I watched this movie when it was released and being really young and not too much into cinema it was one of the most fascinating cinematic experiences I ever had and it really left a mark inside me.At first I didn't quite understand the story and probably failed to make the necessary correlations between past and present as the movie presents them to the viewer.

Years after I first watched I managed to watch it again and this was the time that I fell in love with 'The English Patient', it touched me so deeply and for me it became the best film ever made.

Anthony Minghella made an absolutely stunning film, all the locations are amazing and through his camera he manages to create unbelievable emotions inside you.

Of course, the music of the film is such a big part of the whole emotional journey of the characters and the film would not be the same without it.

But personally the best thing was the fragile performance that Ralph Fiennes gave in this masterpiece. He plays so well the man that falls in love slowly but so deeply with Katherine Clifton,opens up his heart and dives into this prohibited affair.

The most heart-breaking scene for me will always be the one where hurt Katherine is carried by Almasy towards the Cave of Swimmers and she wears the thimble that he bought her.She says 'I always wore it.I always loved you' and at that moment he starts crying with such pain flowing from inside him.

Juliette Binoche is also amazing in her performance and really deserved the Oscar she won.

Overall, this is a film that anybody who proclaims himself a cinema lover should watch in their lives.


One of the most charming and, for me at least, the most powerful elements of Anthony Minghella's enthralling Best Picture-winner "The English Patient" is that, in the mid 90s, when Hollywood was in the initial stage of having lost its nerve for grand new projects, a film was created that brought back tracesvery powerful tracesof the sweeping, wonderful majesty that crafted movies such as "Lawrence of Arabia" (1962) and "The Ten Commandments" (1956). "The English Patient" contains very much of what made those films so powerful. It has that glorious feeling, a stretched running time that hardly seems long at all, and fascinating characters with pasts and stories.

"The English Patient", based on a novel by the same name by Michael Ondaatje, is like "The Godfather: Part II" (1974) in the sense of how it's constructed. It's a blending of two stories: the past and the present and it all revolves around the titular character: an English patient in the post years of World War Two. Ralph Fiennes plays the English patient, who has been scarred for life by a plane crash, and being taken care of in an isolated church by a single nurse played marvelously by Juliette Binoche. Apart from bonding with her raspy-voiced, troubled patient, Binoche comes to learn about his past when a stranger (Willem Dafoe) arrives and the two men appear to know each other.

That's just one of the two beautifully crafted stories that shape this film. The other one, told in flashback, is the patient's past, before he was scarred and dying in a bed. The story of the present mixed with the patient's past and his love affair that tragically changed his life forever.

To be blunt, "The English Patient" is a love story blended with a sweeping epic sensation and it blends magnificently. What I really admired about the love story between Ralph Fiennes and Kristin Scott Thomas was how passionate, how obsessive, how enchanting it was shown on screen. Usually in love stories, such as Minghella's later "Cold Mountain" (2003), the romantic elements seem far more lustful than obsessive to me. Some of the love scenes feature elements that may tend to be associated more with lust than love, but still, because it is so well developed and not rushed and not exploited out of proportion, we can believe that there is a sure, true love between these characters. It reminded me a lot of "Vertigo" (1958) in how well the filmmakers and performers convinced us that these were two actual human beings who truly fell in love with each other.

Performances all around were great. I was especially enthralled by the performance by Juliette Binoche, who took home the Oscar for her performance the following year. I also liked Willem Dafoe playing the sort of cynical, questionable character that he's always quintessential at playing. And of course I can't leave out Fiennes and Scott Thomas and their portrayals of two very passionate lovers.

Despite my enormous enthusiasm for this epic, I would be dishonest if I were to describe it as a perfect film. There are two flaws that I cannot glance over. Number one, it is a little too long and the reason for this is my second complaint, there are a few unnecessary subplots. I was not enchanted or particularly interested with the second love story between Binoche and a bomb specialist played by Naveen Andrews. My research has led me to assume that this plot element comes from the original book and I'm sure it worked perfectly in there, but in the film, it just seems a littledistracting and the relationship between the two characters didn't fascinate me. I was far more interested by Fiennes character and his relationships with his two leading actresses.

Nevertheless, these two flaws are easily forgivable even if they do slow things down a bit. Those put aside, "The English Patient" is an extraordinary achievement of film-making. To me, it was sort of like an insane mix up between "Casablanca" (1942) and "Lawrence of Arabia" (1962), two remarkable and better films, and this effective blend proved to be well worth my time. It is a real shame that Anthony Minghella has left us. For he was a truly gifted filmmaker. This is all the evidence anybody needs.


A sweeping and deeply moving love story featuring powerful performances from Ralph Fiennes,Willem Defoe and Juliette Binoche.

It tells the story of a badly burned man(Ralph Fiennes) who gets pulled out of a plane wreak during World War Two and tells his nurse(Juliette Binoche)his story.

Just before the war he fell in love with the beautiful Katherine Clifton(Kristen Scott Thomas)however she is married to Jeffery Clifton(Colin Firth)and the two begin a passionate and forbidden affair.

A very haunting and tragic story of love and desire set against some absolutely gorgeous locations in the desert.A must see especially if your a fan of Anthony Minghellas work but be prepared to shed a lot of tears its very moving especially at the end.


I can never figure if this is the Artiest Soap Opera ever produced, or the Soapiest Art Movie. No matter, John Seale's cinematogaphy is utterly ravishing. Ondaatje's novel is not reduced, but for once, elevated to film. If there is a fault, it is in the original novel, not in Anthony Minghella's beautiful movie. Anyone who has a problem with it's length almost certainly has not read the book, and probably cannot read. I do not like repeating adjectives, but ravishing serves the purpose.

Apart from the storyline, the players excel. But it is the Australian sense of light and shade that ultimately triumphs. Like some antipodean Dutch Master, Seale uses a blast of light, where Van Rijn would have used shade. One could weep for cinematography this magnificent.


The book is better than the film mostly because of the writer Ondatje's prose. Before I saw this film, someone who had seen it, told me the love depicted in this film isn't real. After seeing this film, I can see how her suspension of disbelief in this regard could've been distracting to other movie-goers as well. Frankly, some of the intense displays of love were laughable and seem to be on the edge of parody. But by the end, everyone should realize this is a big message piece of art. It is not specifically about love at all, it uses "love" to dialectically reveal the human divide or the arbitrary borders of countries that help justify wars and hatred. It is about misunderstandings and the blind following of the things that supposedly separate us. The critical scene for the real theme of this movie is when the hero or antihero's pleas for help for his stranded lover in the desert is ignored and disregarded for the reasons shown in that scene. This film is also about hope and forgiveness, the hope epitomized in the interracial relationship between Binoche's recovering character and the Indian minesweeper (echoed in the Sikh's buddy-buddy relationship with his white coworker who ends up dying nonsensically) and the forgiveness epitomized in the Caravaggio character's first hunt and then forcing out of what he thinks will be the hero's confessions for his war "crimes" (betrayal of country). I think the film could've been made even better than it is. I don't know if a more realistic portrayal of the circumstances of love would've made the real themes and points of this film even more obvious or not, but I agree this film is not about realistic romantic love, as the people behind this piece of art or film imply in an early scene when the eventual lovers first meet. The hero talks about how a new car, broken-down car, fast car, etc. (I'm paraphrasing) is still just a car no matter what adjective you put in front of it. She replies but parental love, platonic love, romantic love, etc. are very different kinds of love. This is ironic because this film is really about the one love all humans should want which is the love of (or for) peace (not materialistic things which are usually the real reasons for wars, epitomized in something most of us want such as "cars", let's say). Otherwise, we may be left stranded to die in a cave in a vast desert with ancient wall art/drawings of swimmers, suggesting that the seas and life-supporting waters which were once there have all but disappeared. I believe "The English Patient" won the Oscar because of these big messages not specifically for its depiction of romantic love. Awards tend to go that way. The relationship of the hero and heroine was necessary to draw the audience in, unfortunately this view of love may be antiquated in the age of divorce and so many singles who can't seem to get together on so many levels, so ridiculous versions of mythic love are hard to get into, even in daydreams, which film love has always been, especially in good old Hollywood. The film may fall short of what people expect but a 7 out of 10 movie worth seeing, regardless.


In World War II, a badly burned amnesiac known only as "The English Patient" is found in the African desert and is transported to Italy, where he joins a convoy of medical troops and others at an abandoned monastery. Among them are Hana (Juliette Binoche), a Canadian nurse whose lovers generally meet unpleasant ends; Kip (Naveen Andrews) and Hardy (Kevin Whately), two explosives experts who search the monastery for bombs; and David Caravaggio (Willem Dafoe), a Canadian soldier-of-fortune who knows the identity of the English patient and has a score to settle.

Through flashbacks we learn the story of the Patient: he is Laszo Almasy (Ralph Fiennes), a Hungarian explorer who, in the late '30s, falls in with a group of British cartographers, including Geoffrey Clifton (Colin Firth) and his wife Katharine (Kristen Scott-Thomas), while mapping the deserts of North Africa. After Clifton leaves them on government business, Katharine and Clifton fall in love with each other in the desert, resulting in an affair that, naturally, has a less-than-happy ending.

If one is able to overlook the illogical parts of the story line (such as, why would a patient found in Africa be sent to what is essentially the front line of the war in Italy?), then you can appreciate "The English Patient" as a throwback to the intelligent, layered, sweeping epics of David Lean in the '60s. Much more than "Titanic" or other epic romances of late, this movie puts one in mind of "Doctor Zhivago" and "Gone With the Wind" - an epic love story set against a huge historical backdrop. You shouldn't expect a war film, though there are some striking (if all-too-brief) scenes of violence that stand out more than the romantic sections, as is usually the case (Caravaggio's interrogation by a sadistic SS officer (Jurgen Prochnow) in particular).

