putting aside the "i'm so sure"s and "totally gnarly"s this is one of the sweetest and lifelike romances portrayed on film. deborah foreman (where is she now?) as julie and nicolas cage as randy are as classic as romeo and juliet, tony and maria, jake and samantha... you can't help but fall in love with them. plus the soundtrack - the plimsouls, sparks, the furs, the flirts, and of course, modern english - is also outstanding. for fans of films about young love, i'd equally recommend the recent film all the real girls by david gordon green.


I just love this film it totally rocks! Nicolas Cage looks hot and Tommy does not! I definitely feel that Fred and Randy should have had a little more time together on screen cause they're totally cool. My favorite part is when he says "Peter Piper Picked A Pepper I guess I Did!"


We still really love the movie and soundtrack "Valley Girl". I have owned it on video for eons and wore out the original soundtrack. I have several friends with whom I get together and we have "80's Raves" - parties where we get together and play 80's music and run "Valley Girl" on the big screen - and we're all in our 30's now. We have an AWESOME time.

It's all in good fun, like, ya know?


One of the better teen comedies to be filmed during the 80's, Valley Girl has a young Nicolas Cage in a starring role. Deborah Foreman is fun as the object of Cage's desire (and whatever happened to her?). Look for veteran actors Colleen Camp and Frederic Forrest as Julie's hippie parents - they're quite funny!


For the most part, romance films were never my cup of tea. But Valley Girl is one of the few romance films I not only could sit through, but actually enjoy. Nicholas Cage is great in his first role and Deborah Foreman is cute beyond belief. There are some side stories that tend to become muddled, but not enough to diminish this film.


Nicolas Cage and Deborah Foreman provide stunning performances in this 80's tour de force! A great 80's movie akin to Fast Times at Ridgemont High! I highly recommend this movie to any child of the 80's who hasn't seen it. It's a cult classic.


What can I say?? This movie has it all...Romance, break-ups, rich kids, punks and preps. This is my all time favorite movie that I can recite line for line....I remember when it first came out, I was 14 and couldn't get in....so finally got to see it on cable... I was hooked! Wanted to move to California and be a Valley Girl.. (Hey, I even remember the song by Moon Zappa, do you?) Tried in vain for years to get the never produced soundtrack...now you can find it on rhino records....


This typical teenagers movie is one of the best, beside the story is good, the music is well accompany the movie all along.

Although i do not enjoy classic movie unless it is classic and better written script, this one is exceptional. Maybe the hair style and language should be change a bit, in the 80's i believe offensive language is still rarely heard.


Valley Girl is the definitive 1980's movie with catch phrases filtered throughout this wonderfully acted movie. The characters are so convincing that you forget it is a movie and not a video of an actual "day-in-the-life" of any high school, USA. This flick is to the 1980's what the Brady Bunch TV series is to the 1970's. If you don't like it, well then "Gag me with a spoon."


There were a lot of dumb teenage getting sex movies of the 80s and a lot of slasher flicks but there were only a handful that were made with thought, made you laugh and captured the time period right; this was one of them. Cage is Hillarious, so is Forman who from her bio unfortuatley has dissapeared from the Hollywood limelight. I'd love to see this released on DVD with in a special version with commentaries by Cage and Forman. Wishful thinking, I know. Ever want to plan a true 80s movie weekend, rent this, Sure Thing and 16 candles and Breakfast Club. It will take you back to a "Totally Rad" time which it seemed at the time, was a lot more simple. Memo to studios: Time to release the DVD!


Sweet, rich valley girl develops crush on a punk from the alley and when her snobby friends disapprove of him, she's forced to choose between her heart and her popularity. Very funny romantic comedy blends in elements of black comedy and '80's cheese that make this all the more fun to watch. The movie not only follows the life of the valley girl and her punk; but her friends too as they shop, party, hang out, and go to the mall. If the dialogue doesn't have you laughing non-stop for a week, the music will. Songs like "Johnny, Are You Queer?" are found throughout. Also, Elizabeth Daily is a funny, existential character and the Prom King & Queen speech at the end is hilarious!


I've seen this movie quite a few times and each time I watch it, the quirkier and funnier it becomes. Perhaps its the lack of research that went into Nicolas Cage's character's 'punk' persona or just the cheesiness factor because it was such a typical eighties film...nonetheless it's a cute love story with extremely funny, unique characters. I think it's right up there with "Fast Times" and "Weird Science" (quintessential eighties flicks!)


Valley Girl is an exceptionally well made film with an all-around great cast. Even though the dialogue is a bit dated now, when the movie was released it was very hip. To this day, I know many people (teenagers included) that cannot form a sentence without using the word "like". That is without a doubt the legacy this movie will leave. A rating of 8 was given for this, like, most excellent movie.


I have to say this is my favorite movie of all time. I have seen it well over 100 times (actually had to buy a new copy as a result of overwatching) It is what the eighties was like and what a romantic story with a few morals thrown in. I highly recommend to anyone wanting to relive the high schools days again. Buy a copy now it is a classic!!!!


I'm glad Cage changed his name from Coppolla and got this part on his own. Light-hearted, no deep thought needed, but a cute piece about opposites attracting- though her parents are still hippies.... Captures the voice of the early 80's- the whine of the valley and the funk of the other side. One can see the beginning of Cage's talent.


This is a romantic, albeit cheesy movie that is one of my all time favorites. It is one of the many CLASSICS of the 80's genre like "Pretty in Pink" or "Some kind of Wonderful".

Nic plays the traditional punk guy in love with the traditional valley, preppy girl Julie. It is a heartwarming love story that makes you root for him to win the girl in the end.

True, most of the acting sucks but ...

I have been in love with Nic since seeing this in the theaters and have seen nearly every movie he's been in since. He's really grown as an actor but it is obvious in this early movie of his that he had a LOT of potential.

If you love 80's movies, you will LOVE this classic.

Go rent it!!!!!


This is good movie that is flawed in many ways with low production. Martha Coolidge herself said she only had 350,000 dollars to work with. This is a movie that I loved growing up in the midwest. I remember friends and I having the nostalgia trip on this movie 10 years ago. Great things about this movie....Great cast with hungry actors and a hungry director. Bad points of this movie....To small of a budget calling for way too much improvisation. If Martha Coolidge had been given more money and time on this movie then the results would of been even better. They should have taken the story from an early 20's prospective and not from a 15-17 year old high school stand point. Most of the actors/actresses were in their early to mid 20's trying to play 15-17 year olds....(come on) The music is extremely memorable and the two soundtracks get played all the time in my car. The best scenes in this film take place in seedy Hollywood clubs by Nicolas Cage's character. I gave this film a high rating of 9/10 for five reasons.. Nicholas Cage's improvisational on the spot acting; The camera work and angles are excellent given the budget they had and only being able to have one take of each scene; The sytles, music and lingo are captured perfectly and forever; Again the music is incredible and carries the story along from scene to scene; And finally...Martha Coolidge could turn a weak script, unknown actors and a very very low budget and 20 days of shooting the entire movie into such a good and memorable movie is astounding!


"Valley Girl" launched Nicolas Cage's career and was an 80's version of "Romeo and Juliet." It is a definite example of an 80's teen classic. Nicolas Cage, Deborah Foreman and Elizabeth Daily all have brilliant portrayals in this movie, but it will never top "Fast Times at Ridgemont High" as the ultimate 80's teen flick because if it weren't for "Fast Times," then the 80's generation of teen flicks would just be a big blow to the head. That's for sure.


Happy 25th Birthday to Valley Girl! Great soundtrack, plausible story, wonderful performances...captures the spirit of the 80's; the slang of the mainstreams and the outcasts. A wonderful rendition of high school life and "gritty downtown" from a suburban perspective.

The soundtrack contains songs by Modern English, Felony, Josie Cotton, Sparks, Payola$, Josie Cotton, The Plimsouls, The Psychedelic Furs, Men At Work, The Flirts and Bananarama.

This movie truly is Romeo and Juliet (minus the double suicide) set in 1980's Los Angeles. Julie's dad, played by Frederic Forrest (Sonny Bono, anyone?) is hysterical as a hippie idealistic dad who wonders how he sprung such a materialistic offspring. Yet, he doesn't judge, ya dig??


I remember seeing this movie back when it was released and I still remember the 'buzz' I felt when I left the cinema. Everything about this movie is magnificent! The music is top notch and I still play the soundtrack after all these years.

I have seen this movie so many times and yet I still get yearnings to watch it again and again. Nicholas Cage was great and whenever I see Cameron Dye in anything nowadays, I always associate him with this movie. It is too bad the rest of the cast didn't go on to greater things but maybe that is part of this film's charm.

I won't do a film school critique as I am sure all the analysts out there can find fault if they wanted to, but what I will say is that this movie defined my teenage years and still continues to influence my life over 20 years later. The movie 'feels' great and stirs up emotions when you watch it (well...it did for me) and I cannot recommend it highly enough for anybody who has not yet seen it.

You either 'get' the movie or you don't! Those of you who 'get it' will be rewarded with a unique movie experience.


The Merchant of Four Seasons is a film about a lack of love. The film starts off with the main character; Hans Epp, returning from a spell in the foreign legion. He returns to his mother, not to be told how much she loves him, or how much she's missed him; but to be told that he is worthless and, even worse, that she would have preferred the man he went with to have come back instead. It is the character's relation to women that makes this film so hateful; the fact that his wife is taller than him is symbolic of his relation to the other gender; he is consistently humiliated by them, and it is through his relations with them that his life isn't as great as it could have been. This is also shown clearly by the way he treats his wife after a drink. He lost his job as a policeman through lust for a woman, and even his wife; a woman that is supposed to love him, never really shows any affection for him. Even at the end, his wife is more bothered about what her and her daughter will do than the state of her husband.

