subtle, letting the images speak for themselves, giving them time to develop with long takes and slow tracking shots, exemplary cutting to the score, it's all here. A small love story in a bus between Andy Lau and a girl is among the highlights of the film and part of the \"heart\" I'm talking about. So simple yet so powerful. Ditto for Lau's and Lau Ching Wan's car scenes and the bowling-room showdown.
However something stops me from claiming Running Out of Time is a masterpiece. To has all the ability and craftmanship down to a notch but he can also be too workmanlike or bland at times. When he's good, he's REAL good. There are even isolated moment of pure brilliance that are just TOO good for their own sake, leaving a bittersweet aftertaste for the rest of the movie. I'm convinced that if he puts his heart to it, he can make a really great film. As it is, this is another one of his films that is flawed but enjoyable. Underneath the slick HK style, it's the black humour and heartfelt drama that makes this a compelling film. Worth watching, definitely.
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user\nHaving seen 'only' about 200 Hong Kong films in my time, I have to say this film is among my very top favorites. Not only is the plot engaging (and in some ways surprising, which these days is rare for any movie), but the chemistry between the two lead actors is superb. Top notch casting! And while often even the most serious HK films tend to insert quite a bit of humor in between all the drama and action, often spoiling the mood a bit, here the jokes are kept subtle and woven into the plot, even improving character relations. The music is also very well done, and the two main themes are very beautiful. With the release of the HK special Edition, they've even cleaned the picture (first release was grainy) and the subtitles, even if the quality of the translation is still lacking (nothing new there). All in all, if you have to see a HK film that isn't directed by John Woo or have Chow Yun Fat in it, this should be at least on your short list! A truly fascinating and entertaining watch!
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user\nAndy Lau and Lau Ching-Wan are both superb in Johnny To's tautly directed crime thriller which puts most Western efforts to shame. Think of it as the Hong Kong 'Heat', only better! Everything about the film screams class; from the performances to the soundtrack, the cinematography to the script. The tone remains serious throughout, but the film has a nice line in black-humour, friendship and romance at it's heart. Sure, it gets a little preposterous later on, but it would be a hard-hearted viewer who didn't find something to love about this movie. Thank God, Hollywood hasn't (yet) re-made and ruined a classic. Do yourself a favour and see this film!
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user\nTerrific, deeply moving crime thriller starring Andy Lau and Lau Ching Wan.
From the dizzying opening sequence to the extremely satisfying conclusion, this cat and mouser hardly misses a beat.
Johnny To, again working with ace composer Arthur Wong, constructs another operatic actioner that grots in the face of its contemporaries.
To's images are strong and moving. His cutting, combined with the extraordinary music cues, is exemplary. You are in the hands of a master cinematician.
The two sequences in which Andy Lau \"hides\" from the cops on a bus by pretending to accompany a lithe beauty (Ruby Wong) are testament to To's unique directorial skills.
Lau Ching Wan is strong and commanding as the harassed cop while Andy Lau is dynamic as a dying man avenging his father's death.
This is superb movie-making, only mildly compromised by some bad English dubbing in one scene with criminal Waise Lee.
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user\nThe one thing that can be said about RUNNING OUT OF TIME is that it's an immensely clever film. It's interesting to note that the film's writers are French, which may explain the movie's \"out of the norm\" vibe, as it doesn't really fit in with what is commonly called \"Hong Kong Cinema\".
The movie concerns a thief who plans revenge on some criminal types using the assistance of an equally clever cop. But first he has to convince the cop to join his personal crusade, and so begins a series of games where the thief manuevers the cop into his plan.
Quite a clever movie.
7 out of 10
(go to www.nixflix.com for a more detailed review of this movie or full-length reviews of other foreign films)
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user\nRunning Out of Time is probably as close to a perfect film as you're ever likely to see out of Hong Kong. All the elements click: a terrific script (by French writers Julien Carbon and Laurent Courtiaud) that even manages to subvert the odd cliché, reliably imaginative direction by Johnnie To, and excellent central performances by Andy Lau and Lau Ching Wan, the latter displaying his great comic timing to wonderful effect without ever crossing the line into parody (especially in his exasperated reactions to his superior's abysmal negotiating skills). The supporting cast is fine too, with Yo Yo Mung making a strong impression in a tiny role, and even the often histrionic Waise Lee (looking remarkably, and very aptly, like a bald Andy Lau) reining it in to good effect. It's best not to know too much about the plot going in beyond the basic set-up  with only a few weeks to live, Lau engages in a criminal game with Wan's cop with no easily apparent motive  and just sit back and enjoy the ride: it's certainly worth the fare. It also has one of the most perfect love stories in recent movies, and played in a mere three scenes (the second bus ride is one of the most magical moments of film-making I've seen in ages). There's also a fine score by Raymond Wong as well. The most fun playing cat and mouse at the movies in years.
