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user\nFirst saw this half a lifetime ago on a black-and-white TV in a small Samoan village and thought it was hilarious. Now, having seen it for the second time, so much later, I don't find it hilarious. I don't find ANYTHING hilarious anymore. But this is a witty and light-hearted comedy that moves along quickly without stumbling and I thoroughly enjoyed it.
It's 1945 and Fred MacMurray is a 4F who's dying to get into one of the armed forces. He rubs a lamp in the scrapyard he's managing and a genie appears to grant him a few wishes. (Ho hum, right? But though the introduction is no more than okay, the fantasies are pretty lively.) MacMurray tells the genie that he wants to be in the army. Poof, and he is marching along with Washington's soldiers into a particularly warm and inviting USO where June Haver and Joan Leslie are wearing lots of lace doilies or whatever they are, and lavender wigs. Washington sends MacMurray to spy on the enemy -- red-coating, German-speaking Hessians, not Brits. The Hessians are jammed into a Bierstube and singing a very amusing drinking song extolling the virtues of the Vaterland, \"where the white wine is winier/ and the Rhine water's Rhinier/ and the bratwurst is mellower/ and the yellow hair is yellower/ and the Frauleins are jucier/ and the goose steps are goosier.\" Something like that. The characterizations are fabulous, as good as Sig Rumann's best. Otto Preminger is the suspicious and sinister Hessian general. \"You know, Heidelberg, vee are 241 to 1 against you -- but vee are not afraid.\"
I can't go on too long with these fantasies but they're all quite funny, and so are the lyrics. When he wishes he were in the Navy, MacMurray winds up with Columbus and the fantasy is presented as grand opera. \"Don't you know that sailing west meant/ a terrifically expensive investment?/ And who do you suppose provides the means/ but Isabella, Queen of Queens.\" When they sight the New World, someone remarks that it looks great. \"I don't care what it looks like,\" mutters Columbus, \"but that place is going to be called Columbusland.\"
Anyway, everything is finally straightened out, though the genie by this time is quite drunk, and MacMurray winds up in the Marine Corps with the right girl.
I've made it sound too cute, maybe, but it IS cute. The kids will enjoy the puffs of smoke and the magic and the corny love story. The adults will get a kick out of the more challenging elements of the story (who are the Hessians?) unless they happen to be college graduates, in which case they might want to stick with the legerdemain and say, \"Wow! Awesome!\"
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user\nIf you haven't seen this obscure little charmer, you should seek it out. It is the story of a bumbling, wartime Sad Sack (Fred MacMurray) who is listed 4-F each time he attempts to join any branch of the military. He finds a magic lamp which of course contains a genie (Gene Sheldon), but the genie is even more bumbling than MacMurray is, sending him across time to serve in all the wrong times and places than the one he wants. It is cute, cheerful, and pure fluff, and you can't help but like it. The plots is much like a Disney film, particularly since the two stars (MacMurray and Sheldon) both made numerous Disney films in the 50's and 60's, although not together. Needless to say, it all ends well for everyone, and the viewer goes away feeling pretty good.
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user\nI happened to see this movie twice or more and found it well made! WWII had freshly ended and the so-called \"Cold War\" was about to begin. This movie could, therefore, be defined as one of the best \"propaganda\", patriotic movies preparing Americans and, secondly, people from the still to be formed \"Western NATO block\" of countries to face the next coming menace. The movie celebrates the might of the US, through the centuries, while projecting itself onwards to the then present war, which had just ended. Nice and funny is the way of describing the discovering of the American Continent by Columbus and pretty the \"espisode\" of New Amsterdam and the purchasing of Manhattan from a drunk local Indian .. Must see it (at least once, for curiosity of fashion of propaganda through time)! :)
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user\nSaw it as many times as I could before it left the scene. A delightful and entertaining film with some of my very favorite stars. Only wish I could find it again! Would certainly buy/view it if I could. Please, somebody, bring it back. Fred MacMurray was perfect in his role as a patriot during World War II, and his leading ladies, Joan Leslie, and especially June Haver were beautiful and charming. It was a musical, but also romantic, funny, and clever. This was my favorite movie starring June Haver, although I always liked her. Her dazzling smile lit up the screen, and her beauty and talent were an asset to any film. The supporting cast lent credit to their individual roles. A well-balanced and light-hearted film; only wish we had more like it!