The Merchant of Four Seasons is a thoroughly unpleasant film. There isn't a scene in the movie where someone is happy, and not only that; but the movie seems deliriously blissful to wallow in the misery of it's central characters. The movie is certainly not recommended to anyone who is currently having a hard time, that's for sure. Despite all the misery, the film never steps out the bounds of reality; every event in this movie can - and most probably has - happened, and that only serves in making the movie more shocking. The film is, of course, helmed by Rainer Werner Fassbinder; the cult German director that committed suicide in 1982. This is only my second taste of the man's work, but through just two films, it is easy to get an idea of the type of art that he creates. Both films are downtrodden and gritty - yet realistic pieces of art. His characterization in this movie is subtle; we only ever get to know the characters through their plight's and not through their character. This is a very clever way of showing the audience that it is their surroundings that define the people in the film, not the people themselves - and as nearly everyone that sees the film knows what living in an urban society is like, it wont difficult for the majority of people to relate to.

The Merchant of Four Seasons is not a film that is easily forgettable; the movie is high on substance and low on style, and that makes for a very memorable picture, and one that everyone who considers themselves to be a fan of cinema should experience. It is with that in my mind that I give this film my highest recommendations; it's not sweet and it's not pleasant, but you will not see a more realistic portrayal of depression, and this is most certainly a movie that will stay with you.


Ostensibly, Hans ' isolation and despair are caused by a stereotypically frigid bourgeois mother, a nagging wife, and a lover's rejection. And despite the complex portrayal--Hans himself doesn't precisely make these claims--the above must be a substantial part of Fassbinder's thinking as well (his use of Freud and Marx). But the viewer may look no further than Hans' gender and sexism to locate the truer cause of his crushed spirit.

First, it's highly unlikely that his mother's lack of love pushed him into signing up with the Foreign Legion. It was far more likely, and is in part indicated, that it was a quest for adventure, male camaraderie (escape from the female world of mother and sister) and male identity itself-- which both the Legion and war offered.

Second, Hans loses his successful job as a policeman because of his own sexism. By falling for a prostitute's wiles at work, he not only rubber stamps prostitution as an oppressive institution, but shows that he cannot even control his sexuality in a professional arena--and is even willing to jeopardize a desirable career.

Third, he commits serious verbal abuse against his wife in front of his sheep-like male buddies, making no distinction at all between her absence or--when she shows up looking for him--presence. In fact, he is more brutal in her presence.

A few hours later, in a violent and drunken state, he beats his wife in front of their daughter, who intervenes on her mother's behalf. The terror he instills in her and his daughter are palpable. But both he--and the audience--move on with nary a whimper of conscience or protest. Why? Because his wife is cruelly characterized as both nagging and sexually promiscuous (yes, this this may be Fassbinder's view of what capitalism does to women--owned, insecure, and a commodity--but this hardly absolves Hans' brutality nor Fassbinder's exploitation of her in the battery scene).

And then there is this male role pressure, which Hans could choose to reject and protest, but instead accepts. He's too short for a male and too un-heroic to achieve the worldly success the male role recommends. But how can these be causes of despair when he not only gains his lost love as a mistress but marries a tall woman who is considerably more attractive than himself., Finally, Hans allows Harry, his war comrade, to remain, over his wife's convincing plea to the contrary, on in their house. By this decision, he not only makes it clear that he is more tied to Harry than to his wife, but that male bonding supersedes his love of women. And supersedes, in the end, his own life, because it is Harry's superior competence and spirit around the house that causes Hans' star to fall. Hans, the merchant, may be to a degree, the victim of capitalism, but more to the point, he is the victim of his own allegiance to his own male identity. His inability to let it go, is the ultimate cause for his isolation and despair.

This is something that is lost, I think, not only on Fassbinder, but also on Han's sister, Anna--although, only to a degree lost. For Anna's (and Fassbinder's) support of her brother--over her mother, only goes so far. She is quite insistent that only he can save himself--that her support and love cannot it itself end his self-loathing. Unfortunately, she does not offer any of this same support and love for his wife who must be much more embittered than Hans but, who in the end, is able to pick up the pieces, and save herself and daughter, and present a marked contrast to Han's fall.


In Fassbinder's earlier films, his ideas sometimes surpased his ability to execute them. He was always a great writer, but it took him some time to get his style of camera work and storytelling down pat.

The Merchant of Four Seasons is one of Fassbinder's first movie to make great use of color, from the bright green pears in the merchant's cart to the bright red roses at the funeral (a funeral in a Fassbinder movie? who'd have thought).

His camera work was getting there too, but it was still fairly minimalist. The occasional zooms seem a bit uncomfortable at times and unnatural, but then again, Fassbinder was still coming out of his purely avant garde phase. This might be because Michael Ballhaus isn't behind the camera, but instead the slightly inferior Dietrich Lohmann.

Still, this is Fassbinder, and you get your fix here. Broken dreams shown so vividly and unflinchingly as to alienate audience and drive them into a depressed stupor. Just what the doctor ordered. An early classic that shows remarkable progression when compared to his first films released only 2 years prior.


THE MERCHANT OF FOUR SEASONS was Rainer Werner Fassbinder's first shot at mainstream acceptance. In a turbulent career of just fifteen years, he managed to create an astounding body of work in film and theater, both as a performer and a creative producer, actor, and director. Although this movie might not appeal to many viewers, the film has much to offer. The storyline is fairly straightforward. A man is ostracized from his upper middle class family due to emotional and economic problems, and proves unable to control his downward spiral. THE MERCHANT OF FOUR SEASONS is shot with a slavish devotion to elegant detail, and each set is very carefully designed and constructed. Every object on set seems painstakingly arranged so as to provoke layers of emotional texture. Many religious paintings and icons decorate the walls of the various rooms and seem to speak to Hans's desperate quest for spiritual meaning or direction in his life. Much thought was given to how lighting and color were employed to contrast and enhance the drama. Several times during the film, I froze the frame to marvel at the beauty of the shot's composition. I streamed this film, and the print was nearly flawless and second to none. Fassbinder employs his actors in an almost vehement "Anti-Natural' style. He does everything possible to prevent the actors from reacting in a normal or colloquial manner, and this creates a rather stilted effect. However, by doing so, he injects an almost 'hyper-reality' to the narrative. Rather than the presentation of a mundane melodrama, the actors almost militant lack of affectation forces the viewer to confront the film in a different manner. Fassbinder's film intentionally prevents the viewer from easily connecting with the characters' trials and tribulations. You are constantly on the outside, looking in. This will be a disconcerting experience for many, but I found it to be a unique and satisfying artistic adventure.


The Merchant of Four Seasons isn't what I would call a happy movie, at all, or even one that impressed me to the point of praising it to the sky (there are other Fassbinder flicks for that, like Veronika Voss and the underrated Satan's Brew). But it's certainly no less than a fascinating experiment in taking a look at those in a society that you and me and others we know might possibly know, or not really want to know. I imagine in the early 70s in Germany a generation, coming out of WW2, had a stigma to live with but tried their best just to get by. This is a stigma that floats all over this film, and in many instances in Fassbinder's work in general, but especially because with Four Seasons he takes his eye on the middle class, and a particular married couple- the distanced, depressed, angry Hans the fruit seller and his long-suffered wife- that is nothing short than trying for realism in the guise of melodrama. If Cassavetes were a crazy German he might make this film, maybe even as just a lark.

The story sounds simple enough, where Hans' drinking gets out of control, he beats his wife (this scene is one of the toughest to take, maybe in just any movie, the way Fassbinder's camera lingers without a cut as his wife is left helpless and their daughter trying to stop him in his frenzy) and then she's ready to leave him. As he stands in the room, her family holding him back, she makes the call for divorce and he gets a heart attack right there. He recovers, his business suddenly starts booming again with some help from some good (or not so good) employees - and yet this only continues his longing, for another woman, and his despair in general.

And yet it's in this simplicity that Fassbinder tries, and succeeds for the most part, in attaining a mood of dread, of a tense vibe in a kitchen or in the bedroom or out on the street that you can cut with a knife and bleed out. The weakest part of this all may be the acting... at least that was my initial impression. Hans, played by Hirschmuller, can be a stilted presence, with only the slightest movements in his face and eyes, and for a while it doesn't look like he's much of a good actor. The actress playing his wife, Irm Hermann, and her sister (Fassbinder Hanna Schygulla) fare better, but only cause they're given more to do conventionally, like cry or look concerned. It takes some time to adjust to what is, essentially, a void in his guy Hans, of something from his own psychological self-torment or self-pity that pervades himself and those around him who just want to get on with some sense of normalcy, especially once Hans gets successful.

Not everything clicks together in The Merchant of Four Seasons, but enough did to make me recommend it to those looking for a different slice-of-life than you might be used to with more modern American movies. Fassbinder's world here is a combat between the melodrama he loves in cinema and the harsh, crushing sense of humanism that he feels personally and puts into characters that, for better or worse, we somehow identify with. Are the Epps a family you know of? Or could you even be them? Who's to say. It's a methodical study of tragic emptiness in the human spirit, and its goals are all attained.


Rent this, I own the DVD, got it for $9.99. A steal being so under-rated. Sure, there are better movies. Movies with fewer or no holes in the plot or action. BUt I don't have that problem with this movie. For me if a movie stays true to itself, honest and exploitive of its flaws (and virtues, obviously!) in the name of entertainment, then it has fulfilled its purpose. I got me to care, because its makers cared. The entire movie is preposterous from beginning to end, but its makers took the whole undertaking seriously, And I did not feel manipulated into taking the movie seriously. And that is so true, because I want to take every movie seriously yet many, oh so many, let me down. For all of its preposterousness, this movie is almost perfect, and completely entertaining!What a funny screenplay! It also has become eerily relevant in light of the events on 9/11. In no way do I seek to minimize the loss. But this movie incorporates the tradegy of the WTC collapse before it happened in ways that we will never see had the movie been made after those events.

"...it's either gone for good, or here to stay." "wouldn't you agree?"