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user\nyou know I've seen a lot of crappy hong kong movies in terms of production and were good. But Running out of TIme was great.
i guess what made it so good was the fact that Andy Lau and Ching Wang, have such great chemistry. The film at first is really fast paced but slows down not enough to even notice which is also good, we don't want to have a heart attack,lol. In terms of plot their is enough of other things going on to keep you interested. Lau has some pretty good moments as he uses make up to impersonate people from the underworld. Also the movie has the best oriental supporting cast since \"house of Flying Daggers\".
The movie is great because its so unpredictable and leaves you wondering at every corner. Definitely a good rental with tons of comedy, action and thrills pact in to one, 8 out of 10
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user\nOctavio Paz, Mexican poet, writer, and diplomat, who received the Nobel Prize for Literature in 1990, said about \"Nazarin\": \"Nazarin follows the great tradition of mad Spaniards originated by Cervantes. His madness consists in taking seriously great ideas and trying to live accordingly\". A humble and spiritual priest (Francisco Rabal in a wonderful performance) attempts to live by the principles of Christianity but is cast out of his church for helping a local prostitute by giving her a shelter after she had committed a murder. Nazarin wanders the country roads of the turn of the 20th-century Mexico, offering help to poor and begging for food. His two followers, a murderous prostitute Andara and her sister Beatriz who is a failed suicide desperately searching for love, consider him saint but it does not prevent him from hatred and humiliation from both the church and the people he meets on the road. He ends up beaten in prison and begins to question his faith for not be able to forgive his attacker.
Bunuel tells the story in a manner of a Christian parable masterfully and uniquely combining admiration and irony for the main character and strong criticism of formal religion and hypocrisy. The film is simple and profound as well as beautiful, ironic, and heartbreaking.
I consider Bunuel one of the best filmmakers ever. I've seen twenty of his films and they all belong to the different periods of his life but they have in common his magic touch, the masterful combination of gritty realism and surrealism, his curiosity, his inquisitive mind, his sense of humor, and his dark and shining fantasies. With great pleasure I am adding little seen and almost unknown but amazingly candid and touching surrealistic tragic-comedy \"Nazarin\" to the list of my favorite films.
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user\nNazarin is some kind of saint,he wants to live in life exactly how Christ taught man to do.But it's too late:now the Catholic Church is between the hands of a wealthy bourgeoisie,the bishops live in luxury and don't give a damn about the poor and the sick.That's why our hero can't follow the way his hierarchy asks him to follow.So he divests himself of everything,and on his way to purity,he's joined by some kind of Mary Magdelene and a woman who's attracted by him sexually (the scene between this girl and her fiancé is telling).In Spain (it was the late fifties),they thought Nazarin was a Christian movie!Knowing Luis Bunuel,it was downright incongruous:all his work is anticlerical to a fault.Comparing Nazarin and his \"holy women\" to Jesus is a nonsense.On Nazarin's way,only brambles and couch grass grow.His attempt at helping working men on the road is a failure,he's chased out as a strike-breaker.All his words amount to nothing.At the end of the journey,he's arrested and offered a pineapple by a woman(Bunuelian sexual symbol). Thanks to \"Nazarin\" ,Bunuel was allowed to return to Spain (where the censors had not got a clue ) and to direct \"Viridiana\".
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user\n\"Nazarin\" directed by Luis Bunuel presents an extraordinary view of religion in Mexico. As written by the director and Julio Alejandro, his notable collaborator, this was a film that put Mexican cinema in the international map after receiving the Grand Prix in Cannes that year. It's a disturbing film because Mr. Bunuel delves deep into what's wrong with the church.