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user\nI adored this movie. Not only because I am a big fan of Moritz Bleibtreu, although he is in practically all German movies that count. But also because he is NOT the main actor. The lead is taken over by Barnaby Metschurat, who was the only reason to watch 2001's Julietta, and who really carries this movie on his shoulders.
A family moves from Italy to Germany seeking \"the German dream\" (this is my own invention and ironic...) of cheap labor in steel and coal industries. However, they end up opening a restaurant and the journey the movie takes to this point alone is so poetic and at the same time funny and charming. From this point onward, the story told is mainly that of the two brothers of this family, Giancarlo (Bleibtreu) and Gigi (Metschurat). Gigi's dream to become a filmmaker is threatened by rivalry with his brother and his mother's determination to return to Italy. What follows is a great - and totally neutral - look at what life can become formed by the choices you make.
In the end, this movie doesn't say which life (Gigi's or Giancarlo's) was more successful or fuller or more interesting. It merely gives us a rewarding glimpse at what it must be like to search for identity when two countries and mentalities are involved. and this look is not driven by bitterness or disdain to either country, which makes it such a great film for any and every country dealing with the tensions resulting from immigration. The fact that director Fatih Akin's moved to Germany from Turkey in the 70s also lends this movie a large measure of its credibility and emotional accuracy. The icing on the cake are fantastic performances by the entire cast, especially Metschurat and - this I really need to stress - the little boy who plays young Gigi. That kid's performance would be a hard act to follow by just about anyone! Great movie, go see it.
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user\nAfter Fatih Akins first work \"Im Juli\", which was fairly good, he created a really gorgeous italian family epic. Its a german movie, which is unfortunately a bad precondition, cause we rareley produce more than moderate movies ;). But this movie makes some very good snapshots of the time then. \"Solino\" is about a Italian immigrant who arrives in the \"Ruhr\" region of Germany during the 60s. The immigrant and his family then start the first Pizza restaurant in the region. The characters are excellent drawn. Especially Gigi, the main actor. You live every second, every feeling he does. His brother, played by Moritz Bleibtreu, isnt that good. Well, you just dont believe him the role. But the character is wellbalanced and fits perfectly into this script. I feel an urgent need to compare the style of this movie with the style of \"The Godfather\". Many people will probably hate this movie, say its boring. Not much tension? - yes, but an outrageous movie. 9 out of 10.
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user\nSolino really moved me with its deeply drawn characters. While being a simple tale of rivalry between two brothers, it was not simply about hate or jealousy. What I liked most about the movie was how I could identify with the feelings Gigi was going through especially when he had to take his mother back to her home town in Italy and miss out on attending the festival film awards ceremony his film was entered into. To see this character who struggled so hard between his artistic dream and his innate sense of duty to his mother was so frustrating. Even at the end when he makes one more attempt to reach out to his father was so brave. And as in real life, most fathers can never get past their walls to reach out to their children. I could even identify with Giancarlo, the brother, who while being the more self assured and elder brother, had so many insecurities. A really beautiful film that made me laugh and cry.
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user\nThis film plays in the 60s and is about an Italian family: Romano, his wife Rosa and their two children Gigi and Giancarlo emigrate from Solino in Italy to Duisburg in the Ruhr area. I like this film, because I think it is quite realistic: it shows problems which many foreign families have when they come to another country: they have to get used to a new culture, a new environment and this can be difficult: especially if you don't know the language.... It is difficult for the family but they find a way: they open a restaurant which offers typical Italian food, and it is named \"Solino\", like their hometown. The film also shows different conflicts - Gigi and Giancarlo fall in love with the same girl, and although Rosa has to work very hard, Romano refuses to pay money to engage more workers, etc. etc. But stop, I don't want to tell you how it goes on. You should watch the film yourself, it's a nice one - I have also made a Referat about it and examined scenes which show different cultural attitudes. And there are a few...
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user\nThis movie about two Italian brothers who came to Germany with their family is just great!
It isn't an idealistic movie, I would say it shows life as it is or was in the 60s and 70s when the main story takes place. The characters are very nice but have also some \"dark\" sides, what makes you believe that these are real persons. Great movie with great actors to show that life is not funny all the time, but that you can find happiness with \"fire and passion\" as the main character Gigi would say.
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user\nSuch a delightful movie! Very heart warming. One can't help falling in love with the character of Gigi. He's adorable as a child and grows into a sensitive artist. The whole movie revolves around him. He lives in a wonderful world  living all life  curiosity, desire and anticipation. There is an elder brother who tries to steal his glory but really remains in the shadow all his life. The father is very stereotypically Italian and so is the mother. I wanted the father to come and reunite with the mother in the last scene  and have them cry and laugh. I also wish that there was at least something redeeming about the elder brother. His personality seems to have been trashed entirely. Passion and ardour  that's the key to life. And looking through the camera  focusing on small details and savoring the delicate details of life.