I think Shane Black is one of the all time greatest action screenwriters ever! He gave us the awesome (at it's time)Lethal Weapon, shooting Mel Gibson to super stardom. Then followed that up with the second best movie Bruce Willis has ever been in (The Last Boyscout).Stumbled a bit with The Last Action Hero, but redeemed himself with this one, The Long Kiss Goodnight.

If you're a fan of action films, this has it all...Action, Comedy, Thrills, then tops it of with more Action, Comedy and Thrills. Geena Davies is great, Samual L Jackson is even greater. Don't miss it !

9/10


I'm a Geena Davis fan for life because of this movie. I've always loved Samuel L Jackson. And the two make a great pair on screen. This said, I think 'TLKG' is the best action movie I've ever seen, forget the twist endings that audiences have now come to expect and that filmmakers now try (mostly failing) to incorporate into their movies.

10/10


I love this film...! I've seen it 1000 x on dvd and I cant say enough about it. It has it all, comedy, awesome action and incredible stunts/fx. Samuel Jackson steals the show here big time. I dont think there isnt a moment that he's in that he isnt funny! "Everyone knows that when you make an assumption, you make an ass out of you and umption"!! The f/x are great! The bridge/truck explosion is incredible, although the sound isnt all that great!When Samuel drives out of the truck, the sound is off a little I think and what he says is priceless!!! For those of you who own it on dvd, put the audio in french!!! It's halarious!!! Even emotional moments are great when the bad guy discovers that Sam's/Charlie's daughter is his, is great... This is a great film that no action fan can do without... I also reccomend Cutthroat Island... Aside from all the negative publicity, it kicks!!!!


I was happy to find out that at least now this movie is beginning to get the appreciation it deserves (just view those votes). Not top-class action like "Die Hard" or "Lethal Weapon", but still something like a solid 7 out of 10: fine script, good actors with working chemistry, and a director who knows what he wants (sadly, this was director Harlin's last good film. "Deep Blue Sea" managed to reach 'an OK rollercoaster-ride'- status, but "Cutthroat Island, and especially, "Driven" are well-deserved flops!) Personally I think the turn-off at the box-office might have been the "Woman as an action star"-theme. Well, give her a chance, because Davis does deliver a performance above par. And, after all, this film doesn't concentrate so much on the "feminine"-side, but instead on good ol' action, buddyism (Jackson as a sidekick is given a lot of room in here, plus his share of action- and about a thousand killer wisecracks!) and on the plot (from Shane Black, the writer of "Lethal Weapon" and "The Last Boy Scout". The latter of which as a movie is on very many levels much like this one...the theme, the clever plot, also as good and as underrated!) Overall: if one hasn't seen this one yet, don't forget to rent it for the next quiet Saturday night!


Almost no cinema experience can beat a good thriller with a sense of humor. Geena Davis is a schoolteacher housewife who suffers from amnesia. She'e even on the PTA! But then an auto accident awakens the woman she used to be, and it's HOT! Samuel L. Jackson is hilarious as the low rent private eye who tries to help Davis find her past, only to find out he's in way over his head. Davis has some hilarious lines too, and the interaction between her and Jackson works surprisingly well.

Look for Brian Cox, the original Hannibal Lechter, and David Moorse finally managing to shed his St. Elsewhere TV image. The film is directed by Davis' husband, who almost seems to have built the whole film around her, but it works.

I pull out this DVD and rewatch it often. I still love the makeup scene. Is Geena hot or what?


SPOILERS IN THIS REVIEW

The Long Kiss Goodnight is yet another prime example of a common affliction of many modern films; it starts off on a very interesting concept - a trained assassin whose memory was erased regains consciousness of herself - and the initial setup is engaging but then it seems the writers don't know very well where to go next and the whole thing trails off down increasingly confusing and/or inane paths, leaving the disappointing taste of something that was OK but promised to be a lot better. The baddies are remarkably unremarkable, and even Jackson's comic sidekick turn seems more like something from his pre-Pulp Fiction days; it looks like Harlin, as in Cutthroat Island, made every effort so that no-one would upstage his then wife. Her character is by far the best of the film and this fact only makes you feel even more frustrated that they weren't able to do something better with it.

However, there is still something about this film which for me sets it apart from the run-of-the-mill hollywood actioner and places it above average, if only just. It is something very subtle I can't quite put my finger on; it's a disturbing, cold, dark, even sickly edge, a nightmarish and unreal feel, a decadent air, a mean streak, which keeps cropping up in various ways. It's in the dark reddish photography and almost permanent night the characters dwell in, it's in Samantha's dreams in front of the mirror, it's in her vicious eyes and smile whenever she's about to kill a man or when she announces how she will enjoy watching her nemesis die with her daughter listening, it's in Mitch's comeback at the wheel of a car while he is spurting so much blood from his mouth he can hardly speak... I don't know, it's an atmosphere, something I can't define but which gives me the creeps (a bit) and which makes this film still oddly intriguing for me.


Terrific movie: If you did not watch yet, you must watch. Geena Davis and Samuel L. Jackson are amazing in this movie.

Great actors + good story + incredible action scenes > "The Long Kiss Goodnight"

I give it a 10, A+, 4 stars.


This is one of the best action films I have seen. Geena's portrayal of the tough as nails, 'Charly'/gentle mother 'Sam', was superb and Samuel L Jackson just keeps you laughing all the way through, with his classic one liners. Sure, there were a few holes in the actual story, but this fast-paced flick keeps you on the edge of your seat to the end.

I felt Geena was a perfect choice for the role of Sam/Charly and her versatility as an actress is evident for her role as the mother in the recent movie 'Stuart Little'. Both Samuel and Geena were well supported by David Morse, Brian Cox, sweet little Yvonne Zima and newcomers, sexy Craig Bierko, and Melina Kanakaredes. This film accentuates the growing trend of strong female character and the diversion away from traditional male/female stereotypes as we see Sam/Charly (Davis) and Mitch (Jackson) hurtling from one disaster to the next.

While I and many others loved this movie, it is fair to say that there will always be people that don't and that's fine - each, to their own. I highly recommend this film to action fans, for its hilarious scenes and fast-paced action.


I'm an action movie fan but until today I've never seen a preview or an ad for this movie in Italy, so I went to see "The Long Kiss Goodnight" on pay-TV hoping for nothing special.

But, what a surprise! This movie is great! The only problem I found is the presence of some holes in the plot, but the rest is the most entertaining, intriguing and funny action movie ever made.

The transformation of Samantha/Charly from ordinary wife-teacher to cool-blooded agent recovering from amnesia seems to be a good idea. The action scenes and the stunts are the best I've ever seen. Samuel L. Jackson adds some of the best lines I have ever heard and his chemistry with Geena Davis is good.

And what about Geena? She is wonderful, she plays the best action heroine ever seen and does strong, convincing acting and fantastic stunts.

So I think this movie had weak performances at box office and bad critics because most reviewers and some kind of public have a hard time with strong female lead roles.

9/10.


Surprisingly well-acted, well-written movie about hard rockin'-but-decent young man getting that much-hoped-for ticket to stardom: his favorite heavy metal band wants him to replace their lead singer. Not far-fetched, the film tries keeping things in perspective and doesn't go over-the-top; it certainly makes you think twice about those lingering adolescent fantasies about being in the music business. But the script, despite solid dialogue, follows a tried-and-true, formulaic pattern, and gets bogged down by its own clichés in the final act. I enjoyed it much more than the sugary fluffball "Almost Famous". It has a nice, bitter edge to go with its heavy metal decadence, but a stronger finish might've made it more memorable. **1/2 from ****


ROCK STAR / (2001) *** (out of four)

By Blake French:

	"Rock Star" is the story of a nobody who becomes propelled into fame, only to realize living his dream is not the way he imagined it. We have seen all this before (in better movies), but this human story does capture the world of rock and roll with a brutally honest and insightful edge. It garners a recommendation because of its visualization of the atmosphere. The script, by "Crazy/Beautiful" director John Stockwell, portrays the hard-core universe with memorable images-it doesn't explain what it is about, it shows us.

	"Rock Star," originally titled "Metal God," stars Mark Wahlberg as Chris "Izzy" Cole, a Pittsburgh office supplies salesperson who dreams of becoming Bobby Beers, the fiery lead singer for the heavy metal rock group, Steel Dragon. Although Chris already sings for his own tribute rock group called Blood Pollution, instead of writing his own songs, he insists on performing only those by Steel Dragon, and only in the exact way they perform them. His group becomes irritated with Chris' obsessions and gives him the boot.

	This devastates Chris, as well as his supportive parents and faithful girlfriend, Emily (Jennifer Aniston from TV's "Friends"). He then receives a phone call. It's the Steel Dragon band. They have seen Chris' tapes and want him to replace the recently fired lead singer. In an instant, Chris rockets into the dizzying world of sudden stardom-from the biggest rock fan to the biggest rock star. Unfortunately, it's not as rewarding as he expected.

	A true story inspired the "Rock Star" concept. An Ohio supply salesman, Tim "Ripper" Owens, really did replace Rob Halford, the lead singer in Judas Priest, after initially singing for a tribute band. The rest of the film is probably fiction, although most of what happens must represent the experiences of many other bands. The film details the various ordeals of being a rock star. It explores the aspects of touring, personality differences, the danger of drug abuse and violence, struggling relationships, sexual freedom, dishonesty, and the extreme measures of the producers all to please the fans and keep popularity high.

I have seen all of Mark Wahlberg's movies, and this is the first that has earned my affection. Wahlberg, a former singer/model, has made movies like "Fear," "Boogie Nights" "Three Kings," and most recently Tim Burton's lacking remake "Planet of the Apes." I am starting to admire the young actor more and more. Although he has not performed in many successful films, he has taken many chances, and done a variety of roles. "Rock Star" is his best film to date. I can't think of many actors who could have convincingly portrayed Chris Cole's struggles and aspirations. Wahlberg truly makes "Rock Star" rock.

Jennifer Aniston lights up the screen as well. She creates a chemistry-rich relationship with Chris that induces audience participation. It's tragic of what happens to their relationship. We care about these characters a great deal.