The movie is very ambiguous, in regards to pretty much everything. The central question of the film is: How far are you willing to go for love? As critics of the movie are fast to point out, Almasy is, on the surface, a far-from-likable character - he has an affair with a married woman and betrays his country by giving maps and intelligence to the Germans, causing the death of his friend Madox (Julian Wadham) and the torture of Caravaggio, and actually killing a British soldier who has him under arrest at one point. The fact that Almasy is in many ways reprehensible is kind of the point - he's in love with Katharine, and sees the world narrowly in terms of his love that loyalty to country (or anything else for that matter) is secondary; as Almasy says, he hates "Ownership. Being owned." The two engage in a rather bold love affair (shagging within ear shot of hundreds of people at a Christmas party) and it's clear that Katharine is more drawn to the mysterious, exciting Almasy than the comparatively boring Geoffrey.

The 1944 subplot is somewhat shaky and seems superfluous; the romance between Kip and Hannah is never completely believable, and I feel the film could have done without it. But those sequences do add an interesting texture of mystery and complexity to the film, so I won't complain too much.

Like the epics mentioned above, the film is able to convey time and place through simple devices like crowd scenes, strategically placed posters, and military presence. We do not need to dwell on the fact that it's 1938 in Cairo, but it's helpful to know. The direction of Anthony Minghella and the desert cinematography by John Seale are absolutely gorgeous; the sand dunes, sand storms, and haunting caves of the desert are captured in beautiful detail. Gabriel Yared's score is haunting and atmospheric.

The acting is generally solid. Fiennes gives a very layered performance as a character who is mysterious, complex, and haunted. The difference between the Almasys of 1938 and 1944 are remarkable; one exciting and somewhat carefree, the other haunted and reflective. Kirsten Scott Thomas is effective as Katharine, the female explorer looking for adventure, and Colin Firth gives one of his best performances as Geoffrey, who realizes early on that he's no competition for the exciting Almasy. Willem Dafoe does nice work as Caravaggio, the shifty, hunted thief-turned-spy driven by revenge. Jurgen Prochnow gives a performance reminiscent of Jose Ferrer in "Lawrence of Arabia" (and a similar character too): very brief, but more memorable then some of the major characters. Some of the 1944 actors are unremarkable: Juliette Binochette is nothing special, while Naveen Andrews is good but unremarkable. Kevin Whately, as Kip's ill-fated partner, does what he can with a rather smallish role.

"The English Patient" is not a perfect movie by any means, but the vituperative attacks on it by much of the movie-going public are not deserved at all. Maybe it's a show of how film sensibilities have changed since the era of the Leans and Kubricks, or maybe people were expecting something simple to understand. Complex to fault, brilliantly directed and shot, "The English Patient" is a wonderful modern-day epic.

8/10


There have been several comments already on the site focusing on the "prestige" feel of the film - and there is a lot of heavy-weight talent on show: from Fiennes and Scott-Thomas to the magnificently rendered design and scoring, to the masterly direction. No wonder that Andrew Lloyd Webber's acceptance speech for "Evita" at that year's Oscars began "Well, thank God that "The English Patient" had no songs in it." Writing of Oscar winners takes me to Juliette Binoche, who, in a stellar cast, gives a beautiful performance. It is heartening to see that the dynamics which seem to influence the award for Best Actor (often going to showy pyrotechnic display) aren't at work in the female categories. Just as Emma Thompson's hugely well-deserved Oscar for her portrayal of Margaret Schlegel in "Howard's End" proved that one of the hardest things that an actor can do is make the portrayal of "goodness" involving, so Binoche's win proved that it could be that - and seriously sexy. Her performance in this terrific film is a thing of beauty.


Was curious to know the name of the Tuscan village where the filming in Italy was done. I know the villa's name: Villa San Girolamo, however, would like to know the exact location in Tuscany. The cinematography is excellent and it would be wonderful to visit that area. I would also be interested to know what the location of the desert shooting is as well. Travel extensively in Europe and Africa and would am interested in visiting the areas that the book and film were about. Please e-mail me with any information on the sites that any one might have. We would be very grateful. And if any one knows if the villa in Tuscany is still habitable, that would be awesome as well. I await any information and I thank you in advance for your time.


Even after all these years, this remain "a perfect movie" for me. I still remember sitting for a long time in the theater after it was over, stunned by the experience, overcome by emotion. I own the DVD (of course!) is see at least once a year. It's incomparable and I cannot add much to has already been written about its excellence and beauty. So glad others love it as much as I do! A note: the author of the book on which it's based - Michael Ondatje - was enchanted with the film and is quoted as saying he wished he had thought of some of the lovely scenes written purely for the movie...the way Kip "invites" Hana to his side with a trail of small candles, and the way he arranges for Hana to view the frescoes in the ruined medieval church.


The English Patient is one of those films that mostly deserve all the highest praise. I say, most, because this movie, albeit very serious, intense, deep and really thoughtful, still suffers some drawbacks. First and foremost, why, oh why are the modern films so long? This one lasts for more than two hours and from time to time it becomes really hard to concentrate and follow the extremely serious plot. I say, if the film were an hour shorter, that would serve it only good. However, we have what we have. The winner of several Oscars, The English Patient is still very good. It is a deep, insightful treatise of human soul, love and betrayal, war and cowardice, violence and bravery. Ralph Fiennes is a smashing superb actor. His hero, neurotic and silent, is an enigmatic person, ready for everything only to save the life of his lover. He is great, even though half the time he is a deformed cripple. He is the strongest link here. Juliette Binoche is as usual very convincing and sweet. She adds a lot with her excellent play and the love story plot with that Sikh officer. Willem Defoe, Colin Firth, Christine Scott Thomas are all here, all enormous and all very strong. And then there is desert of Egypt, then there is deep, cloudless sky, green groves of Italy. The nature is here, even when people die, bombs roar, land mines explode. War is here, too. It is obvious, terrible, and bloody. Then, there are corpses, horrible gory bodies, then nude bodies, adultery and all. I do not know what to say. So much of a splendid actors' work, so much of realism, so much of brutality that war brings. This is not a film for relaxation. It makes you think.


From 1996, first i watched this movie, i feel never reach the end of my satisfaction, i feel that i want to watch more and more until now, my god i don't believe it was ten years ago, and i can believe that i almost remember every word of the dialogues. I love this movie and i love this novel, absolutely perfection. i love Willem Defoe, he has a strange voice to spell the words "black night" and i always say it for many times, never being bored. I love the music of Szararem, it's so much spiritualistic, made me come into another world deep in my heart. anyone can feel what i feel and anyone could make the movie like this? i don't believe so. Thanks Ondaatje thanks Mingela.


In a critical scene, as Katharine Clifton (Kristin Scott Thomas) lies in the Cave Of Swimmers, she writes something read aloud by Hana (Juliette Binoche) in which she proclaims that "the light has gone out now, and I'm writing in the darkness..." A sentence of such poetic beauty could not be more perfect for the cinematic brilliance of the far from tiresome The English Patient. With such a dramatic sweep that keeps one firmly on their feet, and a strength about the film that doesn't let up, this film proudly celebrates the mysteries and romances of World War II, taking elements of Casablanca and Lawrence Of Arabia along with some independence in the form of Tuscany.

The English Patient unabashedly pulls the heartstrings and takes us through a mysterious first act, a romantic second act, and a beautiful... beautiful final act, and it isn't just the wonderful pace and setting, it's the performance of Ralph Fiennes, who keeps us sympathetic even when Count Almásy, from the very start, proves to be a thoroughly unlikable character. Usually typecast as a villain, he shows tainted, but ultimately human colours as a man taken in by a desperate love that he must fulfill.

Many will criticize this film based on its so called "glorification of adulterers", but those who do know nothing. The contrasts between the two periods (before and after the plane crash seen at the start) are spectacular, as the patient is the regretting man who suffers because of what he did, the evil that was once in him now absent, whereas the man of before the crash is an individual like anyone else. He wants this woman but he cannot have her, Fiennes brings the human-like qualities out of Almásy in a way absolutely NO OTHER actor could. There couldn't have been a better actor for the job.

So please, take these comments to heart, see the film, those who call it "boring" or "despicable" know nothing, and should be ashamed of such a one-dimensional view on the film, a view that they have neither studied nor corrected, and probably don't plan on correcting. The English Patient is the best of every film to have ever won the Best Picture Oscar, and for so many reasons, hidden in their poetic triumphs.


I have heard an awful lot about 'The English Patient' and I finally decided to get the CD and find out what all the ballyhoo was about. What I found out was a cinematic delight and should, I repeat 'should' always be watched with an open mind. If you are a religious, moral zealot, I am afraid this is not a film for you as you will fail to see the beauty of this cinematic masterpiece as you will keep on harping on the moral dilemmas this film creates. As I remember correctly before I watched this film I read the review in this site and was thoroughly disgusted by the views of that person who I quote said 'that the protagonists thoroughly deserved what they got'. When it comes to morality I agree with him but this is not the way to comment on a film of this magnificence.

I must admit rarely have I seen such a wonderfully crafted film. I keep on hearing the background soundtrack in my subconscious. First and foremost this is a love story and yes it's an extramarital affair (moralists beware) but lets not keep focusing on that. Instead let's focus on how the story was told. It's an admixture of flashbacks and the present. Its set in the world war II and tells us the story of a survivor of a plane crash (Count Almazhy played wonderfully by Ralph Fiennes) who is looked after by an army nurse (Juliet Binoche) in war torn Italy just before the beginning of the end (defeat of the axis powers). The burn scarred patient very much in pain kept on remembering the torrid affair he had with an English woman Katherine (Kristin Scott Thomas) shown in flashbacks set in pre-war Africa. The past and the present are interwoven so adroitly in the story that you're sort of transported in the story and get the feel of a first hand viewer. The locales in the desert and in Italy are beautiful and so are the characters. I am a romantic and am not ashamed to say I had tears after it ended. Watch it with someone you truly love. The movie starts and ends with the same shot of the desert where the sand dunes twist and curves like a woman's body and it was breathtaking. The sense of loss and grief was conveyed so overwhelmingly by the actors that it makes me wonder why god! Why do we have wars that destroys beauty and the most unforgivable of all, the destruction of Innocence.

Anyway it deservedly won a bunch of Oscars and I will go hunting for other works of director Anthony Minghella.It kind of brings back the romanticism in the David Lean genre of films.It almost reminds me of 'Lawrence of Arabia' which was also based in the desert.Happy viewing folks.