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user\nI really enjoyed this movie. The script is fresh and unpredictable and the acting is outstanding.It is a down-to-earth movie with characters one cares about. It brought tears into my eyes a few times but left me with a great feeling afterwards.
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user\nreally excellent movie, one of the best i've seen. Touching and simple - just like life, sometimes you cry sometimes you laugh and it's just beautiful. not too much of anything, just as it's suppose to be. Really loved the idea of the movie, noone is bad or good, all or just people, sometimes make mistakes mostly because of society's pressure, everyone tries to stay strong and some succeed more than others and the most important thing is that you don't have reasons to get angry - you can do it, but eventually the anger goes away and then you to need to let love come back in although it's hard, there lies the true happiness.
Great actors and cast, the movie really gets you into the feeling of the movie.
nice nice nice.
I recommend to see it, especially if you like to see italians' life...
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user\nthis film takes you inside itself in the early minutes and holds you till the end. it has a very humane story and very good selected music. The acting of Moritz Bleibtreu (Giancarlo Amato) and Barnaby Metschurat (Gigi Amato) is satisfying. Recommended to people who get bored of action films and want to see a good movie.
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user\nI liked SOLINO very much. It is a very heart-rending story of an italian family moving to Germany. And it's an story about brotherly love, hope and disappointment. And the film is never boring. Go and see SOLINO!
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user\nTodd Rohal is a mad genius. \"Knuckleface Jones\", his third, and most fully realized, short film has an offbeat sense of humor and will leave some scratching their heads. What the film is about at heart, and he would almost certainly disagree with me on this, is how a regular Joe finds the confidence to get through life with a little inspiration. Or not. You just have to see for yourself. The short is intermittently making rounds on the festival circuit, so keep your eyes peeled and catch it if you can - you'll be glad you did. It is hilarious. And check out Todd's other short films also popping up here and there from time to time: \"Single Spaced\" and \"Slug 660\".
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user\nWhether it's three guys in their tighty-whiteys rapping to a dude bound in twine or a girl saying \"What up, dog?\" to a lump of roadkill, there's something please everyone in Knuckleface Jones. It is strange and surreal and not altogether a completely comprehensible yarn... yet it never loses you. The first time I saw it, I nearly laughed myself sick. And every night after I would come home and watch it again. Forget Coyote Ugly... this is the movie that cemented my crush on Piper Perabo. See it... before it's too late!
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user\nthere is a story, but more essentially, the world of this film begins in chaos and comes to order over the course of ten minutes.
it is a celebration of life and an optimistic assertion of objective truth and good. representing along an axis unexplored in previous cinema, this film should be taught in every high school.
*CHIASMUS*
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user\nTHE GIRL FROM MISSOURI arrives in New York City knowing exactly what she wants: to amount to something solid by marrying a millionaire - without losing her virginity. With her knockout good looks she quickly catches the eye of the playboy son of a tycoon, but by staying true to her virtue will she also discover true love?
Jean Harlow sizzles in this excellent little comedy. With her platinum hair & gorgeous accouterments, she is a dazzler. But her beauty should not obscure the fact that she was also a very good actress. She has rightfully earned her spot at the very top of the Hollywood pantheon.
An excellent cast gives Harlow fine support: Lionel Barrymore as the wily old tycoon, wise to Harlow's ways; handsome Franchot Tone as his son, smitten with love; raucous Patsy Kelly, stealing her scenes as Harlow's sidekick; debonair Alan Mowbray, as a well-mannered English Lord; elderly Clara Blandick as Barrymore's feisty secretary; hearty Hale Hamilton as a rich man with an eye for the ladies; muscular Nat Pendleton as a lifeguard who catches Kelly's flirtatious eye; and Lewis Stone, unforgettable in a small role as a bankrupted businessman.
It should be noted that this film was produced soon after Hollywood's Production Code was instituted. A comparison with RED-HEADED WOMAN, made two years earlier, would be fascinating - in which Harlow's character goes after the same ends, but uses very different means.