During the film concert scenes, director Stephen Herek (who also directed "Holy Man" and the live action version of "101 Dalmatians") creates a gripping atmosphere. He captures the scenes with an intense urgency, and a raw, unmistakable energy. The musical numbers provide the film with the best, most involving scenes.

Unfortunately Herek cannot sustain the energy and zest throughout. At the three-quarters mark, he looses the spark as the movie becomes dull and unpleasant. I understand where the story needs to go in order to portray the negative side of fame, but this movie loses everything it previously had going for it. In "Almost Famous," a much better film about rock and roll, there is a certain amount of interest and life in even the most sorrowful scenes. Here, it feels as if the filmmakers lose their passion.

The message comes a bit too late and suddenly in the story. The film turns into a morality tale that wants to provide us with a sappy destination. The filmmakers might as well stop everything, appear on screen and say: "now audience, the moral of the story is" We understand the theme, but it's too instantaneous. The personal discovery for Chris' must be gradual.

Fortunately, all of this happens in the last twenty-five minutes of the film, hardly enough to completely destroy an entire eighty-five minutes of a reasonably good feature. "Rock Star" is not a great movie-see "Almost Famous" if you want a remarkable film about rock and roll-but for Marky Mark, it's a turning point in his career.


ROCK STAR is a well-told Hollywood-style rendition of the tale based on fact actually on how Ripper became Rob Halford's replacement for Judas Priest. Mark Wahlberg poured on his likable boy-ish charm and performed with believable admirably, something he has been known to do since the release of BOOGIE NIGHTS.

Stephen Herek, no stranger to musically-themed movies, takes the audience through the wonders of the breakneck lifestyle of an extinct species, the Hair-Metal Rock God. Wahlberg's "Izzy" acts as the film's host plays the everyman who gets to see his wish come true. His likable character quickly wins over the heart of the viewer, who wants to see him succeed and gets the chance to give him the Metal "goat horn" hand-sign several times over.

The only real complaint with the story is that the supporting cast, namely the other members of the band, were not fleshed out, or even introduced, properly. More interaction with these life-long Rock musicians would have amplified and solidified Izzy's new surroundings.

Naturally, ROCK STAR is filled with great music. Rabin's score, the Steel Dragon's original work and plenty of 80's-style Metal hits makes this soundtrack a must-have! Let's all hope that films like ROCK STAR not only give a credibility to a style of music that helped define a generation but also spark a very-needed revival.


I've been looking forward to the release of this movie since I first heard the concept two years ago, and I was not disappointed. I won't bother summarizing the story since everyone else has, but I will say that it was just plain entertaining throughout. The performances were great, as was the music, and the main characters were likeable.

My only complaints are: (1) the story was definitely lacking; the movie wrapped up very abruptly- in fact the writing became pretty lax in the second half, as though the writers weren't sure what to do with the plot. Since the plot wasn't nearly as important as the music and the action, this didn't really affect the entertainment value of the film, so this is not as major a complaint as it would seem.

(2) This is really nitpicky, but the music that the characters in the movie were listening to was sometimes dated after 1985, when the movie was set. INXS' Devil Inside was from 1987 and AC/DC's Are You Ready was from 1990, among other mistakes. This bothers me a bit, since they obviously went to lengths to make a good period piece, they could have checked the copyright date on these songs to make sure they were 1985 or earlier. Again, not a big deal.

Oh, I thought of something else that was strange. The Steel Dragon band members were supposed to be English, but for some reason Dokken bassist Jeff Pilson and Ozzy guitarist Zakk Wylde played band members, and they each had a couple of speaking lines in AMERICAN accents. That was kind of lazy also, but it was still cool to see actual musicians playing musicians, so I will forgive that as well.

I could probably nitpick all day, but I don't want to give the impression that this wasn't a super entertaining movie. I will probably buy the DVD when it comes out, and I will certainly buy the soundtrack CD simply for the six Steel Dragon songs (some of which were sung by the singer from the band Steelheart, if you remember them!). The highlight of the film was possibly a great outtake where Mark Wahlberg is lipsynching to a rock song on stage and suddenly someone plays "Good Vibrations" by Marky Mark and the Funky Bunch. The surprised look of Mark's face is priceless. Classic rock and roll flick! Score: 8/10 due to extreme entertainment


I must admit I wasn't expecting much on this movie. I was surprised I truly enjoyed it as much as I did. The script wasn't oscar material, but it wasn't horrible either. The acting was great by Mark Wahlberg. Jennifer Aniston had a great supporting role, and looked lovely as ever. What made this movie for me was the music. If you do not like 80's glam metal or hair bands, then you probably wont like this movie. Its all about being a rockstar. Some cliche's were present, but didn't bring down the movie at all. I would recommend it to anyone who likes rock and roll and remember to Stand up and Shout!!! 8 of 10 for great acting and awesome music.

Jason


Nothing really unpredictable in this movie, but a solid flick in all respects. Everything from acting to cinematography was solid. Not a perfectly linear plot line, but there wasn't anything you couldn't see coming. Perhaps a tad melodramatic at points, but again, a fairly decent movie none the less. Definitely worth checking out. If in doubt of what film to rent over the weekend, give this a go. Though you may not feel like running out and buying it, I found it to be quite worth while.


If you like the 80's rock, you should definitely see this movie! I've only seen it recently and completely fell in love with it!

Overall, the movie is very entertaining, provides you with a great load of rock tunes and not a single second of the movie do I find boring! It was a great idea that some of the real-life musicians were in this, doing what they do best. I was happy to see Zakk, as well as Blas Elias, they all delivered solid performances. I tend to agree with a lot of people saying that the first half of the movie was much better than the second one, specially in the terms of the script.That could have been worked on a bit better, but not a major biggie. One thing that did bother me a bit was Jennifer Aniston's performance. I thought she wasn't the right person for this role,I just couldn't see her as a rock star girlfriend.But as the movie goes on, you somehow realize that she did a good job with this.There is a certain amount of honesty and sincerity she delivers that just doesn't live you cold.

To summarize, a good and a funny movie, that doesn't go deep into characters but provides you with a good fun, a sense of nostalgia and of course the mighty vocals by Jeff Scott Soto and Mike Matijevic!


Mark Walhberg in a great role, idolises a rock star to the extent of knowing all his songs, imitating him to perfection, and dressing like him. When the opportunity comes for him to take over his "idol's" role in the band, he jumps at the opportunity. However the role of a rock star may not be what it is cracked up to be... and relationships can change .... This movie certainly struck me as having the theme of what you attain for may not be what you think it is once you get it. Overall a really good movie with great performances from all the cast as well as the two leads, Mark Walhberg and Jennifer Aniston. It did make me feel sad, especially when Emily, (Jennifer Aniston), met up with Chris in Seattle and saw the depths to what he had sunk. If anybody ever dreamed of being a rock star or a groupie they should watch this movie to see that the lifestyle, although glamourous for a while, is very lonely and ultimately not what you may want.


What to say about a movie like Rock Star? A lot actually! This is the type of movie that is almost tailer made for the critics to slam. It is also a movie I, as a MAJOR Hard Rock fan enjoyed-no-loved actually-while all the while being very consciously aware of its many flaws and that the movie, while a decent effort in some respects missed the chance it had to escape into greatness and become a rock movie classic. Oh well....

I loved this movie-and would see it again and again-but I know that's purely based on my own personal tastes-Rock Star is a movie that will appeal to anyone who has experienced elements of the rock or hard rock lifestyle and wants to go down the road to nostalgia. It was a great time for metal heads. And it's nice to have a movie that effectively captures that(long forgot by many non-rock fans.) time effectively, as I think that Rock Star has done. That is one of the film's strengths, the concert footage. You will feel like your right there with them and how could any hard rock fan not love that? As far as setting the atmosphere Rock Star gets a 10 of 10. It also gets a 10 of 10 for pure entertainment. If you want a movie to just let yourself go and free flow into some great memories of good times past, then this is the movie for you. It is also the reason why I loved this movie so.

But it isn't a great movie. I understand that and were it my actual job to review movies professionally, I'd probably have to be a bit hard on this one. The problem with Rock star is the character development.

What is wrong with the character development is this, there isn't any. None. The movie has certain scenes-few and far between but they ARE there-that DO touch on greatness:WARNING BRIEF SCENE SPOILERS: 3 examples- 1)when Izzy makes his debut on stage(including the fall he takes)

2)The first "after show" party with Emily(Anniston and Izzy.)

3)Backtracking a little-In the beginning when the original lead singer is casually dismissed(fired)-the whole "business as usual" tone sets the stage for what's to come. It's played very effectively.

But the problem is, nothing ever does come. There is little to no character development of anyone in this movie, peoples' persona's are merely touched on, but never fully explored. I don't think that's the fault of the actors/actresses,particularly Anniston who tries hard, they just are not given much to work with. It's just that the script was weak and lacked the ability to go beyond the "formula" feel into true movie depth. Rock star was so sugarcoated at times(including towards the end) it was almost ridiculous. And , though, those scenes I mentioned WERE outstanding and very believable, sadly much else in the movie wasn't.

Another reviewer mentioned the lack of buildup towards the end and I agree but there was actually a lack of buildup about ANYTHING. WHY does Izzy leave at the end? Because he misses his girlfriend and the band won't let him write songs? It tests the limits of believability. And, frankly the end was just corny. Made no sense and had no reality to it at all.

Watching this, it's almost like watching a movie where the makers of it said: OK, this happens here and then this happens and then this etc etc etc. By the end it's no longer a movie about a boy who's dream came true, it's just another thickly formulated love story. And you wonder why so much detail is left out....