A wonderful story...so beautiful told..so intense so whit no keyboard to describe I think...,go see it feel it...,it tell's a story about love ,romance ,war,and be trail so wonderful so full of romance if you love romance see it ,if you don't love romance ,drama well skip it that's all I can I vote 10 out of 10 stars wonderful...


I chose "The English Patient" for a history extra credit assignment. I thought that this movie would be incredibly boring. Instead, it has become one of my favorites. It portrays life in WWII quite accurately, and the love story is amazing. The love story made the movie so incredible. I felt this interesting feeling, of passion or something. It made me want to watch the movie over and over again. Kristin Scott Thomas and Ralph Fiennes are amazing actors and the way they played their characters is amazing. The look wonderful together and actually seemed to be in love. I recommend this movie to anyone looking for a movie to watch as a leisure activity, or for an assignment.


THE ENGLISH PATIENT not only has it all (doomed romance, tragic war, great characters) but it has it in a way that no other movie does. It is a spellbindingly tale told through flashbacks featuring amazing performances by all involved, somptuous visuals, characters we care about, and the most rapturous love story ever told. A cinematic landmark, the best film of 1996 and one of the very best of the 1990s.


Have just seen the last episode, No 32, (though the site says only 30 episodes were made) and I must comment on the fact that this series was really very good and I would thoroughly recommend it to anyone who enjoys crime/cop stories. Supposedly all 32 were based on fact with information at the end of each episode of the court sentences imposed on the perpetrators of the crimes, this has at times been a gritty, well acted, believable and dare I say, entertaining series. The fact that the powers in Denmark decided to disband the unit was almost unbelievable as they did their work so well and in the series at least, never failed to "get their man"! It's a definite 10/10 for me.


We've just watched the last of the series shown on the SBS network and will miss our weekly dose of Danish Delight. My wife and I picked up the show after the Swedish show "The Eagle" finished and it seemed by comparison to be a very poor substitute for our then favourite show on TV. Week by week, however, the show grew on me, and whilst not as glossy as the Swedish show and definitely grittier in terms of their investigations of everyday crimes, it certainly provided a very satisfying weekly viewing meal indeed.

Prior to these 2 shows I had not really been a fan of the cop genre and can't say I am now but the 2 Scandinavian shows really provided us with an insight into life in those northern Euopean countries through the eyes of their special policing units.


First off, I'm an American -- I haven't seen any comments on IMDb about this series yet from a U.S. viewer. Secondly, I work in the television business in development. So I wallow in much of the sludge that comes out of American broadcast programming. "Unit One" is an example of television that's a throwback to what I would attribute as '70s-style scripting, feature-wise. Namely, those films made by young autueurs who had free rein to make the dramas feel more realistic and to allow for organic character development. It tacks more along the lines of stellar British dramas like "Cracker" and "Prime Suspect" as well as Australia's brilliant "Underbelly." "Unit One" features stand-alone cases that are committed, then solved, each week. The mysteries aren't extraordinary or particularly byzantine. They usually center around one single twist, clocking in generally at the 40 minute mark, and resolution is neatly wrapped up in the 15 minutes thereafter. What makes this series a breath of fresh air is that it features main characters that you are hooked on and find relatable by episode 2. These are real, breathing, alive characters that have personal baggage, yet it's not a talky, batty type of baggage that American flotsam such as "Grey's Anatomy" or "Desperate Housewives" spoons out. These are realistic individuals whose backstories unfold leisurely over the course of the series, as if you work with them on a daily basis. After the mindless decade of "CSI's," "NCIS's," and "Criminal Minds," along with their subsequent spawns, it's refreshing to actually sit down to watch friends you want to spend time with, as is the case with "Unit One." The quippy banter, the unemotional wooden dialogue, and the over-the-top jeopardy that those American series I mentioned bludgeon us with each week are absurd compared to the nuance and the quiet resonance you get with this remarkable Danish series. I'm on episode 7 of the first season, but I've already bought all four seasons and am in for the long haul. If you need explosions and farcically-hopped up testosterone, along with music by The Who and fast-cutting, neon-lit, jittery palsy-cam action with cipher-like main characters as your main diet of television drama viewing, I suggest you stay away from this series. If you are an adult with a hunger for subtle, poignant, thoughtful and, yes, sometimes straight-forward procedural crime dramas, I urge you to check this show out.


This is one of the best Non-English series I have seen. It weaves interesting single and double episodes of crime-solving together with a personal aspect that you just don't get in CSI. The individual characters all have personal lives that combine well with their day job and occasionally interfere. Additionally the characters all manage to naturally evolve throughout the episodes.

The casting is superb and it was taped all over Denmark, giving a good example of the highlights that majestic country has to offer. Unfortunately only 32 episodes were made, however they are top-notch television. Here's hoping they consider making some more episodes of the same caliber.


This production, build on real danish crime stories, is a experience through excellent directing, acting on all levels and has a nerve not often seen in crime series. Every episode is a thrill because it's seems like the hole team believe that "this is my life right now - this murder or murders are MY responsibility to solve" and the output is brilliant.

As a viewer, you just have this wonderfully filling of being entertained cause it feels like their focus, on purpose or not, lie on that they WONT you to have a good time...:o) Don't miss this one, it's just right under 'Band of brothers' quality and is a "must have seen" experience - What a wonderful crime time !


'Rejseholdet' is one of the best new danish tv-series that i have watched.

The series is about the danish police force's Unit 1 - a kinda FBI-style team that help solve murder cases all over the country, and the cases they work on, plus the influence that their jobs have on their personal lives, and the price they sometimes has to pay to be a part of a top police team.

I didn't expect much when I started watching this series - I was pleasantly surprised, the series is exciting, sometimes fun, it's got both drama and suspense, I love it.


Of course I'm a bit prejudiced but for the time it was the most accurate portrayal of Marines ever shown on the big screen.

I was at Camp Pendleton undergoing infantry training when Webb brought his crew down to film some outdoor scenes and our company was asked to participate. It took about two or three days as best I can recall.

Webb and Don Dubbins were serious and businesslike.

During the filming of our short scene--which seemed to take forever to an 18 year old--Webb was very conscientious about getting things (Marine things) right and he did a good job with one exception--that scene where a recruit was wearing sunglasses. Never happen for a host of reasons.

I have a video of the movie and will bore my grandkids anytime I can make them sit still for a few seconds as I show them their Papaw when he was a young stud and part of the world's greatest fighting force (no brag, just fact).

What amazed me then was how well the real Marines carried out their acting roles. That was before I realized that DIs have to have some acting genes to get their job done.

The only film I've seen since that is the equal of the DI is the first half of Full Metal Jacket and that part is superior only because of the foul language. When the DI was made, cursing wasn't allowed on screen.

Despite the lack of profanity, it's still a great movie to rent.

Ooooo-rahhhhhh!!!!!

Semper Fi, Do or Die


Jack Webb is riveting as a Marine Corp drill instructor in the D.I.. Webb play Sgt.Jim Moore, a tough but fair Marine whose job it is to prepare young teens for possible combat. No one could have played this role any better that Jack Webb. As a former Marine,I can assure that this is the most accurate film dealing with basic training in the Corp. Extremely entertaining!


I had the good fortune to be at Perris Island in the fall of 1959. The DI showed one evening at the outdoor theater directly in front of our barracks, Plt 162, B Co, 1st Bn, 1st ITR.

Although we hadn't been there long enough to even think about seeing a movie, we could hear those that were laughing. It's one of the many indelible memories of my thirteen weeks at PI.

At some later date, I got to actually see it in a theater. I'm still convinced that, to date, it remains the most realistic portrayal of the experience in the late 1950's ever done. No one has done it better than Jack Webb...


THE D.I. (4 outta 5 stars) Wow, I certainly did not expect to be enjoying this movie as much as I did. I had never even heard of it until I saw it sitting in the discount video bin one day. I figured Jack Webb playing an army drill instructor might be good for a chuckle but figured the drama would pale in comparison to such recent movie D.I.s as portrayed in "Full Metal Jacket" or "An Officer and a Gentleman". Boy, was I wrong. This is probably the best work Webb has ever done... far and away better than his one-note "Dragnet" performances. The delivery of his tough guy dialogue is just brilliant... done in his patented deadpan monotone and yet you *know* that the guy means every word of it. The story might seem a little hokey compared to the grittier military movies that have followed but I still found the movie fascinating and compelling. Even a completely unnecessarily musical interlude in an army nightclub had me hooked. Anyone know where I can get a copy of that terrific Ray Coniff song "If'n You Don't, Somebody Else Will"? Webb plays the toughest dang drill instructor ever... and he's under pressure to kick out the deadbeat Private Owen but, by golly, he sees a man buried somewhere in that sissyboy and he's gonna drag him out kicking and screaming! Great stuff!


I was a Marine at Camp Pendleton when the D.I. came out (1st Marine Division, 11th Marine Regiment, 3rd Battalion, I-Battery). I still remember standing in line with a bunch of other Marines to see the movie at the "Star" theater in Oceanside, California.

We did not remotely expect the movie to portray everything we experienced in boot camp but we were all pleasantly surprised at how well done the movie was. The idea of using real Marines in the movie was a great idea (I believe they were all real Drill Instructors too). As good an actor as Jack Webb was, he just couldn't "call cadence" like a real Marine Drill Instructor.

All of us got a laugh when the "problem" recruit's mother came to boot camp to talk to the Captain. Never in a million years would this have happened, but that's Hollywood, and we didn't let that episode keep us from enjoying the movie.

I went through boot camp at MCRD in San Diego during the summer of 1956, and at that time there was virtually no limits as to what the D.I.'s could do to you. The "Ribbon Creek" event at Parris Island had not yet affected boot camp, at least not at MCRD - San Diego.

I agree with what a lot of the other reviewers have commented on concerning Sgt. Moore's "stiffness" around his girl friend. I believe this was just Webb's acting style, and although they could have deleted this part of the movie, it didn't really hurt the production that much.

One minor note, the character (uncredited) of "Pvt. Rodriguez" was played by one of my Drill Instructors, Sgt. Peter J. O'Neill. Sgt. O'Neill used to tell us that some day he wanted to be an actor. We secretly laughed at this, but he surprised us all. He was a great Drill Instructor, and I thought he did well in his bit part. Also, he really did enjoy throwing knives. He often demonstrated his skill to us that summer in boot camp. I have often wondered if he is still alive.