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user\nIn this film, made JUST as the production code was being enforced, Jean Harlow is Eadie, and Patsy Kelly is the wisecracking, man-chasing sidekick \"Kitty\". Girl from Missouri starts out with the girls getting on a train, with Eadie making a promise to herself to earn money while looking for a millionaire husband, staying whole-some in the process. It doesn't take her long to meet up with Frank Cousins, (Lewis Stone, was the kindly Doctor in Grand Hotel, as well as Judge Hardy in the \"Andy Hardy\" films.), but all is not as it seems...The censors must have LOVED Harlow's line \"A girl couldn't accept an expensive gift like that from a gentleman unless she was engaged.\" Later, someone says \"You know we've never been alone together\" and Eadie replies \"Yeah, and we're not going to be!\" Lionel Barrymore is T.R. Paige, another rich, uppercrust who comes to her rescue when trouble comes looking for Eadie. At one point, Paige declares \"You oughta scratch me off your list - I'm not a ladies man\".... I wonder what that line would have been just a couple years earlier before the Hayes code came rolling into town. What was he really saying? Carol Tevis seems to be the high-pitched \"Baby Talker\" as listed in the credits on IMDb. Looks like she was only in showbiz from 1931 - 1939, with \"Munchkin\" in Wizard of Oz being the last part she played. Fun, cleancut romp as the girls chase men around the country. Look for Nat Pendleton as the lifeguard, who was an Olympic Wrestler 1920 (silver medal winner) turned film star (he was in many of the Dr. Kildares, and would appear in four of Harlow's films.) Mistaken identity, plot twists, a young Franchot Tone, love stories, even Jean Harlow in a bathing suit in \"Palm Beach\", although the outdoor scenes of downtown appear to be a backdrop.
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user\nIf the themes of The Girl From Missouri sound familiar it should. That's because Anita Loos who wrote the screenplay here also wrote the classic Gentlemen Prefer Blondes. Unlike Marilyn Monroe in that film, Jean Harlow will accept any kind of jewelry from men of means.
And it's men of means that Jean Harlow is after. She leaves the road side hash house run by her mother and stepfather because she's decided that the best way to gain the easy life is to marry it. Her talents as a chorus girl are limited, but she'll be able to trade in on that beauty.
Her odyssey starts with her and friend Patsy Kelly getting an invitation to perform at a party thrown by millionaire Lewis Stone. But unbeknownst to Jean, Stone's just having a wild last fling before doing himself because of the moneys he owes not owns. Still she wrangles a few baubles from him that fellow millionaire Lionel Barrymore notices.
Lionel's amused by it until Jean sets her sights on his playboy son, Franchot Tone. After that he is not amused and he looks to shake Jean from climbing the family tree.
The Girl From Missouri went into production mid adaption of The Code so it went under peculiar censorship. I've a feeling we would have seen a much more risqué film. Still Jean Harlow as a younger and sassier version of Mae West is always appreciated. What a great comic talent that woman had, seeing The Girl From Missouri is a sad reminder of the great loss the world of film sustained with her passing three years later.
Ironically enough the casting of Patsy Kelly with Harlow was no doubt influenced by the successful shorts Kelly was making with another famous platinum blonde, Thelma Todd. Harlow and Kelly have the same easy chemistry between that Patsy had with Thelma. Todd would also die a year later in a freak accident/suicide/homicide that no satisfactory explanation has ever really been given.
Don't miss The Girl From Missouri, it's bright and sassy, must be from all that sparkling jewelry.
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user\nThis film has slipped through the cracks of film history. It is by far much better than some other New York films of the same era such as: \"The French Connection\" or \"The Taking of Pelham 1-2-3\". There is a gritty reality to this film which also manages to effectively use humor to further the plot line. It's engaging from start to finish and hasn't tarnished with age as is the case with the above two examples.
Ron Liebman turns in a bravura performance as \"Batman\" and it's a shame his career didn't take off as a result of this project.
Gordon Parks directs and, coming as it does after \"Shaft\", it at first appears to be a strange choice. Yet it is the flip side of that earlier effort and approached with just as much in your face machismo.
Unfortunately this film has not been made available on either DVD or VHS in the United States. United Artists really has a gem on their hands and it's a shame they're not doing anything with it.
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user\nGordon Parks, the prolific black Life magazine photographer, made a true ticking-timebomb of a movie here - one that does not mess around! Based upon the true story of two NYC cops - later dubbed Batman and Robin - who singlehandedly employed radical tactics to clean up their precinct neighborhood of drugs, this is a cop-buddy movie before that term became a repetitive formula. Lightning paced, there is not one unimportant throwaway scene here.