I hope I'm not being to hard on Rock Star because I truly loved it-but not for the right reasons. I would have liked to love this as a great movie about the highs and lows of rock fame. Instead I loved it for it's 80's period feel, the clothes, the hair, the lights, the life.... Although many others loved it to, I suspect most are people who lived the life of a rock fan, like I did or some who play. I'd have liked to see the movie cross over and just be respected for being a good, well told movie, instead of a cliché. I think, one of the problems was the length. I myself, hate over long films but this was one that really should have been longer, if a movie is done really right, the length is not even felt-there is just to much to the story for it to be as short as it was-that's one reason why there doesn't seem to be much development of either the story or the human beings portrayed in the movie.

So-to wind down-this is a movie you can greatly get into- but not a great movie. See it for fun. See it for entertainment. See it to go back to that great, great space in time when metal wasn't just a part of life, it WAS life-and for those non rock fans-see it to get a little glimpse into a life that meant and still means so much to so many of us.


WARNING - POSSIBLE SPOILERS!

'Rock Star' is one of the solid rock movies I have ever seen. The original idea of the script focuses on a young singer in the 80s, leading a tribute band of one of the most famous hard rock bands of the period. He is not only playing their music to the note, but also living the life of his idols. When his friends in the tribute band expel him, in search of some originality, the destiny plays him a good turn, and gets hired to replace the lead singer of the idols band. A dream came true? Well, almost. While starting to live the life of the famous, including the drug and sex excesses of the rock scene of the 80s, he will also have to face the problems in relationship with his supportive girlfriend, and will be eventually need to answer questions about creativity and having a saying in the music of the band.

I liked the film, one of the reasons being that it is one of the first times that the life and music of the hard metal rock bands is shown in a realistic manner. Fans of the music genre will be satisfied by the soundtrack. The overall idea is original, and the issues of how an artist lives his life and creates his art are being rendered in a sensible and balanced manner. Acting is quite good, with Mark Wahlberg better than in most of the other action flics I saw him lately, and Jennifer Aniston in tune with the nice-girl-who-knows-a-lot-about-life role. More problematic is the ending, which is quite conventional, and may disappoint. It looks like the main character after quiting the big and famous band has found his own creative path. However, in an ironical twist the music he is playing in the club at the end is the worst in the whole movie!

8/10 on my personal scale. Worth seeing - however, expect exposure to a high dose of metal. If you do not like this kind of music, you may chose to avoid this film.


I seen this movie when it came out. I thought what an average movie. I have now realized that this director was ahead of his time. This is a great movie and great soundtrack. I have seen my share of rock films but although this is far from spinal tap (which I did not like)> This film does take us into the life of an 80s rocker wanting to be nothing but. This is nothing more than our inner child wanting to grow up and to be a *ROCK STAR* Yeah I said it. Everyone wants to grow up and be on the spot light( Weather said or not). This movie just puts you in the core of emotions and you can almost feel the excitement of Izzy. I must admit the acting was less par but still the music and story was enough to hold you in to it, till the credits rolled. Worth the watch especially if you are a fan of ye Ole mighty hair bands.


Rock Star is a "nice" movie. Everyone is nice. Even the guys who aren't supposed to be nice, really are nice. Chris is a nice guy, who learns a lesson in life. He goes back to his girlfriend Emily, who is also nice.

It's a good movie, despite all the niceness. Maybe I'm just used to all the angst of the X Gen music. In some ways the film was a caricature of Rock Stars and not hard edged enough to be believable.

Mark Wahlberg's acting is quite good. Jennifer Aniston played her role well, but it was uncomplicated. She was a nice girl.

Go see it. If you have ever been to a rock concert or seen Spinal Tap, go see it.


I was very excited to see Rock Star because I am a big fan of Mark Wahlberg's. I was surprised to have liked it more than I originally thought I would. The script did leave something to be desired, but the movie's performances made up for it. There were a few moments when visions of Spinal Tap came rushing back, and I can't help but think this movie would have been even better as a mocumentary. But, I digress.

Wahlberg continues to demonstrate his talent, as he plays with believability an ordinary guy whose biggest dream comes true. He does it with the wonder and innocence that make you not only believe him, but also make you really care about his character.

Jennifer Aniston, who hasn't impressed me in movies up to this point, is surprisingly good as the girlfriend/manager. She shows more real emotion than I've seen in her last few movies combined.

But above all, it's the music in this movie that really draws you in. Peppered with some 80's tunes (let's face it - Bon Jovi would have any 80's music fans rocking in their seat), the movie really rocks with the original Steel Dragon songs and Wahlberg's performance of them.

I plan to see this movie again, but first I'm going to rush out and buy the soundtrack!


This film is great with some of the best songs preformed by Bon Jovi and kiss.The film is about a man named Chris(Mark Wahlberg)Who is the biggest fan of a band named Steel Dragon.And then when he gets the gig for lead singer his world changes upside down.With great acting by Jennifer Aniston this film is a must see for rock lovers!!

4/5 stars


So, you wanna be a rock star? See this movie. You don't like rock, you say? Or you're REALLY into heavy metal? Then put on your favorite album and dream yourself away, this movie has nothing to offer. Rarely have I ever seen a movie being able to portrait the dream of being in a rock band as good as this. I had long hair during the late 1980's and early nineties, and I have played guitar for the last 15 years or so. Did I like Rock Star? Oh yes. The music is good, not great, the actors are good, and believable, even Jennifer Aniston plays her part to perfection. And Mark Wahlberg is perfect as the wannabe rock singer. So you know what you're going to get. A movie about dreams coming true, being stepped on, and finally figuring out what life is really about. It's a good solid seven out of ten, no more, no less.


I watched this movie the other night, and I have to admit, it was quite possibly the best film of this generation. Turns out I wasn't born until 1988, but I can relate to this motion picture like Cary Grant can relate to having an STD, or Burt Reynolds to being a burnout. Marky Mark did not decline in awesomeness after his brief stint in New Kids on the Block, which I will from here on refer to as "the best band in the world (aka BBW). Like, it's totally a morality tale about fargin' trannies an' poop, so pay attention! I love all y'all, and continue to support Marky Msrk because he needs us now more than ever. He's the only boyee who survived the De-sharted.


I love this movie, first and foremost because of Mark Wahlberg is in it and secondly because the end justifies the means. There is something about this film that sucks you in and allows you to feel all of the emotions the characters are feeling. Jen Aniston is great as the girlfriend in this movie. It takes a look at the Rockstar lifestyle that so many hardcore rockers lived back in the day (perhaps these days they have gotten just abit smarter). It takes through a rainbow of emotions and has a lot of subtle facets to allow the light through. Like a diamond, this movie shines. You won't waste your popcorn on this one. Semi-chick flick but my husband enjoyed it too. There's some laughs thrown in too.


This was an interesting movie. I could have done without the bathroom scene and the seduction scene - EWWWW! Other than that, I loved the head-banging music this movie revolved around. Chris/Izzy's parents are AWESOME! They totally support their sons interests and believe in him enough to support him - now that is AWESOME!! What really surprised me was the Chris's realization at the end. It was not quite the "hollywood" ending on his road to self discovery. The overall rise to stardom and the fall of it was quite a roller- coaster ride.


Well, let me put it this way - I have always been one of the "hardcore brothers"; I've always loved rock music, and especially heavy metal!! That's why this movie is like a gift from God! I believe this movie is one of the best movies ever (well, except from Neverending Story and Star Wars, of course ...). It's great to hear all the classics, like "Long live rock and roll" (DIO), "Stranglehold (Ted Nugent), songs by Jon Bon Jovie, Deep Purple, AC/DC, Zakk Wylde and several other legendary rock bands. Heavenly! Absolutely gorgeous! WONDERFUL!!! I hope they will make more movies like this (otherwise it's just crap movies, like that "AC in da USA" or what they call it, and "8 miles". Bulls***!). Well, I strongly recommend this anyway! Everything I'm missing is a couple of Stratovarius-songs! But except from that, it's one of the best movies ever! Ten out of ten!


After reading previews for this movie I thought it would be a let down, however after I got my region 1 dvd ( the dvd was available before the film hit the uk cinemas) I was pleasantly surprised, strong performances from all cast members make this a very enjoyable movie. The fact that the script is quite weak means that you dont get bogged down in story and therefore the repeat viewing factor is greater. I recommend this movie to one and all


I loved this movie. It is a very simple plot and from what I understand it is based on a true story. Growing up in the 80's with hard rock/hair metal may have something to do with my love of this film but even aside from the music it is a really fun movie to watch. Give it a try, you will like it unless you are the hardest of critics and only like movies of "Citizen Kane" caliber.


This is the second movie about 1985, the other one was 'The Wedding Singer'. Whilst the 'Wedding Singer' was portraying the pop side of the 80's, 'Rock Star' is all about metal.

Mark Wahlberg plays a talented singer in a tribute band of some famous rock act of the time and Jennifer Aniston plays his girlfriend. When his fixation rewards him, his whole life changes in a day.

The story doesn't get too dramatic and it only scratches the surface of the life of a rock star. Sex and drugs are very limited in this movie, but it is full of Rock'n Roll! The music is fantastic and the concerts are directed brilliantly! The whole concert feeling is very well captured, since they used real audiences (no cgi here).

Great direction and a brilliant performance by Marky Mark, who acts like a true metal dude!

'Rock Star' is all about fun and if you had anything to do with the old metal scene, you are going to love this movie!

10/10


`Rock star' is not on its way to any `stairway to heaven' category as one of the best rock films of all time, but it does make you `jump' from time to time because of its high-level energy. The film's theme is on a die-hard rock group fanatic who actually becomes the lead singer of his favorite band. The story is based upon the true story on what happened to the heavy metal band Judas Priest. If you think this movie is filled with a witty screenplay and intellect direction- then you got `another thing coming'. However, what did `shook me all night long' was the fine acting of Jennifer Aniston as the rock star's devoted girlfriend. I could not say the same about the rock star himself; Mark Wahlberg was much better as a porn star than a rock star. I did enjoy the 80's retrospect journey the movie intakes. It reminded me of my teenage years where everything `smelled like teen spirit'. I guess the film is worth a viewing, but for you to have a better time watching it make sure you bring along some `girls, girls, girls.' *** Average


Jon Cryer reprises his role as a neurotic guy in Two and a Half Men, which he perfected in this series. He longs to have a good relationship with a girl like his coworker has developed, and the tet-a-tet between him and his partner's girlfriend's best friend are pretty funny. Then they realize that they're attracted to each other and start dating. In one of the funniest lines on TV EVER -- I think in the final episode -- he and his partner are discussing that he wants to propose to the girl.