Nazarin, by all reckoning, is a saint. This young priest is seen living a life of poverty in a seedy pension of a city. He doesn't have enough for himself, but he doesn't mind parting with a coin when a beggar appears by his window asking for help. At the same time, he takes into his small room a prostitute that has been hurt in a fight with another woman. Andara, the woman repays his kindness by burning the room and the whole building! Nazarin is seen taking to the countryside begging for food. Andara and Beatriz, two prostitutes from his old town follow him. Nazarin's life parallels that of Jesus. In fact, this saintly figure makes a case for humility.
Of course,Mr. Bunuel had no religion in mind when he and Mr. Alejandro took it upon themselves to create this film. It's ironic how Spain welcomed him after this film was released because they saw it as showing Christian qualities, when in reality, this is an acerbic satire on the catholic church and its ministers.
Francisco Rabal, the Spanish actor, makes a wonderful Nazarin. This was one of his best roles. Mr. Rabal worked extensively in his native country, but also in Mexico and Argentina. Rita Macedo, as Andara, is also excellent. Marga Lopez also makes a valuable contribution with her portrayal of Beatriz.
A great film by one of the cinema's master film makers: Luis Bunuel.
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user\nThis movie is a fascinating example of Luis Bunuel's storytelling abilities. This is a comedy that is not a comedy, and a social drama that is not a social drama. Even though I don't think it was particularly funny, it made me laugh. Also, despite the fact that you can never take Bunuel too seriously, the movie made think about religion and its importance in some people's lives. Bunuel tells the story of a Catholic priest, devoted to his faith like no one else and the viewer witness what happens when the priest's undying commitment to serve others is put to test. As usual, Bunuel's target is Catholicism, but I don't think he tried to mock the church as he often does. At least I didn't take the film as a mockery of the institution. I think he is trying to make an interesting point about how religion could be a nuisance in today's modern society. Not because faith in itself is bad, but because people always mange to bastardize the concept. Message aside, I think this is one of Bunuel's most clever works. Francisco Rabal is superb as the priest. Definitely, one of the filmmaker's best movies.
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user\nWhen you look at Mexico's best movies you will more than likely find that the Photography was performed by Gabriel Figueroa. He is recognized in the world as one of the best that have ever existed. His master control of the cameras gave an added asset to the movies he was part of. If added to his participation we add the direction of Luis Bunuel, you will never find such a pair of aces anywhere else in the world. This story, Nazarin, was written by Spain's greatest writer besides Miguel de Cervantes(Don Quijote de la Mancha). The story in itself is superb: Nazarin a priest that lives by his beliefs tries to live a very Christian life, but as always there are people that do not accept this. He wanders through many places preaching his Christianity but finding, most of the time, people that do not accept him. But besides the splendid story, it is always interesting to try to interpret the enigmatic messages that Bunuel sends us throughout the picture in scenes that make you shiver.
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user\nI love the absurdity and biting humor of Buñuel's surrealist films (such as \"The Discreet Charm of the Bourgeoisie\" and \"The Exterminating Angel\", to name two). Other, earlier works (like \"The Forgotten Ones\", about juvenile delinquents from a marginal neighborhood in Mexico) are more serious and provide a strong social message.
However, I believe it is \"Nazarin\" which most successfully shoots for the heart of the viewer. While it's true that it's brimming with irony, it nevertheless reveals an aspect of Buñuel which would appear to be intrigued by the beauty and solemnity of the spiritual quest. Here, while the director (quite typically) throws countless jabs at the Catholic Church, he also appears to show, surprisingly, a sense of admiration for genuine Christian thought and its practice of selfless love.
\"What?? Luis Buñuel unabashedly praising a Jesus-like figure??\" I always thought of him as a completely cynical artist without a trace of faith in human virtue... that is, until I watched \"Nazarin\". My appreciation is that he satirically exposes the difficulty of following Christ's example in a society infested with meanness, ignorance and sin; but he also presents the hero, Father Nazario, as quite the beacon of light amidst a sea of darkness. Without a doubt, by the end of the film I was looking up to him and not down on him!