Man, early '70s NYC must have been a terrible place to be a police officer, from the looks of movies like this and \"Serpico.\" These two cops start out as safety-division rookies, busting dealers in plainclothes in their spare time. But instead of receiving applause from the city police department, they receive nothing but resistance and antagonism from their peers. They have to singlehandedly navigate a minefield of police and legal corruption, boneheaded assignments meant to keep them from their work on the streets, ruthless drug kingpins, and a nasty ghetto neighborhood.
Both David Selby and Ron Leibman are fantastic in the leads; part of the entertainment is watching Leibman's eyes darting around crazily in every scene in what is a flawless comic performance, and Selby's acting is low-key and wry. These two make all the comedy aspects of the story work - displaying a palpable frustration mixed with gutsy determination. Director Parks, who was already known for his coverage of controversial subjects in his photography, does not shy away from the grittiness of the story. Rather, the movie is uncompromising in portrayal of the toughness of the world of police and streets criminals that these two men inhabit. Adding to this realism is the fact that the real Hantz and Greenberg acted as technical advisors for the film, and even appear in surreal cameo roles as two fellow officers who ridicule the protagonists. It is a real tribute to the effectiveness of Parks' direction that he manages to perfectly balance this depressing mileu with bright comedy.
Why has MGM/UA let this sit on the shelf for 30 years - barely giving it a home video or DVD release in the U.S? It is a minor masterpiece from the 1970s.
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user\nI read the book and saw the movie. Both excellent. The movie is diamond among coals during this era. Liebman and Selby dominate the screen and communicate the intensity of their characters without flaw. This film should have made them stars. Shame on the studio for not putting everything they had behind this film. It could have easily been a franchise. Release on DVD is a must and a worthy remake would revive this film. Look for it in your TV guide and if you see it listed, no matter how late, watch it. You won't be disappointed. Do yourself another favor - read the book (same title). It'll blow you away. Times have changed dramatically since those days, or at least we like to think they have.
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user\nI loved this movie!!! The characters were people that you could feel for. The young man back from the service still in love with the girl he left behind. Tom Drake is always perfect in the romantic lead as well as Donna Reed as the love of his life. The looks he gives her as if he has been starved for the sight of her as well as her hesitation and confusion as too her feelings for him were played very well. The rest of the quirky characters at the store were perfect as they tried to bring them together. The most touching scene however, was the young couple at his great grandfather's house. I laughed in parts, cried in some and thoroughly enjoyed watching this movie. In fact I've re-watched it about 5 times. A definite must see for total romantics.
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user\nThe arch title doesn't fit this gentle romantic comedy. Donna Reed and Tom Drake don't have much chemistry -- but their characters aren't supposed to. Both are extremely likable and attractive.
The supporting cast is a dream -- with the exception of Sig Ruman's annoying faux Russian.
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user\nMy observations: Postwar hilarity. Tom Drake and Grandpa from \"Meet Me in St. Louis\" two years later (the year I was born). Donna Reed charming and pretty. Margaret Hamilton good as always; smaller part than in \"Wizard of Oz\". Spring Byington way prettier, also with the prerequisite perky small nose lacked by Hamilton. Tent scene at end with former boy next door was hilarious. As a two year veteran of Army tents, he looked pretty youthful and inexperienced when I looked into his eyes.
I used to work in a department store, and it was just as elegant as this one. Sadly, it has disappeared and faded into obscurity. We were famous for those great show windows that were used to lure passersby into the store, to get them to buy all of that wonderful merchandise.
10/10
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user\nOn the surface, this is an above-average post-war romantic comedy. Beneath the veneer, it is MGM character actor stunt-casting at its funniest.
The leads are straightforward, but all the secondaries are cast much against type. Margaret Hamilton (aka Wicked Witch of the West), Edward Everett Horton (professional obsessive-compulsive fussbudget), and Sig Ruman (the Marx Brothers' nemesis in _Night In Casablanca_ and the always-wonderful _Night At The Opera_), playing a well-intentioned gang trying to bring the two leads together, instead of driving them apart as their \"usual\" characters would do.
It also pokes fun at many romantic-comedy conventions, which is another indication that this could be not so much a \"straight\" romantic comedy, as it is a wry send-up of the many post-war romantic comedies & their 2-dimensional, stock characters.
I've seen it only once, with interruptions, so I can't be positive, but this movie may be one of those that worked better in the context of the time at which it was made, but is less successful now that viewers \"see\" these secondary characters through a completely different lens. I'm assuming this is the case when I give it 9 stars. I thought it was hysterical.