His partner prepares him for the moment by suggesting: "What's the worst that can happen? She says no."

Armed with newfound optimism, he proposes to his date over dinner. To which she replies,

"GOD, no!"

I laughed so hard I cried.


I enjoyed this show, it was on in the uk, but not at peak time, and they seemed to move it all over the schedules so I wasn't able to watch them all. I was surprised when it didn't return and had no i idea why, still don't know, but i guess that's not important.

Great performances from the two leads, they were very believable as friends. The two supporting actresses also added well to the mix. I guess it was part of a whole load of shows that were lifestyle centred, Friends being the obvious main one, but sex in the city came along a few years later.

The characters, get take out coffee, they drink at nice bars , that sort of thing, a little woody allenish in a way.


This was a modern TV classic! The story goes like this, Bob has a girlfriend named Alicia. Bob and Alicia are in love and want to get married. Bob has a bud named Owen who he works with. Owen is jealous of Alicia. He likes hanging around with Bob. Now Owen hangs around with Bob AND Alicia. Bob and Owen have a secretary named Heather. Heather is very accident prone. She is also, if you haven't guessed it, is kind of lonely. She too hangs around with Bob and Alicia, and Owen. Sometimes Alicia wishes Bob didn't have any friends.

By the end of the first season, it looked like Owen finally found himself a real longlasting girlfriend. Bob and Alicia went driving on the night before their wedding, making out in a tiny car and then getting stuck. Way out in the middle of nowhere! What happened next? What about poor Heather? Did anyone get married?? Sorry, series ended.

Not even a plea from TV Guide made FOX think twice about putting it back on the air. It was a great show with a great cast. I loved Heather too. She looked cool in those glasses and was hilarious. I miss this show a lot. This is like reading a good book with the ending missing......sad.


Jesse yet again delivers, after almost 12 months of hype about his upcoming production it finally reaches the dark world of the internet with more than a brilliant approach to amateur film making.

DBP is a original, nail-biting commentary on a troubled child growing into an even more troubled adult. if i had more than two thumbs, i would give more, but i think two will be enough.

Great work from all cast, especially by Marissa and Elizabeth, the character of Emily as an adult has given me shivers so far and i'm afraid of where she'll go next.

An excellent watch


This new movie by Jeskid is awesome! Check it out and you'll be amazed. The story of Emily Waters, once a girl from a broken home, whose only means of escape from an abusive father was through her sketchbook. Until one night her drawings manifested into reality and saved her, and now using this power she fights against those who would do evil. Both live action film and hand drawn animation blend together to create a unique and original experience that will shake your soul and blow you away. The music is incredible as well, it really intesifies the emotional experience and draws you deep into the conflict. Directed by Jesse Cowell and animated by Erica Langworthy, starring the beautiful Marissa Parness, with music by Nico Audy-Rowland, Daniel Collins, Jeff Strathearn, Matt Sisco, and Selcuk Bor. Support this film and support Jeskid, he is a very talented guy. Go see his film Shades of Grey as well.


This young filmmaker has a talent for capturing his audience quickly with unusual camera work and sparse but intense scripts. The concept here of combining animation with live footage is remarkably well-executed and the soundtrack is very good.

The decision to release the movie in twelve parts online puts the onus on the director to make each episode fascinating enough for the viewer to invest in buying each upcoming episode. I only wish all motion pictures had this kind of commitment to keeping their audiences entertained throughout their stories.

Highly recommended.


Drawn by Pain is easily one of the best pieces of cinema I have ever seen. Here are my reviews of the episodes released so far:

Episode one was even better than I expected and from everything I had heard about it, I expected quite a lot. I am very impressed with the actors already. The father was creepy and played perfectly. The little girl is so expressive, she uses her eyes to convey such emotion. The animation was superb. The cinematography was amazing, each camera angle capturing the feeling of the scene perfectly. The editing was done so well, each scene blending seamlessly into the next. The music captured the emotions quite well and drew you into the story. I just can't say enough about how wonderful this episode was. It definitely whets my appetite for more!

Episode 2 was even better than the first one! Everything I said about the first episode carries through, only you get to see even more of the character development. I can not wait to finally see episode 3, or the rest of the series for that matter. What is developing is an intriguing, character driven storyline with all the trappings of a big Hollywood production, but without the pretension. So much is said, with so few words. This series is something like you've never seen and perched to become a real success.

This episode was FREAKING AWESOME! No other words describe it! WOW! Everything that I've said about the previous episodes holds true for this one, and yet it was even better! I don't know how you manage to take something amazing and make it even better! The further character development proves that this is a completely character driven piece. The cinematography excels as it always has and draws you into Emily's pain, fear, hate and emotional roller-coaster. I can't wait to see Episode 4... or the rest of the series for that matter. You have truly outdone yourself!

As much as I have loved the other episodes, episode 4 is the best yet. I love the character progression. I feel like we are really coming to know Emily, her pain, and her internal struggle. The other themes I've stated in past reviews are continued. GREAT cinematography, the writing is superb, the actors are right on with their portrayals and have made the characters their own, and the animation is simply amazing! Another great job from the DbP crew!


The story of a little girl who was driven once by fear and now by pain, she becomes woman and a vengeful crime fighter. Her power is to manifest strong anime characters onto herself. This movie fuses animation with live action as she wields her animated sword through all that stands before her. She struggles to deal with life, her demons, and her fears.

Young Emily watched her parents fight and argue. She watched her Dad leave her motherless. Emily soon discovered she had the power to do something about it. Emily grew through life traveling as a loner and at night she had the power to make a difference in the world.

This movie is a great blend of animation and real action. There are many themes and metaphors that run deep through the movie. This movie is broke up as a 12 part series.


Eve is an eye opener, because of the great sceneries and the tech-no music in the backgrounds, we hear. This movie shows a good aspect on the human body being God's creation and to considerate about it, viewers can earn better respect on the legendary story of Adam and Eve (either if it's true or just a fairy tale, depending on what we believe) from watching this movie. Actress/model Inger Ebeltoft's impersonation of Eve is so good, there's no good word to describe her performance, and I can't imagine having another actress being Eve. This movie to me, comes in really handy for the type of therapy of stress relief. We'd never fell so relax then before from watching this movie. This movie is a masterpiece, God supposedly wanted this movie to be made in the first place!

Mr. Razbin!


I started to watch this show by accident, but I love it. The fact that main character is in a wheelchair is something that lacking in television, especially for kids shows. My five-year-old nephew (as most children do) would just stare at people who were in wheelchairs or had some other type of handicap but after he watched Pelswick it just seemed to be a normal occurrence to him. Every time he saw a wheelchair he would simply say "Like Pelswick" and go on with what ever he was originally doing. And YES the animation is a little crude, but if you can stand to watch through the first season of the Simpsons then this isn't that bad. The "Genie" is actually an Angel who is there to help Pelswick learn lessons in life. He CAN NOT walk some else said he could walk some of the time, I've seen every episode and he never to my recollection walked, he is a paraplegic he has no feeling below his armpits (he mentions it in an episode). As for the humor if you can get a copy of the "Ntalented" episode, which lampoons boy-bands, you will instantly love this show.


(Possible ?? spoilers included, but nothing critical given away.)

I just watched this classic low budget movie on video, and was knocked out by the level of energy present on screen. All the actors do themselves proud, especially John Daniels, must see another of his films. Not only does this movie boast great performances, but manages stylish sequences, like when the baron throws someone out of a window and we see shards of glass falling into a swimming pool which erupts from the impact of the fallen man, i love the way slow-motion photography was used in 70's cinema, dreamy and hypnotic. Cool and witty black dudes spout great one liners while slimy seedy lumps of white trash come to unpleasant ends. I love it, my rating 10 / 10. If this ever comes out on dvd, count me in for a purchase.


You got to see it to believe it. Shot in Hollywood on the strip in the middle of the sleazy, anything goes 70s, this cheaply made flick must of really packed the inner city theatres back in the day. Then again, I bet it had a one week run. Actually, its pretty hilarious. The acting is dreadful, the direction non existent, but the hair, clothes, rotten pre disco music and the general out and out sleaziness of the story are mind boggling. Sleazy, its very sleazy. Highly recomended (if you can find it)


Here's one of the more pleasingly scuzzy 70's blaxploitation grindhouse items; it's a pervasively low-rent pimp opus which comes across like a sleazier version of "The Mack." John Daniels, the studly womanizing hairdresser hero Mr. Jonathan in the immortal "Black Shampoo," gives an excellent steely portrayal of the Baron, a ruthless, business savvy, forever on the make all-powerful flesh peddler who much to the dismay of his bitter, brutal Italian rivals reigns supreme over the Sunset Strip. When not locking horns with his fellow no-count criminal pals or doing his best to avoid being busted by the local vice cops, Daniels is leading a sweetly average existence as your standard garden-variety suburbanite dude (complete with caring wife and loving kids!) in some typically humdrum California small town.