Well as you can see, I got to this party quite late but, have the advantage of reading all the previous entries before making my comments. I found this site by happen chance, when I was looking for other Marine Corps films. So, let me start by telling you that I played a Marine Boot in the movie, Pvt. Labarsky, and was stationed at MCRDep, San Diego at the time. Jack Webb and his crew selected 15 Permanent Personnel, of which some of us had the speaking parts, and another 15 Marines that had just completed Boot Camp. That made up the Platoon and the Marines who portrayed the various "DIs". To the best of my recollection, The Capt. and Pvt. Owens (Don Dubbins) were not in the Marines. We spent about three weeks up in Hollywood (Studio City Film Lot), CA shooting the section of the movie that we were involved with, and then they completed the other shots after we left.

So as I ramble along here, let me clarify some of what has been questioned in previous entries as best I can. "Cuff Daddy" was commenting about the ability of our Platoon to yell "Yes Sir" without moving and etc,, Yes we did the yelling for the Sound Guys, and it was while shooting the scene. As you fellow Marines remember, when the DI or who ever started to ask a question and before they completed it, you had already taken your breath of air enabling you to yell at the top of your lungs the proper response. That is how it was done.

"74Sooner" commented about walking through the same building at Paris Island, however, as I mentioned earlier all the scenes were shot in Studio City, CA . They were built from photos taken at Paris Island and from on site trips and Marine advisers from Paris Island. Sorry, you were in the real buildings, not the sets.

"schappe1" brought up many good points, but, about the incident with the platoon at Paris Island at the time all that jack Webb said to us was, "The movie came about because of the accident, and the Marine Corps didn't want to put out anything that would impact any of the family members of the Marines that died that night. Although, the Marine Corps would provide any Marines and assistance needed for a movie answering to the public why a Marine DI does what he does".

As mentioned by a few of you, I also at the time we were shooting the scenes caught my self thinking this dialog has been cleaned up to much and obviously isn't how it goes down in real life. Back in the 50's,that is how it had to be done.

One story I would like to pass on is about the interaction that occurred between us Marines and the Movie Crew, and between the Movie Crew and Jack Webb. From the start by custom the Marines replied "Yes Sir" to anybody that moved. Going into the second week it was getting more common to hear "Yes Sir" coming from all directions. On stage someone would bark out a request for something to be done with the lighting and from out of nowhere up on a catwalk above the set a reply of "Yes Sir" would sound out. To all of this at one of our informal gatherings, Jack Webb stated. "If I had known that I would have gotten this much respect from this crew, I would have brought you guys up here years ago." There was a Lt. brought up from San Diego to play the role of the DI from the other platoon and the one Jack Webb fights with, but during one shooting secessions He was up to take number 32, and still Webb kept trying to work him through how he wanted it done and didn't show any lack of patience with him. The next day they used the Paris Island adviser who was a DI Sgt. from Paris Island and He worked out fine.

At the time I was somewhat of a camera buff and got to know the Still Camera Man to get some pointer from him and as it turned out He would give me still shots and some of the 35mm film of the daily shooting that were not going to be used. Those film strips I cut up and made slides out of them. After the movie came out in VHS tape (The DI, 11706 B&W/106 min.) my kids and the grand kids have a blast when they try to se who can find me the most times on the screen.


I first saw this film in the late 60's, and try to see it every time it comes on TV, which, unfortunately, isn't often. Now that I have TCM and FMC, I hope it will be on at least once a year. Like Louis Gossett Jr. in An Officer and A Gentleman, Jack Webb delivers an unbelievably great performance as a Parris Island Drill Sergeant with the classic screw-up recruit, and the story line in this one, though dated, is touching and very well acted. And having real jar-heads in the cast certainly helped in the realism of the film as well. It's a great film with top-notch acting and a superb story. See it if you have the chance-It's well worth the time!


I would purchase this and "Thirty Seconds Over Toyko" today if available. I also saw this movie after seeing large billboards of Jack Webb in his Dress Blues on the highway at the age of 12.Always admired Jack Weeb as a John Wayne type and American all the way. Almost became a Marine just because of this movie but served instead in the Air Force, Air Force Reserve and Army Reserve for 32 years. Have not seen this movie on TV at all and would love to own it on DVD. At least if it was on TV I would copy it to VHS and use it until available on DVD. I also have a large collection of WWII and Korean War movies and always look for new releases on DVD.


I served as a Corpsman at Parris Island in the late 60's, a little over 10 years after "The D. I." was shot. I was in some of the barracks where they filmed some of the indoor scenes. I knew a lot of Drill Instructors and a lot of recruits. I think the movie is as close as any movie to showing the life of a recruit and that of a Drill Instructor. Without a doubt, I think it is the best thing Jack Webb ever did. If you have been in the military, you need to see this movie. This was the way it was. It shows how important it is to take a bunch of raw recruits and turn them into men ready to defend our country. One feature I found fascinating is that most of the characters are played by real Marines, not actors.


I have seen this movie and anybody who has every been with the Marines or any branch of the service can appreciate the accuracy of this movie. It is a must have for any collection. Jack Webb does an excellent job as the hard drill instructor. My father went to Marine boot camp at Camp Penelton and says this movie is so accurate that he feels like he is back in basic training. There is a line in the movie where Jack Webbs character gets mad at a boot for killing a sand flea. Well let me tel you there are nothing but sand fleas at the camp. I have been there and can appreciate it. As a matter of fact the exit to the camp is Las Puljas which in English means city of the fleas. you must watch the movie to appreciate what I am saying. Anybody who is into WWII movies, all the battles start right here with the drill Sgt. A must have for you collection


Having been a Marine, I can tell you that the D.I. is as accurate a portrayal to date depicting Marine Corp boot camp and how boys are turned into men. Jack Webb is excellent as Sgt.Jim Moore, a tough, but fair drill instructor in Paris Island North Carolina. The film centers on one recruit who doesn't seem to "get with the program." A more recent film, Full Metal Jacket, also shows life in basic training and is well worth viewing.


Semper Fi! I saw "The D.I." in 1957. Two-and-a-half -years later I joined the Corps.

Web and company got it as right as they could in '57. Boot, in '59, was more like, in fact, exactly like, the Boot Camp shown in "Full Metal Jacket" - Yes. A black recruit, in my training platoon, was called "Snowball." I was called "Stick," because I was skinny as a rail. Every recruit had a nickname, some rather vile, that stuck with him through his service in the Corps. Getting smacked, or knocked on your ass, when you screwed-up was SOP. "Drop, and give me fifty," got to be ho-hum. Then, it turned into,"Drop, and give me two-hundred!"

The D.I.'s were a bunch of sadistic bastards, but it was a controlled sadism, and with a primary purpose of keeping us stupid MoFos alive when we hit combat. 200 years of experience was ingrained in that "sadism," and everything the D.I. did, or said, had a purpose geared to his mission.

A bad D.I. gets grunts killed. A good D.I., though seemingly the world's biggest asshole, keeps 'em alive. You can't kill the enemy if you're dead.

In case you didn't know, the Marine Corps has one primary mission: Kill the enemy. PFD.

Everything else is pure bravo sierra.

MstGySgt WHT, USMC (ret)


I saw this movie on TV back in the 60s and it still stands up well even after brilliant performances as a DI by R. Lee Ermey, Lou Gossett and even Frank Sutton (in a comic vein) on Gomer Pyle USMC. I wasn't in the service but my brother had a recording of a Drill Instructor in the Air Force and it was scary. Others in the family who were Marines told me that Ermey and even Sutton were pretty spot on in their roles. The only thing missing in "The D. I." is the language. In 1958 they couldn't yet use profanity on film, yet Jack Webb came across pretty damned tough without it. I think it's his best role ever. In Dragnet he was quite stiff I'll admit, though not as bad as George Raft, but he used it only to effect in "The D. I." You never forget the funeral for the dead flea! The romantic part was just to stretch the movie, but didn't really interfere with the basic plot. Don Dubbins was pretty good to but he never surpassed this film in his career. As far as patriotism, Jack Webb was TV's John Wayne. He carried it a bit too far in some Dragnet episodes, but not in "The D. I." After 40 some years I hoped the film could stand up to the likes "Full Metal Jacket" and others; and it did!


By today's standards The DI might seem a little hokey. Lee Emery's version is more accurate. I graduated boot camp in Parris Island, SC in 1964. Jim Moore is as close to the real thing as you could put on the screen in 1957. I can't comment on the plot but I thought the ending was unrealistic for MCRD. PVT Owens is like many who found himself in a lot more difficult situation than he bargained for. Like so many he joined the Marine Corps for all the wrong reasons. My Drill Intructors were more like GySgt Hartman than TSgt Jim Moore. A lot more. The DI is more Korean Era and Full Metal Jacket is more Viet Nam Era. Today's movies allow that sort of thing on the screen. I have the DI in my collection. I only recently found it on DVD.


Jack Webb's portrayal of the Marine drill instructor shaping new recruits in basic training requires no interpretation. Straight forward, direct, up front, are all applicable to this classic. In a time when parsing the statements of our leaders is a necessity in order to understand what they are saying, this movie that plays no games with our language or our moral fiber. Right and wrong are clear and easily defined. If you like clear, well understood dialog in a disciplined military setting, this movie should suit you.


Hey there Army Sgt. I'm sorry dude but being a SGT in the Army and being in the Army National Guard does not make you qualified to comment on a Marine movie. You are not a Marine and just because you wear a uniform doesn't mean you can relate to being a Marine. We simply are the best, we have the hardest training, yes we have big heads about ourselves, but hey when you are the best, you like to strut your stuff. I was in the Iraq invasion and in Fallujah. I fought next to soldiers. You are not "qualified" to say anything about my Marine Corps. I hate to be the one that starts the whole "which branch is better", but you have no right to say you are qualified to judge a Marine movie. Oh yeah......we are Drill Instructors.......not Drill SGT's. That's the biggest clue you have no idea about what you are talking about. Yeah we do not "curse" at recruits anymore. Tell me, how is cussing at someone going to make them a better Marine? How will me hitting someone make a Marine a better Marine? Yes it is a kinder boot camp from what I went through. But we are dealing with different times and people. We are training people who are over all smarter than our generations recruits. We want smarter recruits, not meaner. And anyone who signs up to be a Marine in the first place, has a dedication to be the best his country has to offer. We don't have to reinforce that in Bootcamp. Marines come to Bootcamp wanting to be killers. We don't need to teach them that by demoralizing them by swearing at them and beating them. At least that is how I feel.And yes, I am "qualified" to say that. I have been on the battlefield numerous times and I have trained Marines and Recruits who eventually ended up on the battlefield. But then again, what do I know. I was just there, done that, got the t-shirt. SGT of the Army.......get a clue!