Some would argue that Father Nazario's doubts regarding his faith point to the loss of his saintly values. (Alas, if he can't do good in this world, who can?) But I would say that this \"flaw\", his frustration, precisely makes his character all the more heroic, because it shows how human he is and how challenging his struggle within must be. And who says the priest couldn't eventually emerge from that \"dark night\" and regain his confidence? Perhaps we've only been presented with a difficult part of his spiritual journey. The elegant, open ending (in which he desperately accepts the fruit offered by a female stranger) allows us to imagine ourselves the final outcome of the story.
I recognize in Buñuel the aggressive, self-professed atheist endowed with brilliant wit and social consciousness; but after having watched \"Nazarin\", I also sense from him a certain warmth, a depth and maturity that's not so evident in his other work.
For the sake of contrast, I strongly recommend watching afterward his short film \"Simon of the Desert\" (also made in Mexico, several years later). It deals with a similar subject matter -- the abandonment of the ego in the face of temptation --, only it does so in a hysterically funny and totally irreverent style.
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user\nSpanish director Luis Buñuel career spanned almost 50 years, from 1929 to 1977. Arguably, his best films were those he made during his exile in Mexico - from the late forties to the early 60s. There he had to deal with very cheap budgets, and work in an industry interested mainly in churning commercial movies to unsophisticated audiences, yet he somehow managed to make interesting, thought provoking movies that have stand the test of time. This movie is based on a novel by Spanish author Benito Perez Galdos - and the adaptation is quite faithful, even if the setting is now early 20th century Mexico instead of early 20th century Spain. The protagonist, Nazarin, is a priest who tries to live a life that is as faithful as it can be to the one prescribed by Christ. The question many would ask is whether such endeavor would be possible, without incurring in the hostility, incomprehension and mockery of your fellow human beings. As it happens, he suffers a lot of indignities, yet he remains stubborn (until the controversial final shot) to this objective. I think Buñuel wanted to show Nazarin as a somewhat ridiculous figure, but perhaps inadvertently, his stubbornness (at least to this viewer) comes out as admirable. In any case, a great film.
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user\nLuis Bunuel has always been a filmmaker whose work was obscure to me. My first experience with him was The Discreet Charm of the Bourgeosie, often considered his greatest work, with which I became so frustrated and bored that I eventually shut the tape off. Likewise Belle de Jour, which is almost certainly his best known film and also generally considered one of his many masterpieces, didn't interest me very much at all. I didn't hate it like I did Discreet, but I didn't like it. Third, I saw L'Age d'Or. Finally, I had gotten somewhere. Fourth, Los Olvidados, also good. Still, neither L'Age d'Or nor Los Olvidados blew me away. Great films, but not masterpieces.
Nazarin is my fifth Bunuel, and I like it just a tad more than those other two. It is about a priest from Spain now in Mexico who refuses to live in the kind of luxury most priests live in. He wants to be more like Jesus, leading the meekest life possible. He's also willing to forgive everyone for anything, and to suffer without protest. I'm pretty sure Bunuel does not sympathize with the character, and sees him as rather self-righteous. However, I only assume that because of my knowledge of the director, whose most famous quotation is \"Thank God, I'm still an atheist,\" which he apparently said in an interview over this very film (I get this information from John Baxter's book about Bunuel, if you're interested). The interviewer who dragged those words from Bunuel's mouth must have been himself confused about Nazarin. One who was more predisposed to believe in religious conviction, who also knows nothing about Bunuel, might see the priest as a heroic figure. This is especially true if that viewer has his/her own criticisms of organized religion. The priest may be somewhat self-righteous, but he seems to be basically a good man. When he harbors a violent prostitute in his room in order to protect her (and, presumably, to save her soul), people begin to find out and assume that their relationship is sexual. His superiors assume the same and punish him for it. Later on, he suffers even worse punishments from clerics.
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user\nA blackly comic tale of a down-trodden priest, Nazarin showcases the economy that Luis Bunuel was able to achieve in being able to tell a deeply humanist fable with a minimum of fuss. As an output from his Mexican era of film making, it was an invaluable talent to possess, with little money and extremely tight schedules. Nazarin, however, surpasses many of Bunuel's previous Mexican films in terms of the acting (Francisco Rabal is excellent), narrative and theme.