The glaringly absurd premise alone promises top-rate trashy greatness of a decidedly Grade B schlock picture variety (George Theakos deserves kudos for his hilariously ludicrous script). Matt Cimber's commendably tactless and tasteless direction delivers the junky goods by the slimy bucketful, thus making this film a hugely enjoyable serving of celluloid grime. Among the assorted squalid delights to be savored herein are plentiful gratuitous female nudity, coarse dialogue, beautifully gaudy Me Decade threads (halter tops, felt hats, sparkling Day-Glo jewelry, loud seersucker suits), an intensely funky R&B score by Smoke, some hopelessly pathetic acting (the little old lady who lives next door to Daniels is excruciatingly shrill), a memorably nasty turn by Patrick Wright as a sadistic goon, a couple of cool action set pieces (the climactic slow motion barroom massacre seriously cooks), more lurid travelogue footage of the Sunset Strip than you can shake a feather boa at (said footage allegedly includes "the actual hookers and blades of the Sunset Strip in Hollywood"), effectively dark'n'dingy cinematography by Ken Gibb, a few sicko sexual fetish tableaux, some raw explicit violence (a prostitute has one of her breasts cut off!), and amusing supporting performances by familiar schlock feature perennials Richard Kennedy and George "Buck" Flower as a pair of racist, corrupt, browbeating police detectives. Sure, this movie ain't art, but it's certainly artless enough to qualify as a deliciously grungy chunk of entertainingly sordid cinematic swill.


A ghost story on a typical Turkish high school with nice sound and visual effects. Taylan biraderler(taylan brothers) had made their first shots on a tv-show a couple of years ago, as far as i know. That was kind of a Turkish X-Files, they had very nice stories but lacked on visual effects. This time it seems they had what they needed and used them well. This movie will make you laugh that's for sure, and as well it might have you scared. It has a nice plot and some young, bright actors in it. If you are a high school student in Turkey you will find so many things about you here. There are many clues in the movie about its story and ending, some you understand at the moment, some will make sense afterwords, the dialogs were written very cleverly. So these make the movie one of the best Turk movies made in the last years. Do not forget, this movie is the first of its kind in the Turkish film industry.


This movie coming from Turkey where you can't find any tradition of horror movies. First I was afraid of watching just an adaptation but after seeing it I have changed my mind. It has original scenario.A love movie using horror thema. Most of the players are not famous young people but their performance is proofing that a new generation is coming. Maybe this is a sign that turkish cinema is coming back after 20 years.


Okul is the first of its kind in Turkish cinema, and it's way better than I expected. Those people who say it's neither scary nor funny have a point, it's not all that great indeed. But it must be kept in mind that everyone involved with the movie is rather amateur, so it's basically a maiden voyage. And comparing this one to Sinan Çetin's other films such as the 1st class garbage "Propaganda", this movie is pretty damn good.

One thing that MUST be said: It deals with the highschool students' life in Turkey VERY realistically! That's exactly how it goes! The scenes that are meant to scare are somewhat cheap, and Hollywoodish. Most of them even if not all. But that religion lesson scene made me laugh in tears, and Emre Kýnay performs the best acting of this flick as a religion teacher.

It's NOT a waste of your time, go and watch it! You'll find it rather amusing especially if you know Turkey enough to relate to Turkish youngsters' school lives.


I've watched the movie actually several times. And what i want to say about it is the only thing that made this movie high rank was the Burak Altay's incredible performance, absolutely nothing but that. Not even those silly model named Deniz Akkaya and some of these popular names at times in the movie... Burak is definitely very talented i've seen a few jobs he made and been through. Even though this is kind of horror movie, he's doing really good job in comedy movies and also in dramas too. I bet most of you all saw Asmali Konak the movie and TV series, those two would go for an example... All i'm gonna say is you better watch out for the new works coming out from Burak then you'll see.. Keep the good work bro, much love..


This film is the most impressing turkish film that I have ever seen. Probably "Okul" is the first turkish horror film. I must say that I were excited while watching the movie because of some reasons, The first reason is that the story is impressive, I mean that at the end of the film you realised all the details about movie, this makes the film attractive and the other reason is that no turkish man made such a movie like that before. This shows that turkish film improves itself by time. Although the first trial to make a horror movie, It was really successful. I advice all of you not to miss this movie...


Everybody seems to compare this to The Matrix and The 13th Floor, and when I first saw it I would have agreed -- I was expecting The Matrix and was a little disappointed. But upon repeated viewings my respect for this movie has grown immensely.

The thing to keep in mind is that The Matrix is a great action movie with some philosophical mumbo-jumbo thrown in. The 13th Floor is a passable action movie with some slightly more interesting philosophical mumbo-jumbo thrown in. Existenz is not an action movie at all, and is not (as many seem to believe) about "reality" or any such "deep" concept. It's about the human tendency to intentionally replace reality with an artificial (both in its origin and in its behavior) world of make-believe.

The most chilling moment in the movie is when Allegra Geller repeats her "scripted" line. It's at that point you realize that the people in the game have voluntarily surrendered their free will in order to participate in a story. This is made even more frightening at the end when D'Arcy Nader (or rather his player) comments on the possibility of spending one's life in the game. I sympathize completely with the "realist" philosophy, that providing interesting worlds in which people simply locate the correct predefined path to the end goal is ultimately a recipe for a soulless existence. Living "in the game" is not living at all, but is a tempting way to spend one's time on earth. As Allegra comments about the real world, "there's nothing going on here." Might as well jack into someone else's imagination, and pretend to be doing something interesting. (Although I have to ask whether Cronenberg considers this a self-indictment, considering that he himself offers up worlds to be experienced in 90 minute snippets.)

Upon leaving the theater after first watching this movie, I thought it was one of those movies that was watchable only to see how it ended. But having seen it a couple more times (thank you SciFi Channel) I've realized how much deeper it goes. Seriously, if you've only seen it once, it deserves another viewing.


David Cronenberg, much like colleague David Lynch, is an acquired taste. A director who plays with themes like reality, perversion, sex, insanity and death, is bound to get the most extreme reations from audiences. He proved this with films as The Fly, Naked Lunch, Crash and eXitenZ (capital X, capital Z) and more recently, Spider. It's best to see eXistenZ with a clear mind. Try not to read too much about the plot, or it'll be ruined for you. What I can tell you is that Cronenberg takes you on a trip down into the world of videogames that acts as a metaphor for any kind of escapist behaviour. Living out fantasies is something people always dream of, but how far can you go into it, before reality gets blurred and the fantasy takes over and turns into a nightmare? Those are the themes touched in eXistenZ, an exploration of identity, the human psyche, physical bodies being invaded by disease and most importantly, reality itself.

The story and directing are excellent. Cronenberg knows his trade very well and succesfully brings to life an artificial world, avoiding the usual pitfalls and clichés linked to stories such as this. The film shows some pretty disgusting stuff, but is unusually low-key in the gore department in comparison to Cronenbergs other work. The shock effects he plays on are never over the top and the plot progression is very intelligent and creative. It's not the most intellectual movie ever, but it will leave you thinking about it, wondering and pretty confused.

The acting gets two thumbs up as well. Both protagonists, Jennifer Jason Leigh and Jude Law, play their parts perfectly and cleverly portray their character's shifting moods and identities. The dialogue may seem a little stale and clinical at times, but that is part of the effect Cronenberg was going for, to create a disaffected and alien atmosphere that puts you quite at unease. Supporting actors as Ian Holm, Don McKellar and an especially creepy Willem Dafoe lift the movie even higher with their disturbingly familiar performances.

This movie takes some getting used to, but if you can appreciate the dark tone, blood-curdeling imagery and existentially warping story, you'll love it.


Who should watch this film? Anyone who has ever taken acid, read Philip K. Dick, thought the premise of the Matrix was better then the special effects, has an interest in Philosophy, or likes having their sense of reality messed with. I laughed out loud at this film, just because it was so outrageous and so spot-on. This film is great. This film is cool. It is better than the Matrix, by a long shot (I didn't fall asleep in Existenz, for a kick off: action/special effects films bore me stupid, and despite a plausible philosophical gloss, that is exactly what the Matrix is). Existenz is gross, it is disturbing, and it is funny. David Cronenberg has done some shonky stuff (Rabid) and some works of genius too (Videodrome is another one worth checking out, as is Stephen King adaptation The Dead Zone). But this is one of my all-time favourites. I can't remember the ending- which is a good thing, cos it means I can watch it again. Or perhaps I never watched this film at all. Maybe it's an implanted memory. Or maybe it 'really' happened to me. I don't know. At any rate, it is now seamlessly stitched into my overall illusion of reality, and I'm glad.


David Cronenberg's `eXistenZ' is a well designed reflection of the philosophy of existentialism. It addresses the problems of a culture that is plugged into technology that it can no longer distinguish between fantasy and reality or between the organic and the mechanical. The movie shocks the audience with its replacement of mechanical technology with organic, metabolismic one. In this context the technology is able to be part of human body. After playing the virtual reality game of `eXistenZ', the real world feels like a game and as a result, human behavior change in order to apply violent game-urges even when the game is over. In eXistenZ, technology has evolved from machinery to biological organisms that plug directly into the human nervous system; an idea that reflects Marshall McLuhan's belief who is a well known media theorist, that computers are extensions of human consciousness. Like telephone is an extention of the ear, television is an extention of the eye, telegram is an extention of the central nervous system high-tech virtual reality is an extention of human consciousness. In eXistenZ, technology is biological and thus more human than it is in our world. But as technology becomes organic, humans become more mechanical and therefore less free, unable to resist their game-urges. eXistenZ is a virtual realty simulation of man's existence. Jean Baudrillard describes a mediated society in his book of Simulacra and Simulation, which all power to act has been transformed to appear. The world has passed into a pure simulation of itself. In eXistenZ it is obvious to see Baudrillard's mediated society with the themes of the invasion of the body, the loss of control and the transformation of the self into other.

While you are in the eXistenZ, consciousness slowly replaces with another identity, your role in the game, which is a reflection each individual's real life subconscious. While you gain the control of your hyperreal life step by step, the aura of your real life disappers. For Baudrillard, `.simulations or simulacra, have become hyperreal, more than real.' Our hyperreality, like Cronenberg's world of computer simulation, `.now feels, and, for all intents and purposes is, more real than what we call the real world.' (Baudrillard) The purpose of the game which can basically be called 'experience' is quite metaphorical. Because you can not even know what is experience unless you experience it. As existentialists say that, life without an exact explanation is absurd, the game of eXistenZ is absurd too. Cronenberg, ironically reflects the absurdity of our lives. For instance, in the game, the other roles just stand still unless you ask them a pre-programmed question. And when you put their aimless funny looking state of being into the representation of our lifes, the exposed absurdity really shocks.