Jack Webb's movie 'The D.I' came about from the real life investigation into the deaths of several trainees in a swamp in Paris Isle in the 50's. As always, Webb, being the patriot that he is, came to the defense much like all the rest of his shows. I actually found this movie tame by 1957 standards. I served in the Army and can understand the intensity of the training at Parris Island (Camp Death by some)so this movie can never come close as does 'Full Metal Jacket'. I think this is a good movie which is more patriot than it is actual. But again, think of the time period it was made (1957) and what could be allowed and said on film at that time. I have always found Jack Webb to be clean cut and very loyal. I know many have criticized the film as one-sided and government propaganda. If you feel this way, watch 'Full Metal Jacket' with R Lee Ermey. I am a Webb fan and enjoy the movie for it's merit, not accuracy. As I have said, Webb believed in this country and held institutions to high moral standards (LAPD-Dragnet,Adam 12, Emergency etc). Just sit back and enjoy this one from a very strict moral time period in this country. Don't be too judgemental of Mr. Webb. Mark Lockwood Lubbock Texas..


I went through boot camp at MCRD Parris Island in 1953 and this film is about as accurate a depiction of what boots went through in that era, even to burying that danged sand flea. Many of the "actors" in the film were active duty Marines. This film may be more entertaining to Marines than others, but I feel the film itself is very well done, and Jack Webb made a "good DI". Semper Fi!


Misfit recruit private Owens tests drill instructor Sgt Moore's (Jack Webb) skills. No explosions or bloodshed or hip soundtrack or sex. It is set at the USMC's Parris Island S.C. boot camp and most of the cast were actual Marines. Memorable one-liners abound, and the closing credit's "dedicated to..." is intense. With such strong male and female characters, this movie could not be made in today's touchy-feely world.


I haven't seen this fine movie in 50 years but I'm entering a comment on it anyway.

While JACK WEBB'S movie was no doubt intended purely as an entertainment --- showing Marine basic training at Parris Island in realistic terms as a tough character-building exercise -- it was said the military was afraid the movie would discourage recruitment's. It did not work out that way. The movie showed that entering the Marines was a greater challenge than most young people ever realized, and (guess what?) being offered a king-sized challenge was exactly what many guys wanted. I personally knew lots of guys that joined the Marines shortly after seeing THE DI. Lines at recruitment centers were suddenly so long the Marines had more recruits than they could handle.

So it goes. America will always have youth seeking to make themselves into the best --- while the slackers and born-losers limp along to nowhere.

What we DON'T have in 2007 is any films that inspire patriotism, devotion to duty of any kind, positive values, et cetera. What we DO have is films that inspire the airhead-ed to be airheads, the beer drinkers to guzzle beer, other negative values. Exhibit #1 is that the airhead teen travesty and beer guzzling epic SUPERBAD is now #81 in the All Time Great Films list. Values? What'cha mean, values?


Jack Webb finally gives something besides his usual wooden indian performance. He played the epitome of the jarhead, brainwashed, storm the beaches, semper fi, bonehead military idiot. The Corps before all else, even humanity. This great film showed the idiosy of boot camp to it's fullest. 4 stars.


Elizabeth Ashley is receiving phone calls from her nephew Michael--he's crying, screaming and asking for help. The problem is Michael died 15 years ago.

This film scared me silly back in 1972 when it aired on ABC. Seeing it again, years later, it STILL works.

The movie is a little slow and predictable, the deaths are very tame and there's a tacked-on happy ending, but this IS a TV movie so you have to give it room. Elizabeth Ashley is excellent, Ben Gazzara is OK and it's fun to see Michael Douglas so young. And those telephone calls still scare the living daylights out of me. I actually had to turn a light on during one of them!

A creepy little TV movie. Worth seeing.


One of those TV films you saw in the seventies that scared the hell out of you when you were a kid but still gives you an eerie feeling. No great actors or expensive production but everytime that phone rings......


This is another of my favorite Columbos. It sports a top-notch cast, including John Cassavetes, who was never handsomer or sexier, Anjanette Comer, Myrna Loy, and Blythe Danner. Now here's something I've always wondered - had Gwenyth Paltrow been born when this episode was shot, or was Danner pregnant at the time? Thanks to IMDb, I have my answer - she was five months' pregnant. Now I can really feel ancient.

Cassavetes plays a brilliant conductor whose marriage to Danner was apparently to use the social connections of her mother (Loy). He has a mistress on the side, Anjanette Comer, a prominent pianist, but she announces she wants more. She's sick of being back street. On the night of their concert, he gets rid of her and makes it look like suicide. Columbo picks up a few problems immediately. One thing he notices: "You have a beautiful woman here - bedroom eyes - she has money, a body, and a career. Where's the man?" It's wonderful to see Falk and good friend Cassavetes together. There's a very funny episode at the vet with Columbo's Bassett. Everyone in the cast is great.

This is one of the episodes that made Columbo the classic series it became.


Alex Benedict (John Cassavetes) is an orchestra conductor having an secret affair with his pianist. When she threatens to expose him and create a scandal if he doesn't leave his wife, he sees he has no choice but to murder her and make it look as if she had committed suicide. Too bad for him our rumpled detective, Lt. Columbo (Peter Falk), is on the case.

Stephen Bochco has written another razor-sharp episode for the series, following marvelous detail with marvelous detail. We watch the villain commit his murder and set up his alibi for about twenty-five minutes, and we're completely engrossed. Then when Columbo appears on the scene, it gets even better.

We first see Columbo after the murder (as per usual). This time he's at the vet with his new dog. Scenes of purely comic relief are usually the weakest ones in the show (think Columbo's discomfort over the nude model in "Suitable for Framing"). Columbo is hilarious when he's dithering or bumbling deliberately in order to trip up his quarry; but too many writers make the mistake of showing him in a ridiculous light when he's with non-suspects. Bochco, by contrast, shows Columbo a bit awkward with his new pet in a handful of low-key scenes that are funny and artfully integrated into the story. (And I'm grateful he didn't strain for a punchline to Columbo's quest to give the dog a name. As far as we learn, the dog remains nameless.) Bochco gives Columbo some of his best moments in this episode, and Peter Falk makes the most of them. He's particularly good in a monologue where he expresses disbelief that anyone could kill herself, much less this brilliant and beautiful young pianist. And he's even better in his scenes playing cat-and-mouse with Cassavetes. That these two long-time friends and collaborators would play off each other brilliantly is to be expected; and that's what we get. Notice how Alex Benedict can't help but admire the deceptively dimwitted Columbo, even as the brilliant detective is tightening the noose around his neck.

Bochco makes the most of every situation in his script. When Columbo goes to question Benedict's snooty mechanic, of course  of course!  he asks the man to look at his own beat-up heap. And when Benedict finds Columbo at the Hollywood Bowl before rehearsal, of course  of course!  he's on the piano playing "Chopsticks." And what should our audacious lieutenant bring with him but the victim's typewriter with the phony suicide note still in the roller.

Columbo also has good scenes with a precocious little girl (Dawn Frame) and the lovely Blythe Danner, who plays Cassavetes's wife. It's nice to see Myrna Loy show up as Danner's mother, though she does little with her minor role.

The director Nicholas Colasanto (who also acted, most notably as Coach in "Cheers") does a perfectly creditable job, though he follows the lead of nearly every other "Columbo" director by adding one or two silly flourishes. Scenes end by going out of focus and begin by coming into focus. Then there's that bit where Cassavetes sees the carnation he dropped at the scene of the crime  and we see a zoom-in shot of it reflected in his sunglasses. There's also one scene with Myrna Loy and group of old fogies that is atrociously performed by everyone except Cassavetes.

These are quibbles, though. This is a splendidly entertaining episode, the kind that made me a "Columbo" fan.


My first 'Columbo'. Rather enjoyed it. Great format, and Peter Falk's character extremely good...wonderfully quirky, he can take his place next to Poirot, Miss Marple, and also the likes of Marlowe and Rick Diamond. I can see why this series has such a following.

As a professional musician, I HAVE to say a few things. First of all, a conductor who merely produces these pedestrian performances of the most basic examples of the repertoire (Eine Kleine Nachtmusik, Strauss Waltzes, Beethoven...) is never going to have a house like that or fame like that or cars like that, much less be called a genius. And the conducting that the actor does is so bad as to be laughable. No orchestra would take him seriously.

There are several little things too, such as his rehearsal of Eine Kleine Nachtmusik (why rehearse it when they've just performed it for TV? Any orchestral musician would be able to play it in his or her sleep anyway...). His instructions to the ensemble are downright nonsensical, and when Columbo asks Blythe Danner what 'quasi fantasia' means, she says it's 'Latin'. It's Italian, as are the vast majority of musical instructions.

And finally, no two great musicians would EVER have the following interchange: "Play something." "What should I play?" "Chopin". Music is their job and passion, they know it well. Something far more specific would be asked for, and offered!

I know. I should get out more...


This Columbo episode is one of the better and perhaps one of my personal favorites. The cast includes Rosemary's Baby John Cassavetes as the maestro, his wife played by Blythe Danner (Gwyneth Paltrow's mom) and his mother-in-law played by Myrna Loy (one of America's greatest leading actresses in film of our time). Anyway I disagree with anybody who criticizes against this film. This episode is one of my favorites because you have an excellent cast who do a superb job in performing. I love watching Columbo with his beloved dog who he never names in the series. This time, the episode focuses in on classical music at the Hollywood Bowl, one of L.A.'s attractions. Of course, Columbo becomes as interested in classical music as he does anything else involving a crime.