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user\nCharleton Heston wore one, James Franciscus wore one but Mark Wahlberg opts not to don the traditional loin cloth. I hope no one casts him as Tarzan. Linda Harrison wore a bikini in the first 2 Planet movies but Estrella Warren barely shows cleavage - her hair is always in the way. Tim Burton could have sexed up this simian saga & given the adults in the audience something to look at. Even the chaste Helena Bonham Carter never gets out of her costume which looks like a large curtain. She's cute but all the the love stuff is restricted to anxious looks & a little bitty kiss at the end. As in Artificial Intelligence which discusses inter species sex between robots & humans but never delivers - Planet of the Apes hints at inter species romance between the humans & the apes but only hints. Lisa Marie is the only ape that dares to be sexy. This movie has three great actors Tim Roth, Ms. Carter & Paul Giamatti chewing up the scenery as a trio of apes & they are fun to watch. Superlative make up (a certain Oscar) costumes, sets, music make this the hit summer movie of 2001.
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user\nTake this movie for what it is, not a remake, but a completely different approach to the same concept. It's not an epic like the original, it's more of a popcorn thriller. Visually, it's incredible. Everything else was just OK.
For what it is, I think the movie is awesome, but I like everything Burton has done. People need to calm down and stop acting like it's the end of the world b/c of this movie. It wasn't supposed to be a remake, and it's not.
The ending was cool. . I took it as a parallel universe.
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user\n....after 16 years Tim Burton finally disappoints me!!!! Whatever happened to the old Burton who read \"The Dark Knight Returns\" by Frank Miller as research for his preparation to direct Batman back in 1988-89? By the looks of it Burton didn't research the book nor the movie cause he got everything WRONG! This movie sucks! It's not as good as the original and it doesn't deal with the same subject as the original. If you want a good ape movie watch the original.
**out of****stars
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user\nATTENTION, SPOILER!
Many people told me that «Planet of the Apes» was Tim Burton's worst movie and apart from that much weaker than the original film. So I decided not to see it. Another friend of mine who hadn't seen the movie yet, advised me to watch it in spite of this because `a Tim-Burton-movie is still a Tim-Burton-movie'. I decided to do it, and I found that he was right.
It's clear that a remake of such a famous film as `Planet of the Apes' is automatically influenced by commercial thinking. Still, Tim Burton managed his film to represent his weird playfulness just as well as `Beetlejuice' or `Batman'. If you are already fond of Burton-movies, it's hard not to like one of his films, even if it has some flaws: nerve-racking monkey squeals, over-dressed apes and a leading actor who could have been, without difficulties, replaced by anbody else.
What the film gives us in the first place, is an answer to the question: What's the result when Tim Burton is instructed to create a remake? First of all, Burton wouldn't be Burton, if he wouldn't refuse to call it a remake from the start; it's a `re-imagining'. On the other hand, Burton knows that almost every viewer of his movie has seen the very first film version starring Charlton Heston (as human), and he knows that a remake doesn't exist without its model and that the two films will not stop being compared. So all he does is playing with this comparison at every moment of his film, e. g. by referencing to quotes. Concerning the story-line, Burton does a brilliant job by answering open questions of the original first, and then driving the whole audience to despair by destroying this wonderful clarity and ending the movie with  AND HERE IS THE SPOILER  Leo coming back to earth and finding himself inside a world that seems to have been ruled by apes forever.
Now, this is the burtonesque answer to people's expectations they hold because of the astonishing, shocking ending of the first `Planet of the Apes'. An ending, even more unexpected, more astonishing and: completely confusing, because  and here I'm disagreeing with various `Planet of the Apes'-homepages and -platforms  it does not make any sense. There cannot be a meaning to it, or just a so complicated one that it becomes ineffective. Tim Burton is playing his cruel games, he does it with a grin and he does it well. Burton fans will sure like it, others may feel betrayed and complain about some sort of manierism. Well, and I don't think producers will ever ask Burton to direct a remake again
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user\nKim Basinger stars as Della, a housewife who has twin children (Terri and Tammi-played by Luke Gair and Erika-Shaye Gair) and an abusive jerk for a husband (Kenneth), played by Craig Sheffer.