The theme of the game is to understand what it is for? This hidden metaphorical question creates anguish over the people who play eXistenZ. They have no doubt about their existence, however they do not know the underlying reason of their existence. The essence.

Existentialists have held that human beings do not have a fixed nature, or essence, as other animals and plants do; each human being makes choices that create his or her own nature. In the formulation of the 20th-century French philosopher Jean Paul Sartre, existence precedes essence. `Choice is therefore central to human existence, and it is inescapable; even the refusal to choose is a choice. Freedom of choice entails commitment and responsibility. Because individuals are free to choose their own path, existentialists have argued, they must accept the risk and responsibility of following their commitment wherever it leads.' Perhaps I should mention, `eXistenZ' deals with the concept of freedom of choice too. You achieve your final role in the game by taking right decisions. If you don't than the game becomes irrevelant and boring. So, you begin to interrogate the game, your existence rather than your essence. You suddenly become schzopfrenically alianated from the game and realize your position outside the game. Well as a last word, eXistenZ is a well designed reverse simulation of life thus existentialism.


"We're both stumbling around together in this unformed world, whose rules and objectives are largely unknown, seemingly indecipherable or even possibly nonexistent, always on the verge of being killed by forces that we don't understand." So says Ted Pikul in the film. Which for some people sums up life and 'eXistenZ' probably is a film about existence. What is real and what is unreal and how you tell the difference. Or not. The last line of the film is superbly ambiguous.

The film seems like a shaggy dog story (indeed it has a real shaggy dog in it) but it takes you along on an interesting ride, full of provocative Cronenberg touches that will make you look at amphibians, game pods, fish, spines and bones in a new light. Some bits are quite icky. It takes place in a rural setting where the gas station is called 'GAS STATION' and a Chinese restaurant is called 'CHINESE RESTAURANT.'The film has an engrossing texture that is leagues away from your usual big budget science fiction movie.You can read many things into the film and it repays watching more than once.

The main actors are Jude Law who is OK and Jennifer Jason Leigh who is great. Some roles don't suit this very talented actor but when she has a good role like this she is unmatchable. Her unconventional beauty and fascinating voice suits the part of Allegra. (Looks great in a short black skirt too.) There are other familiar actors but they are not given much to do. It looks good, sounds good and a Howard Shore score complements the film very well. Cronenberg is possibly the Alfred Hitchcock of the sci-fi/horror genre. No matter what film he makes he is always worth watching.


An absorbing exploration of virtual reality, although it is not yet clear how much the director himself intended. This film deliberately takes you through several layers of artificial reality, leaving only subtle clues about which layer of virtual reality you are in, positing an ontological confusion for the viewer to ponder.

Also can be seen as a satire of video games-- the whole movie though may fall into the fallacy of imitative form here. It seems unable to escape from the video game genre which it imitates; thus the satire becomes problematic.

A number of interesting ideas crisscross throughout though: the biological mutant is one; the interface of technology and biology, the cyborg urge to transcend reality-- and philosophical allusions such as the title's to Heidegger, along with existential questions: i.e., the game characters are partly scripted or determined and yet partly free to alter their fate, and they wonder at how strange that feels in the game. One character then notes that this existential confusion is just like real life, thereby erasing again the distinction between the virtual and the real. Likewise with the observation that it is unpleasant to stumble around in a world where you don't know what will happen next and you're not sure how to play since you have to stumble around just to find out the goal and the unknown rules. A virtual game within the game is titled "TranscendenZ". Also a critique of how virtual violence makes us unable to feel the effects of real violence. Even the heroes at every level of ontological existence find themselves confused about violence. They don't like it but it is thrilling and part of the "game", which then they fear is real.

The game creator, the god of the system, is assassinated in the end; yet that very scenario is played out in direct parallel to a video game we've just witnessed-- and the onlookers believe that it is still just part of the virtual reality. In the end, the film does not resolve the doubt about whether or not this is "real" but the point is clear (to me anyway). Existenz means Da-sein: You are there. You are thrown into a set of rules and mysteries at every level. Ontologically, virtual reality recapitulates reality. And its common game motifs express, like a royal road to the unconscious, our own fascination with violence.

Nevertheless, while Cronenberg affirms these philosophical allusions in an interview about the film, he claims that he is very much against the "Reality ... {underground name of terrorist group} portrayed in the film both in the game and in the 'real' level." Seems that Cronenberg himself did not put that much thought into the film, though his impressive education comes through. The interview in Cineaste gives the impression of a middle brow intellectual who's trying to be avant-garde by inclination. Cronenberg is simply on the side of free imagination -- the clichéd bourgeois modernist credo-- despite the acknowledged ambivalence there. (My impression here might be due to one limited interview.) Still, Cronenburg seems to miss the point that his film betrays the fallacy of imitative form (here imitating computer games while doing a satirical critique of them, but a critique that is unable to "transcend" the same form) probably because he actually thinks that it is "imaginative" and radical. Yet the film's imaginative world is less bearable, and more jejune, than our own all-too-real world. It remains trapped in the computer game worldview.


eXistenZ is an exploration of reality and virtual reality, wherein characters run from realm to realm, landscape to landscape trying to beat a game they know not the goal of or exactly where it's leading them. Within that virtual reality game is more layers of virtual reality games, calling into question which reality they arrive from is the "real" one.

Of course it's not spectacular at hiding the fact that it's not going to reasonably answer to a true reality, instead tossing the idea of whether it's real or a video game into question even up to the end. I'm not even sure Cronenberg pretends that twist won't be there, it's so incredibly obvious in a sense it's kind of disconcerting.

The problem with this film though is its base nature, in a sense. Cronenberg is questioning reality AND criticizing game play. Yet the same things that he uses to criticize game play makes him revel in it: the violence, the discontinuity, the lack of focus and in a sense, the pixellation even if there isn't such pixellation in the film. I have once heard someone state that Cronenberg's violence is actually a criticism of hyperviolence in media, but he hides that well with the fact that he derives such incredible pleasure in ripping new orifices into humans, animals, and amorphous piles of biological sludge.

What IS brilliantly written and done about this movie is the use of video game conceits (not being able to say exactly what you want to say during cut scenes, relative lack of surroundings or surroundings that don't make sense, only a few people around where it feels there should be many and vice-versa, all of that stuff) along with the motif of penetration. It definitely deconstructs the video game reality in a way that's nauseating and absurd, but it does it even better by replacing video game electronics with literal "pods" of biological matter that squirm and shift and are, frankly, disgusting to the one of the most horrifying degrees. For what it's worth, this film causes a reaction in you.

But what for? It criticizes virtual reality, but it's a movie: it is its own virtual reality. It seems to criticize the banality of video game plot lines and character design, yet it maintains that banality. It definitely seems to worry over whether killing a video game character is more okay than killing an actual human being and how video games can be confused with reality and cause people to not think about the consequences of their actions in real life, and yet I say again, it derives the utmost pleasure from ripping people, objects, beasts, things, and organisms into bloody shreds.

So whereas it has a key focus of angst, it doesn't really do anything with it, not really. Only what it does do is present that angst in such an original way it can't really be denied its own moment of splendor.

In a sense, it'd be much easier to just hate this movie for being gory and violent, because there's no good reason I can see for loving it and yet I can't disregard it as mediocre or bad. It'd be easier to simply not be able to take it, but since I can, there's nothing I can really do with it. I do believe it is a little excessive, it really didn't need to go as far as it went, but Cronenberg's intentions are so mixed up and confused I don't know if that was Cronenberg's flaw or Cronenberg's point, and I don't think there's really any way to figure it out except maybe ask him directly.

--PolarisDiB


After his earlier movie "Videodrome", which definitely shows similarities to this movie, director David Cronenberg again ventures himself in the world of virtual reality, in which truth and fiction mix. It's virtual reality taken to a whole other level.

"eXistenZ" is an highly original movie that is well directed and acted out but above all very well written. The movie features a fascination and well thought out concept, which gets greatly executed by director David Cronenberg.

"eXistenZ" is a movie that knows to constantly fool you. Just when you thought you figured things out, another surprise awaits around the corner. Things are never like how you think they are, especially when the line between truth and fiction gets explored. You just never really know what is the reality and what is the game-world, right till the ending. It makes the characters and events all very unpredictable and also provides the movie with a great ending that will leave you thinking even more.

The movie has a perfect kind of game-play storytelling, mostly with its character appearances and its puzzling events. They have to complete a certain step or task first before they can continue in the world and find out what their purpose in the game is.

The movie knows how to create a perfect balance between realism and surrealism, without ever going over-the-top with either one. The storytelling keeps the movie as simple as possible, though of course the movie isn't always that simple to follow because of its events, dialogs and unusual environments.

The movie is not only just weird though. I was actually surprised to see that "Videodrome" has an higher rating on here, thought it's a far more inaccessible and 'odd' movie. The movie is also still made entertaining and has a good fast pace. It doesn't ever allow the movie to get stuck in its more philosophical moments and deeper meanings. It also makes this movie perfectly watchable for people who normally don't watch this sort of movies.

The movie is good looking, with subtle effective special effects a great visual look, that also provides the movie with a certain required 'gaming' feeling.

The movie is well cast, with Jude Law in a role you don't too often see him in, that of a shy insecure person. It once more shows how actually versatile Law as an actor is and that he is way more than just another pretty face from Hollywood. Jennifer Jason Leigh also was a great female lead. She hasn't really played ever that many big parts in big productions but with this movie she shows why she nevertheless always have been regarded as a big movie star. The movie also features some other well known actors, in much smaller roles, such as Ian Holm and Willem Dafoe.

An highly original movie that is well worth watching, especially if you have seen "Videodrome" previously.

8/10