After repeatedly saying how brilliant so many Columbo episodes are, it's time to honour an episode with maximum points. "Etude In Black" is not 100 percent perfect, but it's certainly more than 90 percent...maybe 96 or 97!

Last week I reviewed "Just Married" and compared it unfavourably to "Meet The Parents". Well here's one of the parents, Blythe Danner, in a much earlier role as the wife of famous orchestral conductor Alex Benedict, played by the legend that is John Cassavetes. Alex has been having an affair with Jennifer Wells, a girl in the orchestra (not his first affair, one suspects). She is blackmailing Alex to leave his wife, but as his wife's mother holds the purse strings for the orchestra, Alex doesn't think it'd be such a smart move to destroy his career and marriage overnight. Instead he hatches a plot to sneak out of the concert hall before a performance and murder his young lover while making it look like a suicide.

Enter Columbo and guess what? It takes him about two seconds to realise that homicide is more likely than suicide. It doesn't take much longer for Columbo to connect Alex to the victim, and soon he's following him around wherever he goes. Even though Columbo is certain Alex is his man, it actually takes quite a while and a few false leads (none of which Columbo really swallows) before he has the vital piece of evidence.

Along the way there are some top-notch extra characters, ranging from the precocious young neighbour of Jennifer Wells and the English mechanic who sounds like he would be more at home on Coronation Street, through to the bedraggled looking brass player who nearly finds himself fitted up for the murder (he had also been seeing Jennifer Wells, the busy girl!). And there's even a brief cameo from Commandant Lassard from the Police Academy films. As with Leslie Nielsen in "Lady In Waiting", it's impossible to take him seriously (I bet you're thinking of that speech he made at the podium, aren't you?!)

But it's Blythe Danner, John Cassavetes and Peter Falk who steal the show here. Blythe is absolutely divine as Mrs Benedict. From the moment she spots Alex dialling Jennifer Wells' number from memory, she feels deeply troubled by exactly what their relationship was. It's a masterful performance as she struggles to trust Alex despite her intuition telling her something is very, very wrong. Columbo doesn't help matters by interrupting her game of tennis to ask her impertinent questions about Alex's relations with members of his orchestra.

As for John Cassavetes, well it's a shame he didn't make any repeat appearances as Columbo villains, because he could have been up there with Jack Cassidy and Patrick McGoohan as one of the all-time greats of the show. But this performance is superb! He's another one who falls into the "highly irritated" category, losing all patience with Columbo rather than befriending him and indulging him. Despite this, when the game is finally up he does grudgingly acknowledge Columbo's genius.

Well it's a really, really fantastic show. It loses a couple of very small points for its rather sledgehammer view of classical music, as highlighted by many of the posters here, but none of these have any bearing on the logic of the story or the characterisations. And at least the music is good, dramatic and exciting!

Finally, if you haven't come across it, there is an absolutely amazing clip of John Cassavetes and Peter Falk on the Dick Cavett show from the early 70s. I'm totally convinced Steve Coogan watched this clip and based Alan Partridge on it. Everything about the clip resembles Knowing Me Knowing You, from the cringeworthy introduction to the total humiliation of Cavett by his guests. Even the orchestra get in on the act, playing circus music while Falk, Cassavetes and their friend Ben Gazzara fool about and ridicule the host.

It might not be strictly relevant to this review, but the Cavett show clip gives a nice insight into the deep friendship and professional relationship between Peter Falk and John Cassavetes. It's clear to see from the quality of "Etude In Black" just how well the pair worked together!


Story-wise this isn't among the best or most cleverly written Columbo movie but the movie is extremely well made, with excellent directing and truly fine acting.

Especially the acting within this movie attracts the attention. Director Nicholas Colasanto did a great job with the actors in the movie. Appereantly he allowed Peter Falk and John Cassavetes lots of space to play with, also since both are being credited on here as uncredited directors of this movie. Must be part of his directing style to allow the actors this much room. It works out extremely well for this movie. Perhaps he did this because Colasanto himself also used to work as an actor. He is perhaps best known for playing the role of Coach in the hit-series "Cheers", from the very start of it in 1982 until his death in 1985.

So Peter Falk seems better than ever before in his role as Lt. Columbo. Also veteran actor John Cassavetes does a real great job as the movie its murderer and is a good match for the lieutenant. Beside them, the movie also features Myrna Loy. A big star from the silent movie era and also Pat Morita, in a small early role.

But not just the acting-directing within the movie is real good. Visually and technically it's also a really great made movie, with slow long shots, without the use of any cuts. Also obviously the reason why this movie is longer than most Columbo movies. It really takes its time to set up things and tell its story. The movie also features a couple of nice artistic and experimental kind of shots. Of course all really fitting for the '70's.

But like I said before, story-wise this just isn't among the best Columbo movies. Also the clues being left out for the lieutenant are a bit too obvious this time. It makes the murderer come across as a bit dumb, like he didn't thought his plan over good enough, while the character obviously is an intelligent man. Columbo this time also tries to irritate the suspect and other characters a bit more than he usually tries to do, in order to solve the crime. This and Peter Falk's different acting approach are a reason why his character might come across as different than he does in other Columbo movies. But different does not mean worse in this case.

The movie also features a quite good musical score by Richard DeBenedictis, who after this became sort of the steady composer for the Columbo movies.

A great Columbo movie to watch!

8/10


Being a self confessed slasher addict means that it's very rare that I get the chance to review many bigger budgeted movies with creditable casts. Aside from James Mangold's successful box office draw Identity; there have not been any big name entries since the Scream trilogy once again put Wes Craven's name back on the Hollywood map. That's why Mark Malone's The Last Stop  a mystery thriller with blatant slasher overtones, instantly intrigued me. With a decent line-up including Adam Beach and Jurgen Prochnow and an intriguing soundtrack that even finds space for Lynn Anderson's Rose Garden, I must admit that the initial signs were very positive for this claustrophobic feature. To the best of my knowledge there have only ever been three other snow-bound slashers, unless of course you consider Demon Possessed to fit in the category. The first slice and dice on the ice was the bone-dry Satan's Blade, then came the Lisa Loring cheese-feast that was Blizzard of Blood and the enjoyable Shredder followed some fourteen years later.

During an extreme blizzard, state trooper Jason (Adam Beach) battles through the snow to reach a remote lodge in the Colorado Mountains. His task is to inform the guests that the road is closed and they must stay for at least one more night until a path can be cleared through the hazardous conditions. This news doesn't go down to well with the suspicious bunch, which includes two troublemaking brothers (Callum Keith Rennie and Peter Flemming), a truck driver that really doesn't want to hang around (William S. Taylor), a randy couple of lovers (Winston Rekert and Amy Adamson) and Jason's ex-girlfriend Nancy (Rose McGowan). The motel owners (Jurgen Prochnow and P. Lynn Johnson) aren't overjoyed by the news either, but they offer rooms to the stranded guests and attempt to calm the tense situation. Things take a turn for the worse when Jason finds a mutilated body and a bag full of stolen cash lying in the snow behind the cafe. Just like a chapter out of an Agatha Christie mystery, the lodgers begin dieing at the hands of a masked assailant that seems intent to re-claim the money. With so many dodgy characters to choose from and no way of leaving the crime scene, Jason has to attempt to stop the maniac before he kills again

A good mystery needs at least a handful of shady suspects who each have a credible motive, a remote location that no one can escape from and a smart protagonist to help unravel the clues. Fortunately The Last Stop provides each of those essential ingredients in a thriller that has its equal moments of brilliance and downright stupidity. The film kicks off superbly as the dubious personalities clash in a claustrophobic environment that manages to keep the tension running high throughout the runtime. Malone keeps the interest levels raised as each character unveils their own reasons to attract some of the suspicion, and to be fair the essential twist isn't one that you'll guess easily. In fact I found myself watching the movie through once again to see if I could pick up on any hints that I missed first time around. Unfortunately when the maniac is revealed to be an over the top psycho that wisecracks like a comic book bad guy, The Last Stop forfeits a huge amount of credibility. Thankfully all is not lost when an unexpected and brilliantly orchestrated plot twist salvages the film's finale.

Similarities can be drawn with the excellent Identity, as the two plots are almost interchangeable. James Mangold's effort has to be the better of the two mainly because of the star billing of John Cusack and the ever-reliable Ray Liotta. With that said though Adam Beach does a good enough job in the lead, while Jurgen Prochnow, Amy Adamson and the brilliant Callum Keith Rennie add some credible support. Rose McGowan acts as conceitedly in this role as she probably does from day to day in reality and Winston Rekert started fantastically before going completely overboard with the film's climax. If you're a die-hard slasher fan that's watching this for some bloody killings then you're going to be disappointed. The balaclava-wearing psychopath only pops up once and the rest of the murders are committed off-screen. But as I said earlier Malone's directorial talent means that the suspense is never too far off the boil and you can forgive the few flaws because the positives just about triumph.

The Last Stop is well worth a look for slasher addicts and movie fans alike. Yes there are a handful of negatives, but overall this is a solid example of emerging Hollywood talents. If you liked Identity then certainly give this a try


I also saw The Last Stop at the Moving Pictures Film Festival in Prince George. I have to confess, the only reason I went to see it is because I am a huge Callum Keith Rennie fan. And he didn't let me down. He gave a good performance of a rather unsympathetic character and provided about the only comic relief in the whole movie.

The movie itself is the usual 'lots of bad people trapped in a snow storm together' storyline, but it did have a couple of twists that kept me guessing. The characterizations were strong and the whole cast performed fairly well. The only problems I had with the cast was Rose McGowan. She was so cold throughout the movie that we didn't get any idea of her character's personality or motivations. Other than her and a few small problems with continuity, this was a well-written, well acted thriller.


What makes this low budget production one of my favorite movies? Not kidding, i was watching it already 10 times or so and did not get tired. Is it the tender melancholia throughout the whole thing? Is it the similarity to classics like "Niagara"? I was thinking a long time about that. And figured it out: I guess it is: there is no hero, there are only people. Some try to be good. Some gave up trying to be good. Some are hopeless cases but carry still the spunk of being human inside. It is the story of a catastrophic night in a motel at the end of the world. One way the catastrophe is nothing but the end of a chain of coincidences. The other way this night reveals the logical consequents of this peoples lives because they are in a certain constellation cut off the rest of the world. It has something of a Dostoevsky tale.