The theme, interestingly, is something that was explored again in Viridiana, made three years later in Spain. It concerns the individual's struggle for humanity and altruism amongst a society that rejects any notion of virtue. Father Nazarin, however, is portrayed more sympathetically than Sister Viridiana. Whereas the latter seems to choose charity because she wishes to atone for her (perceived) sins, Nazarin's whole existence and reason for being seems to be to help others, whether they (or we) like it or not. The film's last scenes, in which he casts doubt on his behaviour and, in a split second, has to choose between the life he has been leading or the conventional life that is expected of a priest, are so emotional because they concern his moral integrity and we are never quite sure whether it remains intact or not.
This is a remarkable film and I would urge anyone interested in classic cinema to seek it out. It is one of Bunuel's most moving films, and encapsulates many of his obsessions: frustrated desire, mad love, religious hypocrisy etc. In my view 'Nazarin' is second only to 'The Exterminating Angel', in terms of his Mexican movies, and is certainly near the top of the list of Bunuel's total filmic output.
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user\nLuis Bunuel's \"Nazarin\" will always be remembered as a great film because it is absolutely honest in its presentation of comical assault on religion.It is one of those outstanding films which must be shown to all people especially young children in order to familiarize them with the notions of good and bad,sacred and evil.The toughest question asked by \"Nazarin\" is about the strengths and weaknesses of organized religion.It has been tackled by involving numerous ordinary people who are not at all above petty affairs in their mundane lives especially sins.Bunuel scores tremendously by showing us that various questions related to class differences deserve frank,honest and reliable answers. Nazarin appears credible as it has been made in a light,comical vein.This is the sole reason why it can be said that the story of an ordinary priest appears absolutely true to life to all audiences.It is amazing how Bunuel approaches quest for true love issue in his film. This black & white gem was shot marvelously by Gabriel Figueroa,one of Luis Bunuel's favorite cameraman.Film critic Lalit Rao saw \"Nazarin\" at Trivandrum,India during 13th International Film Festival of Kerala 2009.\"Nazarin\" was introduced by eminent Indian cinema personality Mr.P.K.Nair as part of a special package called \"50 years ago\".This is a film which should be with any discerning DVD collector.
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user\nNazarin by the acclaimed surrealist Bunuel is ovbviously an attack on the Catholic Church and its loss of values. It is not a visual film and I think it would have played better on the stage. Bunuel takes us through this man, the nazarene that lives like Christ lived; a true follower i.e. in poverty, and without a care for property and what the next day bringeth. Some might call it a parallel to Christ's story but any follower and practitioner of the word, life should be like Christ in a way. But in essence Bunuel also inquires into the ogle of man's selfishness and need to sin and how goodness may save us all. It is a bold statement to make that may enliven, or recite to memory the movie for some. Truth, be told the Nazarene is also selfish because he gives without wanting in return or asking for it. His selfishness is his folly and the two women who follow him represent the sides of a coin;with the same face on each side. Lots of people represent sides of a coin in this movie, all with both faces the same. But the movie isn't exactly memorable once it ends and one could attack many of its ethical perforations and effusions within the movie's own doctrine. Not top-notch Bunuel but a \"surreal\" dream sequence that bunuel stages whithin where the message of the movie is framed and is worth noting for it shows you the capability of the director, Bunuel.
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user\nEvery time this movie used to re-air on late night TV in the late 70s and early 80s I would always make time to sit in front of the TV and watch it. To see the lovely Kate Jackson, handsome Richard Long, the \"great\" Polly Bergen whom I've never seen anywhere else except for this TV movie, the endearing Tom Bosley, and another \"great\" whom I've never seen outside this movie, Celeste Holme. This is truly the love boat on a cruise to murder and mayhem and boy was it ever good!! And every time I would watch it I would always forget who the real murderer was.
As expected, someone here is already criticizing the movie as if that really is a big help to anyone. This is a great TV movie and worth watching each and every time. I can't say that about half the movies I've seen this month.
If you ever get a chance to watch it on TV someday, which isn't likely, watch it. In light of \"The Girl Most Likely To\" finally coming out this year on DVD, maybe there's hope for a DVD release of \"Death Cruise.\"
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user\nI saw this when I was twelve. It was the movie that made me understand what a good mystery really was. I had read the entire Happy Hollisters children's mystery series and they were about a family of child sleuths who always got their man. But we the readers were not in a position to solve the mystery along with them. This movie showed me that a good mystery is that which makes the viewer/reader, at the end, say, \"OH!!!!! OF COURSE!!!!!!!\"
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user\nI happened to catch this on community TV a few years back and was pleasantly surprised how enjoyable a film it was.