The movie opens on Christmas Eve. Kenneth is on his way home from work, driving a nice car too I might add. He is on his cellphone arguing with a business partner I would assume. When he gets home, he sees that the floor is a mess with shoes and toys spread all about. This angers him even more and he takes up with his wife, Della, asking her why the house is always a mess. He pins her up against the wall. The twin's watch from the stairs. He punches the wall, leaving a hole in it and walks away. She tends to the children, trying to comfort them. After that is all said in done, she needs to go to the mall to do some last minute shopping and because she is out of wrapping paper. She gets there and the parking lot is full because there is a lot of last minute shoppers there. While she is looking for a parking space, she notices a car taking up two spaces and this irks her. She finally finds a spot to park, makes her way over to the hoggish car and leaves a note under the wiper calling the owner a \"selfish jerk\". Then she goes in the mall to do her last minute shopping.
When she finally does leave the mall, it is closing and many people have left already. Not the owner of the car she left the note on however and she notices this on the way to her vehicle. She also notices that the note she left under the wiper is no longer there. Odd. When she gets to her vehicle, she gets in to start it up. She notices a car coming up behind her and it blocks her from backing up. She gets out of the car only to be confronted by the owner of the car (Chuckie-played by Lukas Haas) she left the note on and a posse of his thug friends. Yelling ensues and a mall cop (no, not Paul Blart) makes his way over to them to see what the problem is, only to have his brains blown out of his head by Chuckie. While this happens, Della jumps in her vehicle, starts it and drives over the median in front of her. Chuckie and his posse hop in his car and give chase. Della ends up crashing her vehicle into a log pile at a housing development but she is unharmed. She manages to make it to the back of her vehicle, open up the hatchback and grab a toolbox before the thugs get there.
With that, Della spends the rest of the night trying to outrun and out wit the thugs armed with only the tools that she has in her toolbox as weapons. The first kill, in my opinion, is the best. The first kill that Della performs anyway. The last one was probably the weakest and it should of been the best considering that this was the main bad guy she was offing.
I will admit that there will be some that are put off buy the ending and I was let down a bit myself. As a whole though it was a fun flick and moves along nicely at it's 1 hour and 20 minute run time.
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user\nIn all my 60 years of age, I have learned that when we watch a movie there is an identification (whether we want it or not) implicit with an specific character.
Sometimes because the character executes certain gesture, sometimes because the character speaks determinate word, or sentence  that we use or that we would like to use  in determinate situation.
The movie in question, should be seen by this point of view. Who now find a parking space  in a mall,downtown, or in the street - taken by a car whose driver can't remember to think that he is not the only driver in the world?
Who hasn't the urge to \"rubber out\" the ill mannered spat?
Haven said that I ask: - Did you identify with DELLA (played by Kim Bassinger)? If your answer is: YES!, then try not to find absurd details  comparatively with life's reality  in the movie, because you'll certainly find the movie ridiculous.
Abstractions made, you will see that the movie has moments of surprise, such as: 1- In the sequence in which Della grabs the box of tools in the trunk (does that box contains a gun, and does she haves the guts to use it?); 2- In the sequence in which Terry dies whilst falling; 3- In the sequence in which Della gets attracted by Chuckie's \"mermaid's call\".
If you have already seen the movie, or if are planning seeing, keep in mind that there are \"realistic\" movies, \"fiction\" movies, \"political\" movies, and movies in which you can \"wash your soul\" To exemplify the last one, we can quote: \"Tropa de Elite\".
According to newspaper's , there was unanimous applause when BOPE officials take certain attitudes. (As I have seen the movie in DVD, I could not ascertain the audience's reaction)
As for the direction part (Susan Monford), interpretations (Kim Bassinger, Lukas Haas, Craig Scheffer, etc. Edition (William M. Anderson  'Dead Poets Society', 'Green Card'  exceptional edition, 'Robocop 2', etc. It is well situated in context. In a scale of 1(Awful) to 10(Master Piece), I rate \"When She Was Out\" a 7(Regular).
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user\nWhile returning from a Christmas Eve shopping trip, an abused suburban housewife (Basinger) finds herself in a fight for survival after a disagreement with a group of delinquent youths takes a violent turn.
Suffering the indignity of a straight to DVD release here in the U.K., Susan Montford's directorial debut will perhaps not be given the recognition it deserves. This is a shame, as the standard of the writing, directing and acting is very good indeed, and certainly surpasses the quality of your average straight to DVD flick.
Kim Basinger gives her best performance in some time as the downtrodden wife of an abusive husband (Craig Sheffer). While Sheffer is not really given anything more to do than be a threatening presence, it is in their brief scenes together that Basinger connects - showing painful vulnerability yet hinting at the rage that will eventually boil over in her confrontations with the youths. It's a truly great, understated performance, her transformation from victim to aggressor is seamlessly played.