This movie is a little slow in the the beginning, for about the first 10 minutes or so. But once it kicks in you can't turn it off. Adam Beach and Rose McGowan play the best parts and are great at their acting job. You would never be able to guess who the killer is. I gave this movie a 9, because at some parts Adam Beach needs to speak up a little so you can hear what he's saying.

9/10


I must tell you the truth. The only reason I wanted to see this movie was because of Rose McGowan. I think that part definitely worked out...pretty well actually. However, the film was very good too. Some parts of this movie are really good.

The film has great action also. The mystery is pretty hard to figure out and Rose [McGowan] does some "Oscar-worthy" acting towards the end of the film, but I don't want to give anything away. Adam Beach and Jurgen Prochnow are also great in the movie, along with some of the other stars.

If you like mysteries, or action movies, or just like Rose...I totally think you would like this movie.


I was fortunate enough to see The Last Stop here where I live at the Moving Pictures Film Festival (for those of you that don't know, the Moving Pictures Film Festival is a tour of Canadian made film in Canada). I was told just before the movie started that it was the world premiere and that it was on the verge of getting an American distribution deal which added to my excitement.

I'm a big horror movie fan, and yes, I love the Scream trilogy as well. So when I found out that Rose McGowan was doing a Ten Little Indians type of movie I knew that I was in for a treat. Rose McGowan was the biggest name actor/actress at the entire festival.

The best way I can describe it without giving away too much of the plot is that it's not quite like Scream. And it certainly is worth seeing. It's set in the middle of a snowstorm (it was filmed in Vancouver, B.C., Canada) at a mountaintop motel, which adds to the suspense. Rose McGowan puts in a great performance as the-girl-next-door(?!) along with the rest of the cast. And as for what happens at the end, well, the only thing I'll say is that you'll never guess the ending.

Sadly, it probably won't make it into mainstream North American theatres because the only decent money maker in it is Rose McGowan. But if you get the chance to see it I would recommend you do. And if worse comes to worst, there's always video.

I gave it a 9 out of 10.


I came across The Last Stop one day at a video store and they were selling it for only $2. I decided to give it a try and bought it. It was pretty good, i enjoyed it. The story is about several people all caught in a cabin somewhere in nowhere because of a raging blizzard. There is a police officer, nancy,his ex girlfriend, two brothers that just got out of jail, a older man and his lover, a black man and the couple that owns the cabins and their retarted son that never speaks. Suddenly someone is found to be murdered and a bag full of cash is found. Everyone is a suspect. The Last Stop is a pretty good thriller, i would give it 8/10


The plot starts out interesting, however, towards the end too many die in too short a time, turning the thriller-mystery aspect of the story into a slaughter.

The only true highlights were Adam Beach and Jürgen Prochnow, who were once again their excellent selves. Nice try with an inappropriate last third, though a good ending.


I own this movie and I love Canadian Movies but hire an actress like Rose I don't understand.She is completly useless in this movie just a name that's all.The rest of the cast is good,good enough to make this little thriller work.I was surprise by the plot which is not the first time it was used.But those unknown actors did very well even Jergen,I'm not a big fan of his but I liked him in this movie.If you got the chance to see it go for it.


This is the best version of Gypsy that has been filmed.Bette Midler is simply superb as Mama Rose.She has the voice,the gestures,the look,and most of all,a supreme acting ability to carry the role off and to make her character come alive.Her singing is,simply put:MAGNIFICENT! She especially shines in two numbers-"Everything's Coming Up Roses" and "Rose's Turn". The other actors are also fine,particularly Christine Ebersoll as Tessie.Also good is Peter Riegert;his portrayal of Herbie is acted with great style and believability.The direction of this movie is very,very good.There isn't a false note or gaffe in the entire production.This film is a vast improvement over the Roz Russell version filmed in 1962.Since viewing it again,I can state that the three greatest Mama Roses are:Ethel Merman,Bette Midler,and Angela Lansbury. See this movie.You'll be glad that you did.


If you want to see what could be classed as the 'stage' version of GYPSY this is the film for you.

If you enjoy(ed) listing to the MERMAN recording of GYPSY then you really enjoy watching MIDLER as Gypsy's mother, ROSE. It's my opinion that Midler has the volume, vibrato and presents that Merman once had.

It's not often these days, when listening to update versions of musicals, that I get that tingling sensation that makes the hair on my neck tingle but Bette Midler certainly shows her talents in this movie -see how you like them apples.....

I know you may not like it, but for me Ms. Midler is the definitive "Gypsy".


Too often screen adaptations of musicals compromise, but this is one of those rare occasions when every ingredient, perfect in itself, comes together and harmonizes perfectly. Midler was born to play this role, and her performance will most likely be remembered as definitive. She is supported by an ideal cast, and the direction and design are tops. It doesn't get any better than this.


This is one of the best TV productions of a musical ever. I have heard the Merman cast album, the Angela Lansbury album, I have seen Tyne Daly live, and I've seen the Rosalind Russell movie countless times. I think Bette is if not the best, then tied with the best. She captures not just the bravura, but also the pathos of Mama Rose. I was never a Natalie Wood fan, so I really enjoyed Cynthia Gibb, in what is arguably her best role. Everything from the costumes to the sets to the supporting performances is wonderful. The three strippers, led by the always-dependable Christine Ebersole are hard to top. There was supposed to be a TV production of Mame a few years back, with Cher, but I think Bette would be the best bet (pun intended) for Auntie Mame.


This is easily one of my favorite musicals of all time. Bette Midler comes as close to real magic on screen as anyone has in her turn as Gypsy Lee's blustery, bosomy, brave and very scary mother. She evokes a sense of desperation that is at times both comic and tragic but always genuine and quite beautiful. Such charm and grit she is indeed a pioneer woman without a frontier. That frontier is discovered for the children. Who in turn must forge their own in a world ruled by their domineering mother.

This particular version is, as I understand it, in it's entirety including the brilliant choreography of Jerome Robbins, as well as the original stage directions.


"Gypsy" is possibly the greatest musical ever written, so it's too bad that it's film version was such a disappointment. To make up for that, we have this re-make which, if not flawless, is an enjoyable and well done adaption of the musical. The script is completely accurate, all the songs included, and the staging remains close to the original Jerome Robbins' staging. Bette Midler is a deft choice for Rose, her singing and personality Merman-esquire, and her acting splendid. Peter Reigert is a fine Herby, if not a great singer, and Cynthia Gibb is a straight forward, natural Louise. In truth, a live taping of the 1989 revival with Tyne Daly might have been a better idea, if only because "Gypsy" is simply more exciting on stage, But this film is a fine translation of a great musical.


Watching this on Comcast On-Demand.

Every time I see this musical, I am amazed at the songs...one show-stopper after another.

This interpretation is, for me, magical. The songs sparkle...the vocals, orchestrations, and choreography are amazing for a "made-for-TV" movie...better than many stage versions I have seen.

The debate over Bette just doesn't make sense. She is Mamma. Her voice is brilliant and yet full of the pathos of the stage mother living through her daughters. I still get tears at the end when she finally has her moment of glory, no matter how faded that glory is.

The Tulsa/Louise duet/dance is on now. Fabulous.

Stephen Sondheim is the King of musical theatre. His lyrics just roll off the tongue like silk...Styne's music is perhaps the best ever penned for the stage/screen.

Thank God we have this masterpiece of the American Musical Theatre captured on DVD.


Based on the memoirs of Gypsy Rose Lee, who painted a much more affectionate picture of their mother than did her sister, actress "Baby" June Havoc, in her autobiography, "Early Havoc" on which "They Shoot Horses, Don't They?" was loosely based. I saw Ethyl Merman in the original Broadway production of Gypsy, and she was great as "Mama Rose" but certainly more "Merman" than Rose. I was disappointed with Rosalind Russell's portrayal in the 1962 movie version. An otherwise excellent actress, Russell was a very wooden substitute for Merman. Bette Midler, by contrast, was better and more believable than Merman and I'd recommend her performance as the definitive one.


This film, Blade Master, may be cheap, clumsy in appearance and it is sometimes, but it shares thoughts on problems that are way beyond the era this film is set in. Ator is the chosen one that has to protect the earth against a terrible weapon, that is compared in an unforgettable and unpredictable way to the atomic weapon. He goes through obstacles as a witful character who is just more than muscle power, although he has quite is lot. I would say this aspect of the movie makes it surpass a film like Conan the barbarian, which is the least I can say, quite brainless. It doesn't diminish in any ways the great adventure movie that is Conan, but it gives Ator his wholesomeness that he shares not with the barbarian. For a lower budget movie, this film does good in terms of setting and the fights are most of the time believable. Zor, the villain, has with is prisoner throughout the film one of the most interesting psychological confrontation that gives tension to the movie, even if Ator seems way too fit for the task to loose.

What gives this movie that little extra are those scenes that may look quirky, but worth of mention. The fight with the serpent god, even though he is a gigantic puppet, is well handled as the snake, with good lightnings, remains a silhouette and the fight is quite convincing. The movie climaxes in a most unusual way, quite anachronic, but breathtaking : the deltaplane sequence. The scene itself is not introduced properly, read not at all, where did Ator get that machine, it's pretty unconvincing, but it leads to a really poetic and beautiful midair sequence, that standalone, is the culminating point in the movie, elevating Ator in a place where few human fantasy heroes have been.

If Blade Master is not among the great fantastic movies of all time is no surprise due to its lacks, it's a bigger surprise, considering the philosophical way it chooses on the confrontation between good and evil, the truth it speaks and the heart it shows, that this movie is so unwlecomed. I suggest it for every fan of the genre and try take it seriously as an intelligent movie that's to be taken more seriously than it seems.