While a bit corny in certain ways, as its prime function of being a mystery thriller it works superbly, thanks to a script that concocts an ingenious plot; it kept me guessing throughout and the resolution is inspired.
The cast is a star-studded one, containing a mixture of those at the end of their careers (indeed Richard Long died the same year this was made), or those who were on the verge of stardom in hit TV series (Kate Jackson, Tom Bosley). They all do a good job, with the exception of Cesare Danova who sleepwalks through his role.
Strongly recommended.
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user\nIt's About Time \"Kate Jackson\" got her credit for this film.., i can remember watching it & trying to understand it on TV.., my grandmother lay in bed dying from cancer & i was barely 15. i didn't find out till years later that Richard long had died tho.., i miss him on the other shows/movies he was in.
I have a copy of the VHS tape still but it's NOT \"CC'd\" or Closed Captioned for the Hearing Impaired & thats the ONLY flaw in the movie that i can remember or know of to date.., i haven't been able to find a DVD or VHS copy that has sub-titles in English even. If someone out there knows of either copy on VHS or DVD thats CC'd or has English sub-titles please let me know.
thanks - Cofffeenut
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user\nSteamboat Willy was not the first cartoon to feature Mickey Mouse. The first film to star America's friend was \"Plane Crazy\". \"Plane Crazy\" was released May 15th 1928 in Hollywood California,in the silent movie format. \"Steamboat Willy\" was released November 18th 1928 as a SOUND movie (it was also released July 29th 1928 as a silent film). Thus making \"Steamboat..\"the first SOUND film of Mickey but NOT the first film for the little American Mouse. While many game shows have used the question: \"What was the first appearance of Mickey Mouse?\" The true answer is \"Plane Crazy\" not \"Steamboat Willy\". These dates can be checkout on IMDb under \"release dates\".
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user\nThis was the first Mickey Mouse cartoon released and the first cartoon with sound. It was based on a silent movie called \"Steamboat Bill, Jr.\" starring Buster Keaton. Back in this early Mickey short, Mickey did not talk nor did he have gloves. He could just whistle and play music. The song that he played was \"Turkey in the Straw\" using several barnyard animals as musical instruments. He plays a cow's teeth as a xylophone and he plays a nursing sow's teats like an accordion keyboard. Captain Pete, however, is very mad and makes Mickey peel potatoes in the galley. Pete's parrot flies up to the window and orders him to peel the potatoes. Mickey throws a half-peeled potato at the parrot and laughs, thus closing the cartoon. I was able to get this cartoon on tape and I really like it. I think the Disney shorts are much better than the feature length movies.
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user\nWhile in one country, Spain, Luis Bunuel and Salvador Dali combined forces to create the benchmark of short-subject, cinematic surrealism, Un Chien Andalou, Walt Disney and his collaborator Ub Iwerks in America worked on Steamboat Willie, the most prominent of the early synchronized sound cartoons (it was revealed that this was not the first, contrary to other reports). It's also one of the more successfully simplistic and funny of the Mickey Mouse shorts (still in a silent-film way- the only sounds are little irks and bleeps from the Mickey and the animals). It also goes by fairly quickly for its less-than-ten minute run. But in these minutes one gets the immediate sense of how much fun Disney has with his characters, and how the newfound use of sound changes how his creation uses the animals as musical tools. There's no story to speak of, just random things that happens and occurs because of Mickey (err, Steamboat Willie) on this boat on a river. And like the better Mickey Mouse shorts, his lack of speaking acts as an advantage. It's a must-see if you haven't seen it as a kid, but if you have it might still be worth another look.
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user\nThis era was not just the dawn of sound in cartoons, but of a cartoon character which would go down in history as the world's most famous mouse. Yes, Mickey makes his debut here, in this cheery tale of life on board a steamboat. The animation is good for it's time, and the plot - though a little simple - is quite jolly. A true classic, and if you ever manage to get it on video, you won't regret it.
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