Lukas Haas I initially thought was miscast, as he (along with the other three youths) just did not seem much of a threat. However, had all four youths been more physically imposing, the later scenes in which Basinger turns the tables against them would not have worked at all. The fact that these are four average men, albeit slightly unhinged, is the key to why the film works as well as it does.
Apart from a few pacing issues during the latter half of the movie and a couple of cheesy lines here and there, what we have here is a great thriller that actually leaves the viewer with something to think about when the film is over. Some may be put off by the slow - burn nature of the opening scenes, or the abrupt ending. Others by the at times brutal violence. I say give it a chance, it's certainly more deserving of your time than Saw V.
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user\nFor Columbo fans, such as myself, this is the episode of episodes that made a case for why Columbo was so popular, and just how good it really was. Ruth Gordon has a field day (as ever) playing the wittily intelligent crime novelist Abigail Mitchell. Seems Abigail calls her nephew-in-law to sign some papers making him her heir. She never got over her niece's death, and is convinced her dead niece's husband (Charles Frank) did the dirty deed. To tell more would be unthinkable. Mariette Hartley has a sly role as Abigail's personal assistant. This episode of Columbo is in a class by itself. It's a truly well made television movie. I recommend it most highly.
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user\nDon't waste time reading my review. Go out and see this astonishingly good episode, which may very well be the best Columbo ever written! Ruth Gordon is perfectly cast as the scheming yet charming mystery writer who murders her son-in-law to avenge his murder of her daughter. Columbo is his usual rumpled, befuddled and far-cleverer-than-he-seems self, and this particular installment features fantastic chemistry between Gordon and Falk. Ironically, this was not written by heralded creators Levinson or Link yet is possibly the densest, most thoroughly original and twist-laden Columbo plot ever. Utterly satisfying in nearly every department and overflowing with droll and witty dialogue and thinking. Truly unexpected and inventive climax tops all. 10/10...seek this one out on Netflix!
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user\nA top notch Columbo from beginning to end. I particularly like the interaction between Columbo and the killer, Ruth Gordon.
As an avid Columbo fan, I can't recall another one in which he doesn't set up the killer at the end as he does in other episodes. In this one, as he's trying to determine the correct sequence of the boxes and the \"message\" that the nephew left behind, it finally dawns on him.
The music in this episode is very good as well, as it is in many of other ones.
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user\nRuth Gordon at her best. This episode is my favorite of the whole Columbo series. Peter Falk and Ruth Gordon worked so well together that they should both be inducted into the television hall of fame, regardless of the rest of their work. Even the music was outstanding in this episode.
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user\nI have a lot of time for all the Columbo films, but this one in particular was extremely well written, and the solution at the end very effective. However, my main memory of this one is the opening of a scene in the middle of the film, between Columbo and the murderer (I apologise if I've not remembered every detail of this exactly). It's the most striking image of Columbo I've seen: the view is from inside the darkness of the cupboard where the victim was murdered, and into the room beyond, which is lit up by daylight. Columbo is sitting in a high-backed armchair facing the doorway (and us), contemplating the cupboard, and almost in silhouette due to the contrast in light. There's no sound. The camera slowly moves out of the room and up towards him. He's deep in meditation, puffing gently on a cigar, swirls of smoke from the cigar circling slowly upwards as he thinks. Then the dialogue starts. Superb.
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user\nRuth Gordon is one of the more sympathetic killers that Columbo has ever had to deal with. And, the plot is ingenious all the way around. This is one of the best Columbo episodes ever. Mariette Hartley and G. D. Spradlin are excellent in their supporting roles. And Peter Falk delivers a little something extra in his scenes with Gordon.
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user\nI love this episode of Columbo. Maybe it's because Ruth Gordon is in it and she is wonderful as successful mystery writer Abigail Mitchell, an American version of Dame Agatha Christie. She is delicious to watch as the perky, lovable author who suffered a terrible loss when her niece died in a drowning accident. She blames her niece's husband, the nephew. She plans to kill him to avenge her death since the police have abandoned her. I would have loved somebody else than Mariette Hartley to play Veronica. I never really like Hartley in anything personally. And of course with Columbo, there are some laughs like when he questions Veronica at a belly-dancing class. Ruth's Abigail is a smart sleuth herself and she matches wits with Columbo always played wonderfully by Peter Falk.
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