The Ator series is a shining example of what B-movies should be. They fail in every aspect, but in such a hilarious way that they are funny rather than sad. "Ator l'invincibile 2" aka "The Blade Master" aka "Cave Dwellers" shows us Europe's favorite Conan clone, Ator where we left him in the first movie- after showing us a lengthy recap of all the events of the first film. This time the world must be saved from "The Nucleus", a kind of bomb, represented on screen as a bright light (I guess they couldn't afford a prop). This one features invisible attackers and samurai. As with the first film, lots of stock footage is used (including one rather obvious bit from "Star Wars"). Thoroughly laughable and unforgettably bad- this is an exception B-movie.


Blademaster is definitely a memorable entry in the Swords and Sorcery category of movies. I found Blademaster along with Quest for the Mighty Sword at a thrift shop attended by mentally handicapped people and was very happy to pay 2.00 each for them. Believable sets and costumes, good sword fighting and a beautiful female warrior, Mila make this an enjoyable watch. A few problems though, there were a lot of details in the plot that didn't quite fit, like the cave men for one. I didn't understand their purpose. Also, this movie could have really benefited from some more monsters. The snake was cool, but I guess it does borrow a little from Conan. However, any primitive sort of movie where someone winds up with a hanglider is OK by me (see Yor and Battle for Endor). I think Ator is cool! Oh, and was anyone else reminded of Gallager by the villain or is it just me? I give blademaster a 7/10


God bless Joe D'Amato...I love Italian horror, cheese (movie-wise ;)), sci-fi, etc.

This one, admittedly, was a bit harder to watch, but another fun BAD movie.

I like how people preface a negative review with "I normally enjoy bad movies, but..." No buts, this was a bad movie FOR people who love bad movies. It's one of my top bad movies.

Miles O'Keefe was a poor man's Conan, but oh what fun. Who can't have fun with a primitive nuclear bomb, a hangglider and a cheesy rubber monster? It's fine to hate this movie if you only like Hollywood drek like "Titanic" or "Pretty Woman" but if you truly, I mean TRULY love bad movies, check this one out.

This is one of those movies that are fun to rent for a beerbust or when you have a couple buddies around and looking for a little mindless fun.

My rating 8/10.


A very sweet movie about a young Chinese man enamored of western technology and an Englishman trying to make his fortune showing movies in China. It's a very interesting story that is presumably based on true events, although I'm assuming it's more fantasy than real. It's got a fairy tale quality you rarely get in real life, and it's also got 8 people credited for the script, so they must have been making up stuff right and left.

This is a very likable movie that conveys how magical film was to people who had never seen it before. It is not an especially deep movie, touching briefly on the loss of tradition and the encroachment of western culture but mainly just being a pleasant little movie. It's actually a movie I enjoyed very much that is already beginning to disappear from my mind 15 minutes after seeing it. Light as a soufflé, but I enjoyed every minute.


Gentle and genial film seems to have been overlooked as a triviality...and to be fair the narrative is a bit tenuous and lightweight as drama....but I feel the simple wonder and joy of the scenes depicting the first impact of a new art on an alien and sceptical society have a radiance and naturalness which capture the century long romance between cinema and audience better than any film in years. Immensely sympathetic performance from Jared Harriss (who seems to have inherited all of his fathers charisma...hopefully without poor Richards penchant for hellraising and haminess)....and charming offbeat cuteness from costar Yu Xia combine to make this a real heartwarmer. Radiant location photography (including glowingly beautiful scenes at the great wall) and sensitive direction by Ann Hu give film added impact. In short a must for anyone ever enchanted by a shadow flickering to life...and making magic in the dark.


This film is about so many things. Most obvious is the hold that film can have over an audience and how capturing life on film can be a kind of magic. There is also the tense relationship between China and the West as many Chinese saw (probably rightly so) the "Barbarians" as trying to take over and pollute their way of life. Liu even seeks to preserve their way of life on film because he sees that it will one day disappear. Their is also Liu's internal conflict between the loyalties and traditions of China versus the self-determination philosophy of the West. All these themes are woven quite skillfully into a coherent and enjoyable whole by Hu. A very enjoyable film.


A beautiful film about the coming of early silent cinema to China. SHADOW MAGIC deftly combines a love story with the drama of the cultural clash between China's ancient traditions and modern Western culture in the form of film. An amazing first film by Chinese director Ann Hu. If I correctly understood Ms. Hu's comments at the 2000 Sundance festival, this film was produced as an American film with co-funding by the Chinese government, and shot in China. SHADOW MAGIC reminds me of films like IL POSTINO and CINEMA PARADISO - not necessarily in theme or plot, but it has a similar feel.


A lovely little film about the introduction of motion pictures to China. Captures the amazement of film's first audiences pretty much as it's described to have been worldwide, and uses actual Lumiere films for most of the actualities. I don't agree with other people about bad acting on the British fellow's part - I thought he was fine, but the Chinese lead really stole the show. In any case, I found myself with a smile on my face through most of the movie. People who fear subtitles might note that a lot of the film is in English (which for some reason is given subtitles as well as the Chinese on the DVD).


Unlike some movies which you can wonder around and do other things, this movie kept me in front of the screen for the entire two hours. I loved every minute of it.

However, I have to say that the story is not very believable. Especially when the foreigner was expelled by the government, and then later on, actually sent a package to the guy who helped him. Xiao Liu is a very good actor, he shows his emotions, and he shows his silliness, and his love toward that girl.


This is a beautiful, funny, vivid film. It's even better than "Nuovo Cinema Paradiso" -- which it parallels but doesn't replicate. The story completes a full circle and had the theater beaming as the credits rolled. A hundred years after this story takes place, we're just as intrigued by flickering images in a dark theater.


`Shadow Magic' recaptures the joy and amazement of the first movie audiences. It also shows the power of film in its ability to bring the world a little closer, overcome cultural barriers and to preserve ourselves for generations yet to come. Certainly, anyone who truly loves the art of the motion picture will enjoy this film. It's a great first effort by writer/director Ann Hu, who will hopefully have many films to follow.


Malcolm McDowell diagnoses Megan Gallagher's daughter and she as having a form of illness, when they believe they are seeing "The Huldre", troll-like creatures which live with "the rocks and the roots" (to quote the movie).

Basically a family moves into an older house, which has a smaller doll-house in the backyard. The daughter (well played by Sofia Vassiliova) starts to befriend the creatures, until they become vindictive. The family cat also disappears.

There are a few good scenes with Megan Gallagher ("Millennium") and Malcolm McDowell as the psychiatrist. There is also something strange which occurred to one of McDowell's patients.

If you enjoy this type of story, you may also like "Bad Ronald", which had a similar odd theme, and the house is haunted by bad Ronald (Scott Jacoby) only that movie is from the 70's. 7/10.


This little flick is reminiscent of several other movies, but manages to keep its own style & mood. "Troll" & "Don't Be Afraid of the Dark" come to mind. The suspense builders were good, & just cross the line from G to PG. I especially liked the non-cliche choices with the parents; in other movies, I could predict the dialog verbatim, but the writing in this movie made better selections. If you want a movie that's not gross but gives you some chills, this is a great choice.


*Minor Spoiler*

Inhabited isn't scary, but it is creepy. It is an interesting 'little' story with good acting and great special effects makeup.

Basic plot: A little girl blames the strange things going on at her family's new house and accompanying playhouse on her faerie friends.

The movie doesn't waste time getting moving, though the ending could have been more involved.

I don't recommend this movie to those expecting/wanting hardcore horror, but I do recommend it to those who want a chiller and not necessarily a thriller.


Okay, this wasn't the greatest horror movie I've ever seen in my life. Despite the fact that it's lower budget, it's a pretty decent movie, though. The monsters are unique and believable. Heck, they're even kind of scary in the scenes where they show them briefly wreaking havoc on this poor family. Although, when you finally do get to see the monsters completely, you really think "WTF!? those itty bitty things are after them?!" The only part that really disturbed me is when *sniff* they killed the kitty! Not the kitty, noooooo, why? Seriously though, if you are looking for hardcore violence and gore, this is not the movie for you. Go rent The Hills Have Eyes or something along those lines. If you have small children, I wouldn't recommend watching this with them though; probably would give them nightmares about trolls in their room.


The movie " Inhabited" is about a family of four moving into a new house not knowing that dangers are lurking.The daughter befriends the dangerous creatures as they gain her trust. When they do they use it against her. A man who use to live there as a child or a teen, knows about the creatures and try's to warn them. The creatures steel and take shiny objects to make new stuff out of them , mostly weapons.They has a cat and it murderously disappeared. The man that tried to warn the little sister was tricked by them and end up into a Psyciatric ward. She then help them defeat the creatures and destroy the man one. After they do they leave for good with nothing but each other and something happens to the doctor


The slasher sub-genre has been pretty much exhausted - in fact, even by 1979, just one year after the supposed 'first slasher', Halloween (which was released seven years after Bay of Blood), was released; the sub-genre wasn't far from being exhausted; but Tourist Trap represents one of the more original outings. The film follows the same basic formula as most slashers - i.e. madman murders a load of kids, but draws its originality from the fact that madman is shown from the beginning (as opposed to an unseen assailant or a man in a mask) and we actually get some insight into his character. The fact that this killer also has telekinetic abilities, including being able to control the wax dummies that fill his house, adds to the originality. We kick off with a great opening sequence, which sees a young man fall foul of having a flat tire after finding himself in a gas station of terror. The scene is amazingly creepy, as the wax dummies taunt him and things fly from the shelves - and it gives the audience a great insight into what is to come; namely, a very creepy horror film!

The acting credibility is as non-existent as you would expect from a seventies slasher, but to be honest; it's not all that bad. The girls look hot, the boys don't really matter; and Chuck Connors is more than adequately creepy in the role of the psycho. He's not exactly Anthony Perkins; but still, good enough. It's not the acting that's the star of the show, however, and as you might expect - the creepy atmosphere takes that prize. Wax models, as proved by the likes of House of Wax (Vincent Price version...) are very creepy; and the film makes best use of that fact. There are very few things in cinema that can be frightening by simply being there - but wax statues are definitely one of those things. The killer's special ability could easy have gotten in the way of the atmosphere, but the film makes best use of this fact, even, by having various things fly off shelves and it goes well with the rest of the movie. On the whole, this is a very good film. While Tourist Trap might not be absolutely essential viewing; it's well worth seeing and I can recommend it.